#Janet Dorothy Eve | Explore Tumblr posts and blogs

snailg0th · 4 years ago

Text

here’s my giant leftist to-read list for the next few years!!!

if a little (done!) it written next to the book, it means i’ve finished it! i’m gonna try to update this as i read but no promises on remembering haha

Economics/Politics

Property by Karl Marx

Communist Manifesto by Karl Marx (done!)

Wages, Price, and Profit by Karl Marx (done!)

Wage-Labor and Capital by Karl Marx (done!)

Capital Volume I by Karl Marx

The 1844 Manuscripts by Karl Marx

Socialism: Utopian and Scientific by Fredrich Engles

Synopsis of Capital by Fredrich Engels

The Principles of Communism by Fredrich Engles

Imperialism, The Highest Stage Of Capitalism by Vladmir Lenin

The State And Revolution by Vladmir Lenin

The Revolution Betrayed by Leon Trotsky

Fascism: What is it and How to Fight it by Leon Trotsky

In Defense Of Marxism by Leon Trotsky

The Accumulation of Capital by Rosa Luxemborg

Reform or Revolution by Rosa Luxemburg

Discipline and Punish by Michel Foucault

The Conquest of Bread by Peter Kropotkin

On Anarchism by Noam Chomsky

Profit over People by Noam Chomsky

An Introduction to Marxist Economic Theory by Ernest Mandel

The Affluent Society by John Kenneth Galbraith

The Postmodern Condition by Jean François Lyotard

Capitalist Realism by Mark Fisher

The Socialist Reconstruction of Society by Daniel De Leon

Anarchism and Other Essays by Emma Goldman

Socialism Made Easy by James Connolly

Race

Biased: Uncover in the Hidden Prejudice That Shapes What We See, Think, and Do

Blindspot by Mahzarin R. Banaji

Racism Without Racists: Color-blind Racism And The Persistence Of Racial Inequality In America by Eduardo Bonilla-Silva

How To Be Less Stupid About Race: On Racism, White Supremacy And The Racial Divide by Crystal M. Flemming

This Book is Anti-Racist: 20 Lessons on How To Wake Up, Take Action, And Do The Work by Tiffany Jewell & Aurelia Durand

The Next American Revolution: Sustainable Activism For The Twenty-First Century by Grace Lee Boggs

Tell Me Who You Are by Winona Guo & Priya Vulchi

The Fire This Time: A New Generation Speaks About Race by Jesymn Ward

Class, Race, and Marxism by David R. Roediger

America for Americans: A History Of Xenophobia In The United States by Erica Lee

The Politics Of The Veil by Joan Wallach Scott

A Different Mirror A History Of Multicultural America by Ronald Takaki

A People’s History Of The United States by Howard Zinn

Black Theory

The Wretched Of The World by Frantz Fanon

Black Marxism by Cedric J Robinson

Malcolm X Speaks by Malcolm X

Women, Culture, and Politics by Angela Davis

Women, Race, & Class by Angela Davis (done!)

Freedom is a Constant Struggle by Angela Davis (done!)

The Meaning of Freedom by Angela Davis

Sister Outsider by Audre Lorde

Ain’t I A Woman? by Bell Hooks

Yearning by Bell Hooks

Dora Santana’s Works

An End To The Neglect Of The Problems Of The Negro Women by Claudia Jones

I Am Your Sister by Audre Lorde

Women’s Liberation And The African Freedom Struggle by Thomas Sankara

W.E.B. DuBois Essay Collection

Black Reconstruction by W.E.B. DuBois

Lynch Law by Ida B. Wells

The Bluest Eye by Toni Morrison

Sula by Toni Morrison

Song Of Solomon by Toni Morrison

Beloved by Toni Morrison

Paradise by Toni Morrison

A Mercy by Toni Morrison

This Bridge Called My Back by Cherríe Moraga

Stamped from the Beginning: The Definitive History of Racist Ideas in America

So You Want to Talk About Race by Ijeoma Oluo

The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander

Black Feminist Thought by Patricia Hill Collins

Eloquent Rage: A Black Feminist Discovers Her Superpower by Dr. Brittney Cooper

I Know Why the Caged Bird Sings by Maya Angelou

Black Skins, White Masks and The Wretched of the Earth by Frantz Fanon

Killing of the Black Body

Revolutionary Suicide by Huey P Newton

Settlers; The myth of the White Proletariat

Fearing The Black Body; The Racial Origins of Fatphobia

Freedom Dreams; The Black Radical Imagination

How Capitalism Underdeveloped Black America

How Europe Underdeveloped Africa

An Argument For Black Women’s Liberation As a Revolutionary Force by Mary Anne Weathers

Voices of Feminism Oral History Project by Frances Beal

Ghosts In The Schoolyard: Racism And School Closings On Chicago’s South Side by Eve L. Ewing

Tears We Cannot Stop: A Sermon To White America by Michael Eric Dyson

Why We Can’t Wait by Martin Luther King, Jr.

Fatal Invention: How Science, Politics, Big Business, Re-create Race In The 21st Century by Dorothy Roberts

We Gon’ Be Alright: Notes on Race & Resegregation by Jeff Chang

They Can’t Kill Us All: Ferguson, Baltimore, and a New Era In America’s Racial Justice Movement by Wesley Lowery

The Common Wind by Julius S. Scott

Black Is The Body: Stories From My Grandmother’s Time, My Mother’s Time, And Mine by Emily Bernard

We Were Eight Years In Power: An American Tragedy by Ta-Nehisi Coates

American Lynching by Ashraf H. A. Rushdy

Raising Our Hands by Jenna Arnold

Redefining Realness by Janet Mock

When Affirmative Action Was White: An Untold History of Racial Inequality in Twentieth-Century America by Ira Katznelson

Whistling Vivaldi: How Stereotypes Affects Us and What We Can Do

Citizen: An American Lyric by Claudia Rankine

Left of Karl Marx: The Political Life Of Black Communist Claudia Jones by Carole Boyce Davies

Black Studies Manifesto by Darlene Clark

The Hate U Give by Angie Thomas

The Souls Of Black Folk by W.E.B. Du Bois

Darkwater by W.E.B. Du Bois

The Education Of Blacks In The South, 1860-1935 by James D. Anderson

The Half Has Never Been Told: Slavery And The Making Of American Capitalism by Edward E. Baptist

The Color Of Money: Black Banks And The Racial Wealth Gap by Mehrsa Baradaran

A Black Women’s History Of The United States by Daina Ramey Berry & Kali Nicole Gross

The Price For Their Pound Of Flesh: The Value Of The Enslaved, From Womb to Grave, In The Building Of A Nation by Daina Ramey Berry

North Of Slavery: The Negro In The Free States, 1780-1869 by Leon F. Litwack

Black Stats: African Americans By The Numbers In The Twenty-First Century by Monique M. Morris

Pushout: The Criminalization of Black Girls in Schools by Monique M. Morris

40 Million Dollar Slaves: The Rise, Fall, And Redemption of The Black Athlete by William C. Rhoden

From #BlackLivesMatter To Black Liberation by Keeanga-Yamahtta Taylor

A More Beautiful And Terrible History: The Uses And Misuses Of Civil Rights History by Jeanne Theoharis

Medical Apartheid: The Dark History Of Medical Experimentation On Black Americans From Colonial Times To The Present by Harriet A. Washington

Working At The Intersections: A Black Feminist Disability Framework” by Moya Bailey

Theory by Dionne Brand

Black Women, Writing, And Identity by Carole Boyce Davies

Slavery By Another Name: The Re-enslavement Of Black Americans From The Civil War To World War II by Douglass A. Blackmon

Black Like Me by John Howard Griffin

The Fire Next Time by James Baldwin

Some Of Us Are Very Hungry Now by Andre Perry

The Origins Of The Urban Crisis: Race and Inequality In Postwar Detroit by Thomas Surgue

They Can’t Kill Us Until They Kill Us by Hanif Abdurraqib

Beyond Containment: Autobiographical Reflections, Essays and Poems by Claudia Jones

The Black Woman: An Anthology by Toni McCade

Double Jeopardy: To Be Black and Female by Frances Beal

How We Get Free: Black Feminism and the Combahee River Collective by Keeanga-Yamahtta Taylor

Indigenous Theory

Colonize This! by Daisy Hernandez and Bushra Rehman

As We Have Always Done

Braiding Sweetgrass

Spaces Between Us

The Sacred Hoop by Paula Gunn Allen

Native: Identity, Belonging, And Rediscovering God by Kaitlin Curtice

An Indigenous People’s History Of The United States by Roxanne Dunbar-Ortiz

Why Indigenous Literatures Matter by Daniel Heath Justice

Highway of Tears: A True Story of Racism, Indifference, And The Pursuit Of Justice For Missing And Murdered Indigenous Women and Girls by Jessica McDiarmid

The Other Slavery by Andrés Reséndez

Seven Fallen Feathers by Tanya Talaga

All Our Relations: Indigenous Trauma In The Shadow Of Colonialism by Tanya Talaga

All Our Relations: Finding The Path Forward by Tanya Talaga

Everything You Wanted To Know About Indians But Were Afraid To Ask by Anton Treuer

Rez Life: An Indian’s Journey Through Reservation Life by David Treuer

Latine Theory

Borderlands/La Frontera by Gloria Anzaldúa

Open Veins of Latin America: Five Centuries of Pillage of A Continent by Eduardo Galeano

Inventing Latinos: A New Story of American Racism by Laura E. Gomez

De Colores Means All Of Us by Elizabeth Martinez

Middle Eastern And Muslim Theory

How Does It Feel To Be A Problem? Being Young And Arab In America by Moustafa Bayoumi

We Too Sing America: South Asian, Arab, Muslim, and Sikh Immigrants Shape Our Multiracial Future by Deepa Iyer

Alligator and Other Stories by Dima Alzayat

API Theory

Orientalism by Edward Said

The Making Of Asian America by Erika Lee

On Gold Mountain by Lisa See

Strangers From A Different Shore: A History of Asian Americans by Ronald Takaki

They Called Us Enemy (Graphic Novel) by George Takei

Yellow Peril!: An Archive of Anti-Asian Fear by Edited by John Kuo Wei Tchen and Dylan Yeats

Yellow: Race In America Beyond Black And White by Frank H. Wu

Alien Nation: Chinese Migration In The Americas From The Coolie Era Through World War II by Elliott Young

The Good Immigrants: How The Yellow Peril Became The Model Minorities by Madeline H. Ysu

Asian American Dreams: The Emergence Of An American People by Helen Zia

The Myth Of The Model Minority: Asian Americans Facing Racism by Rosalind S. Chou & Joe R. Feagin

Two Faces Of Exclusion: The Untold Story Of Anti-Asian Racism In The United States by Lon Kurashige

Whiteness

White Fragility by Robin Di Angelo (done!)

White Kids: Growing Up With Privilege In A Racially Divided America by Margaret A. Hagerman

Waking Up White by Deby Irving

The History of White People by Nell Irvin Painter

White Like Me: Reflections On Race From A Privileged Son by Tim Wise

White Rage by Carol Anderson

What Does It Mean To Be White: Developing White Racial Literacy by Robin DiAngelo

The Invention of The White Race: Volume 1: Racial Oppression and Social Control by Theodore W. Allen

The Invention of The White Race: Volume 2: The Origin of Racial Oppression in Anglo-America by Theodore W. Allen

Immigration

Call Me American by Abdi Nor Iftir

Create Dangerously: The Immigrant Artist At Work by Edwidge Danticat

My Family Divided by Diane Guerrero

The Devil’s Highway: A True Story by Luis Alberto Urrea

The Undocumented Americans by Karla Cornejo Villavicencio

Enrique’s Journey by Sonia Nazario

Tell Me How It Ends: An Essay In Forty Questions by Valeria Luiselli

Voter Suppression

One Person, No Vote: How Voter Suppression Is Destroying Our Democracy by Carol Anderson

Give Us The Vote: The Modern Struggle For Voting Rights In America by Ari Berman

Prison Abolition And Police Violence

Abolition Democracy by Angela Davis

Are Prisons Obsolete? by Angela Davis

The Prison Industrial Complex by Angela Davis

Political Prisoners, Prisons, And Black Liberation by Angela Davis

Just Mercy by Bryan Stevenson (done!)

The End Of Policing by Alex S Vitale

Invisible No More: Police Violence Against Black Women and Women of Color by Andrea J. Ritchie

Choke Hold: Policing Black Men by Paul Butler

From The War On Poverty To The War On Crime: The Making Of Mass Incarceration In America by Elizabeth Hinton

Feminist Theory

The Second Sex by Simone de Beauvoir

A Vindication of the Rights of Women by Mary Wollstonecraft

Bad Feminist by Roxanne Gay

7 Feminist And Gender Theories

Race, Gender, And Class by Margaret L. Anderson

African Gender Studies by Oyèrónkẹ́ Oyěwùmí

The Invention Of Women by Oyèrónkẹ́ Oyěwùmí

What Gender Is Motherhood? by Oyèrónkẹ́ Oyěwùmí

Feminism Without Borders: Decolonizing Theory, Practicing Solidarity by Chandra Talpade Mohanty

I Am Malala by Malala Youssef

LGBT Theory

Gender Trouble by Judith Butler

Performative Acts and Gender Constitution by Judith Butler

Imitation and Gender Insubordination by Judith Butler

Bodies That Matter by Judith Butler

Excitable Speech by Judith Butler

Undoing Gender by Judith Butler

The Roots Of Lesbian And Gay Opression: A Marxist View by Bob McCubbin

Compulsory Heterosexuality And Lesbian Existence by Adrienne Rich

Decolonizing Trans/Gender 101 by B. Binohan

Gay.Inc: The Nonprofitization of Queer Politics by Merl Beam

Pronouns Good or Bad: Attitudes and Relationships with Gendered Pronouns

Transgender Warriors

Whipping Girl; A Transsexual Woman on Sexism and the Scapegoating of Femininity

Stone Butch Blues by Lesie Feinberg (done!)

The Stonewall Reader by Edmund White

Sissy by Jacob Tobia

Gender Outlaw by Kate Bornstein

Butch Queens Up In Pumps by Marlon M. Bailey

Black On Both Sides: A Racial History Of Trans Identities by C Riley Snorton

Go Tell It On The Mountain by James Baldwin

Ezili’s Mirrors: Imagining Black Queer Genders by Omise’eke Natasha Tinsley

Lavender and Red by Emily K. Hobson

#ref #book list #reading list #leftist reading list

154 notes · View notes

papermoonloveslucy · 4 years ago

Text

ZIEGFELD FOLLIES

April 8, 1946

Directors: Lemuel Ayers, Roy Del Ruth. Vincente Minnelli, George Sidney, Norman Taurog, Charles Walters. Robert Lewis Producer: Arthur Freed for Metro Goldwyn Mayer

The shooting schedule ran between April 10 and August 18, 1944, with retakes plus additional segments filmed on December 22, 1944 and then between January 25 and February 6, 1945. The film was first proposed in 1939.

Synopsis ~ We meet a grayed, immaculately garbed Florenz Ziegfeld, Jr. in Paradise (his diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive.

PRINCIPAL CAST

Lucille Ball ('Here's to the Ladies') is appearing in her 64th film since coming to Hollywood in 1933.

Fred Astaire ('Here's to the Ladies' / Raffles in 'This Heart of Mine' / Tai Long in 'Limehouse Blues’ / Gentleman in 'The Babbit and the Bromide') also appeared with Lucille Ball in Roberta (1935), Top Hat (1935), and Follow the Fleet (1936). His name was mentioned twice on “I Love Lucy.”

Lucille Bremer (Princess in 'This Heart of Mine' / Moy Ling in 'Limehouse Blues')

Fanny Brice (Norma Edelman in 'A Sweepstakes Ticket') appeared in the original stage version of many editions of The Ziegfeld Follies on Broadway.

Judy Garland (The Star in 'A Great Lady Has An Interview') also starred with Lucille Ball in Thousands Cheer (1943).

Kathryn Grayson (Kathryn Grayson in 'Beauty') also starred with Lucille Ball in Thousands Cheer (1943).

Lena Horne (Lena Horne in 'Love') also starred with Lucille Ball in Thousands Cheer (1943).

Gene Kelly (Gentleman in 'The Babbit and the Bromide') also starred with Lucille Ball in Thousands Cheer (1943), Du Barry Was A Lady (1943), and A Guide for the Married Man (1967). He made an appearance on the Lucille Ball special “Lucy Moves to NBC” (1980).

James Melton (Alfredo in 'La Traviata')

Victor Moore (Lawyer's Client in 'Pay the Two Dollars')

Red Skelton (J. Newton Numbskull in 'When Television Comes') also starred with Lucille Ball in Having Wonderful Time (1938), Thousands Cheer (1943), Du Barry Was A Lady (1943), and The Fuller Brush Girl (1950). On TV he appeared on “The Lucy-Desi Comedy Hour” in “Lucy Goes To Alaska” (1958). Ball and Skelton appeared in numerous TV specials together.

Esther Williams (Esther Williams in 'A Water Ballet') also appeared with Lucille Ball in Easy To Wed (1946).

William Powell (Florenz Ziegfeld Jr.) also played the same character in The Great Ziegfeld (1936).

Edward Arnold (Lawyer in 'Pay the Two Dollars') appeared with Lucille Ball in Roman Scandals (1933) and Ellis in Freedomland (1952).

Marion Bell (Violetta in 'La Traviata')

Cyd Charisse (Ballerina in 'Beauty') also starred with Lucille Ball in Thousands Cheer (1943).

Hume Cronyn (Monty in 'A Sweepstakes Ticket') was honored by The Kennedy Center in 1986, at the same ceremony as Lucille Ball.

William Frawley (Martin in 'A Sweepstakes Ticket') played the role of Fred Mertz on “I Love Lucy” and “The Lucy-Desi Comedy Hour”. He also appeared on “The Lucy Show,” his final screen appearance.

Robert Lewis (Chinese Gentleman in 'Limehouse Blues' / Telephone Voice in 'Number Please')

Virginia O'Brien (Virginia O'Brien in 'Here's to the Ladies') also starred with Lucille Ball in Thousands Cheer (1943), Du Barry Was A Lady (1943), and Meet The People (1944).

Keenan Wynn (Caller in 'Number Please') appeared with Lucille Ball in Easy To Wed (1946), Without Love (1945), and The Long, Long Trailer (1954).

SUPPORTING CAST

Ziegfeld Girls

Karin Booth

Lucille Casey

Aina Constant

Elizabeth Dailey

Frances Donelan

Natalie Draper

Karen X. Gaylord

Aileen Haley

Carol Haney

Shirlee Howard

Margaret Laurence

Helen O'Hara

Noreen Roth

Elaine Shepard

Kay Thompson

Dorothy Tuttle

Dorothy Van Nuys

Eve Whitney - appeared on “I Love Lucy” episode “The Charm School” (ILL S3;E15).

Dancers

Gloria Joy Arden

Jean Ashton

Irene Austin

Judi Blacque

Bonnie Barlowe

Norman Borine

Hazel Brooks

Ed Brown

Kathleen Cartmill

Jack Cavan

Marilyn Christine

Laura Corbay

Rita Dunn

Meredyth Durrell

Shawn Ferguson

Jeanne Francis

Jean French

Mary Jane French

David Gray

Bill Hawley

Doreen Hayward

Charlotte Hunter

Virginia Hunter

Patricia Jackson

Margaret Kays

Laura Knight

Laura Lane

Dale Lefler

Melvin Martin

Diane Meredith

Lorraine Miller

Joyce Murray

Janet Nevis

Ray Nyles

Billy O'Shay

Jane Ray

Dorothy Raye

Beth Renner

Melba Snowden

Walter Stane

Ivon Starr

Robert Trout

Chorus Boys

Rod Alexander

Milton Chisholm

Dick D'Arcy

Dante DiPaolo

Don Hulbert

Herb Lurie

Matt Mattox

Bert May - appeared on “The Lucy Show” in “Lucy and Tennessee Ernie Ford”

Jack Purcell

Tommy Rall

Ricky Ricardi (!)

Alex Romero

“LIMEHOUSE BLUES” starring Fred Astaire, Lucille Bremer, and Robert Lewis

Robert Ames (Masked Man)

James Barron (Couple with Banners)

Eleanor Bayley (Couple with Branches)

Mary Jo Ellis (Couple with Banners)

Sean Francis (Ensemble)

James King (Rooster)

Harriet Lee (Bar Singer)

Eugene Loring (Costermonger)

Charles Lunard (Masked Man)

Patricia Lynn (Ensemble)

Ruth Merman (Ensemble)

Garry Owen (1st Subway Policeman)

Ellen Ray (Couple with Parasols)

Jack Regas (Masked Man)

Billy Shead (Couple with Parasols)

Ronald Stanton (Couple with Branches)

Wanda Stevenson (Ensemble)

Ray Teal (2nd Subway Policeman)

“LOVE” starring Lena Horne

Juliette Ball (Club Patron)

Lennie Bluett (Dancer)

Suzette Harbin (Flirt)

Avanelle Harris (Club Patron)

Maggie Hathaway (Dancer)

Charles Hawkins (Club Patron)

Marie Bryant (Woman Getting Her Man Taken)

Cleo Herndon (Dancer)

“THIS HEART OF MINE” starring Fred Astaire and Lucille Bremer

Helen Boyce (Countess)

Feodor Chaliapin Jr. (Lieutenant)

Naomi Childers (Duchess)

Charles Coleman (Majordomo)

Sam Flint (Majordomo's Assistant)

Sidney Gordon (Masked Man)

Count Stefenelli (Count)

Robert Wayne (Dyseptic)

“PAY THE TWO DOLLARS” starring Edward Arnold and Victor Moore

William Bailey (Subway Passenger)

Joseph Crehan (1st Judge) - played a Detective on “I Love Lucy” “The Great Train Robbery”

William B. Davidson (2nd Judge)

Eddie Dunn (3rd Subway Policeman)

Harry Hayden (Warden)

George Hill (2nd Subway Policeman)

Wilbur Mack (Subway Passenger)

Larry Steers (Magistrate)

“NUMBER PLEASE” starring Keenan Wynn

Peter Lawford (Voice of Porky)

Grady Sutton (Texan)

Audrey Totter (Phone Operator Voice)

Kay Williams (Girl)

OTHERS

Bunin's Puppets

Elise Cavanna (Tall Woman)

Jack Deery (Man)

Rex Evans (Butler in "A Great Lady Has An Interview”)

Sam Garrett (Roping / Twirling Act)

Silver (Horse in "Here's to the Ladies')

Arthur Walsh (Telegraph Boy in "A Sweepstakes Ticket") - appeared on “I Love Lucy” in “Lucy Has Her Eyes Examined” (ILL S3;E11).

‘FOLLIES’ TRIVIA

Sidney Guilaroff, Lucille Ball’s hair dresser, who takes responsibility for her famous ‘golden red’ for this movie, becoming her trademark color.

Although they appear in different segments, this is the only feature film collaboration between “I Love Lucy co-stars" Lucille Ball and William Frawley. Coincidently, Frawley's character in this film shares a striking similarity with his iconic character of Fred Mertz on “I Love Lucy.” In this film he plays a money-hungry curmudgeon of a landlord, much like the show. In the above photo, he appears with director Minnelli and co-star Brice.

The horse ridden by Lucille Ball is the Lone Ranger's Silver!

Lucille Ball was actually fired by Ziegfeld from his road company production of Rio Rita in the 1930s.

In February 1956, Lucy and Desi appeared on “MGM Parade” to promote their MGM film Forever Darling. The show also included footage of Lena Horne singing from Ziegfeld Follies.

Lucy also played a showgirl in pink in “Lucy Gets Into Pictures” (ILL S4;E19) aired on February 21, 1955. The scene was inspired by Ziegfeld’s legendary stage shows featuring beautiful women wearing elaborate costumes navigating long staircases. To solidify the comparison, Ricky says he is going to a meeting with Mr. Minnelli. Vincente Minnelli was one of the directors of Ziegfeld Follies.

Lucy Ricardo had previously cavorted around in a lampshade in the manner of a Ziegfeld girl in both the unaired pilot and “The Audition” (S1;E6).

Ziegfeld Follies includes a sketch for Red Skelton called “When Television Comes” aka “Guzzler’s Gin” in which a (future) television spokesman gets increasingly sloshed on his product. This sketch was an obvious influence on Lucy’s Vitameatavegamin routine in “Lucy Does a TV Commercial” (ILL S1;E30) aired on May 5, 1952.

Ziegfeld Girl Eve Whitney appeared on “I Love Lucy” episode “The Charm School” (ILL S3;E15). She used her own name for the character.

The Telegraph Boy in "A Sweepstakes Ticket" Arthur Walsh - appeared on “I Love Lucy” in “Lucy Has Her Eyes Examined” (ILL S3;E11) as Arthur ‘King Cat’ Walsh. He teaches Lucy how to jitterbug.

The first Judge in the “Pay the Two Dollars” James Crehan also played the Police Detective on “I Love Lucy in “The Great Train Robbery” (ILL S5;E5) first aired on October 31, 1955.

Porky, a voice on the telephone in “Number Please” Peter Lawford, played “Password” against Lucille Ball on September 24, 1964. At the time, Lawford was married to President Kennedy’s sister, Patricia. On November 26, 1968, Ball was a guest on “The Tonight Show” when Peter Lawford was sitting in for Johnny Carson.

Chorus Boy Bert May appeared as a solo dancer on “The Lucy Show” in “Lucy and Tennessee Ernie Ford” (TLS S5;E21) in February 1967.

In the dressing room, Lucy jokes with Fanny Brice, one of the funniest women in showbusiness. This was the only time Ball and Brice collaborated and was Brice’s last film.

Ziegfeld’s follies began on Broadway, so it was appropriate that the show featured past and future Broadway musical stars:

Lucille Ball ~ Wildcat (1960)

Carol Haney ~ The Pajama Game (1954)

Tommy Rall ~ Call Me Madame (1950)

Fanny Brice ~ The Ziegfeld Follies

Marion Bell ~ Brigadoon (1947)

Victor Moore ~ Anything Goes (1934)

There was a lot of material that was not filmed, but written and cast. Some of the original skits would have added “Lucy” performers Mickey Rooney, Ann Sothern, and Van Johnson to the cast.

61 notes · View notes

ljones41 · 4 years ago

Text

“LITTLE WOMEN” Adaptations

Below is a list of movie and television adaptations of Louisa May Alcott’s 1868 novel, “LITTLE WOMEN” I have seen:

“LITTLE WOMEN” ADAPTATIONS

“Little Women” (1933) - Directed by George Cukor; starred Katherine Hepburn, Joan Bennett, Frances Dee, Jean Parker and Spring Byington.

“Little Women” (1949) - Directed by Mervyn LeRoy; starring June Allyson, Janet Leigh, Margaret O’Brien, Elizabeth Taylor and Mary Astor.

“Little Women” (1970) - Directed by Paddy Russell; starring Angela Down, Jo Rowbottom, Janina Faye, Sarah Craze and Stephanie Mead.

“Little Women” (1978) - Directed by David Lowell Rich; starring Susan Dey, Meredith Baxter, Eve Plumb, Ann Dusenberry and Dorothy McGuire.

“Little Women” (1994) - Directed by Gillian Armstrong; starring Winona Ryder, Trini Alvarado, Claire Danes, Kristen Dunst, Samantha Mathis and Susan Sarandon.

“Little Women” (2017) - Produced by Heidi Thomas and directed by Vanessa Caswell - starring Maya Hawke, Willa Fitzgerald, Kathryn Newton, Annes Elwy and Emily Watson.

“Little Women” (2019) - Directed by Greta Gerwig; starring Saorise Ronan, Florence Pugh, Emma Watson, Eliza Scanlen and Laura Dern.

21 notes · View notes

classicfilmfan64 · 5 years ago

Photo

Yes, his autograph is part of my character Actor autograph collection. I found this extensive biography online.

Lionel Jay Stander (January 11, 1908 – November 30, 1994) was an American actor in films, radio, theater, and television.

Lionel Stander was born in The Bronx, New York, to Russian-Jewish immigrants, the first of three children.

According to newspaper interviews with Stander, as a teenager, he appeared in the silent film MEN OF STEEL (1926), perhaps as an extra, since he is not listed in the credits.

During his one year at the University of North Carolina at Chapel Hill, he appeared in the student productions The Muse of the Unpublished Writer, and The Muse and the Movies: A Comedy of Greenwich Village.

Stander's acting career began in 1928, as Cop and First Fairy in Him by E. E. Cummings, at the Provincetown Playhouse. He claimed that he got the roles because one of them required shooting craps, which he did well, and a friend in the company volunteered him. He appeared in a series of short-lived plays through the early 1930s, including The House Beautiful, which Dorothy Parker famously derided as "the play lousy".

In 1932, Stander landed his first credited film role in the Warner-Vitaphone short feature IN THE DOUGH (1932), with Fatty Arbuckle and Shemp Howard. He made several other shorts, the last being THE OLD GREY MAYOR (1935) with Bob Hope in 1935. That same year, he was cast in a feature, Ben Hecht's THE SCOUNDREL (1935), with Noël Coward. He moved to Hollywood and signed a contract with Columbia Pictures. Stander was in a string of films over the next three years, appearing most notably in Frank Capra's MR. DEEDS GOES TO TOWN (1936) with Gary Cooper, MEET NERO WOLFE (1936) playing Archie Goodwin, THE LEAGUE OF FRIGHTENED MEN (1937), and A STAR IS BORN (1937) with Janet Gaynor and Fredric March.

Stander's distinctive rumbling voice, tough-guy demeanor, and talent with accents made him a popular radio actor. In the 1930s and 1940s, he was on The Eddie Cantor Show, Bing Crosby's KMH show, the Lux Radio Theater production of A Star Is Born, The Fred Allen Show, the Mayor of the Town series with Lionel Barrymore and Agnes Moorehead, Kraft Music Hall on NBC, Stage Door Canteen on CBS, the Lincoln Highway Radio Show on NBC, and The Jack Paar Show, among others.

In 1941, he starred in a short-lived radio show called The Life of Riley on CBS, no relation to the radio, film, and television character later made famous by William Bendix. Stander played the role of Spider Schultz in both Harold Lloyd's film THE MILKY WAY (1936) and its remake ten years later, THE KID FROM BROOKLYN (1946), starring Danny Kaye. He was a regular on Danny Kaye's zany comedy-variety radio show on CBS (1946–1947), playing himself as "just the elevator operator" amidst the antics of Kaye, future Our Miss Brooks star Eve Arden, and bandleader Harry James.

Also during the 1940s, he played several characters on The Woody Woodpecker and Andy Panda animated theatrical shorts, produced by Walter Lantz. For Woody Woodpecker, he provided the voice of Buzz Buzzard, but was blacklisted from the Lantz studio in 1951 and was replaced by Dal McKennon.

Strongly liberal and pro-labor, Stander espoused a variety of social and political causes and was a founding member of the Screen Actors Guild. At a SAG meeting held during a 1937 studio technicians' strike, he told the assemblage of 2000 members: "With the eyes of the whole world on this meeting, will it not give the Guild a black eye if its members continue to cross picket lines?" (The NYT reported: "Cheers mingled with boos greeted the question.") Stander also supported the Conference of Studio Unions in its fight against the Mob-influenced International Alliance of Theatrical Stage Employees (IATSE). Also in 1937, Ivan F. Cox, a deposed officer of the San Francisco longshoremen's union, sued Stander and a host of others, including union leader Harry Bridges, actors Fredric March, Franchot Tone, Mary Astor, James Cagney, Jean Muir, and director William Dieterle. The charge, according to Time magazine, was "conspiring to propagate Communism on the Pacific Coast, causing Mr. Cox to lose his job".

In 1938, Columbia Pictures head Harry Cohn allegedly called Stander "a Red son of a bitch" and threatened a US$100,000 fine against any studio that renewed his contract. Despite critical acclaim for his performances, Stander's film work dropped off drastically. After appearing in 15 films in 1935 and 1936, he was in only six in 1937 and 1938. This was followed by just six films from 1939 through 1943, none made by major studios, the most notable being GUADALCANAL DIARY (1943).

Stander was among the first group of Hollywood actors to be subpoenaed before the House Un-American Activities Committee (HUAC) in 1940 for supposed Communist activities. At a grand jury hearing in Los Angeles in August 1940—the transcript of which was shortly released to the press—John R. Leech, the self-described former "chief functionary" of the Communist Party in Los Angeles, named Stander as a CP member, along with more than 15 other Hollywood notables, including Franchot Tone, Humphrey Bogart, James Cagney, Clifford Odets, and Budd Schulberg. Stander subsequently forced himself into the grand jury hearing, and the district attorney cleared him of the allegations.

Stander appeared in no films between 1944 and 1945. Then, with HUAC's attention focused elsewhere due to World War II, he played in a number of mostly second-rate pictures from independent studios through the late 1940s. These include Ben Hecht's SPECTER OF THE ROSE (1946); the Preston Sturges comedy THE SIN OF HAROLD DIDDLEBOCK (1947) with Harold Lloyd; and TROUBLE MAKERS (1948) with The Bowery Boys. One classic emerged from this period of his career, the Preston Sturges comedy UNFAITHFULLY YOURS (1948) with Rex Harrison.

In 1947, HUAC turned its attention once again to Hollywood. That October, Howard Rushmore, who had belonged to the CPUSA in the 1930s and written film reviews for the Daily Worker, testified that writer John Howard Lawson, whom he named as a Communist, had "referred to Lionel Stander as a perfect example of how a Communist should not act in Hollywood." Stander was again blacklisted from films, though he played on TV, radio, and in the theater.

In March 1951, actor Larry Parks, after pleading with HUAC investigators not to force him to "crawl through the mud" as an informer, named several people as Communists in a "closed-door session", which made the newspapers two days later. He testified that he knew Stander, but did not recall attending any CP meetings with him.

At a HUAC hearing in April 1951, actor Marc Lawrence named Stander as a member of his Hollywood Communist "cell", along with screenwriter Lester Cole and screenwriter Gordon Kahn. Lawrence testified that Stander "was the guy who introduced me to the party line", and that Stander said that by joining the CP, he would "get to know the dames more" — which Lawrence, who did not enjoy film-star looks, thought a good idea. Upon hearing of this, Stander shot off a telegram to HUAC chair John S. Wood, calling Lawrence's testimony that he was a Communist "ridiculous" and asked to appear before the Committee, so he could swear to that under oath. The telegram concluded: "I respectfully request an opportunity to appear before you at your earliest possible convenience. Be assured of my cooperation." Two days later, Stander sued Lawrence for $500,000 for slander. Lawrence left the country ("fled", according to Stander) for Europe.

After that, Stander was blacklisted from TV and radio. He continued to act in theater roles and played Ludlow Lowell in the 1952-53 revival of Pal Joey on Broadway and on tour.

Two years passed before Stander was issued the requested subpoena. Finally, in May 1953, he testified at a HUAC hearing in New York, where he made front-page headlines nationwide by being uproariously uncooperative, memorialized in the Eric Bentley play, Are You Now or Have You Ever Been. The New York Times headline was "Stander Lectures House Red Inquiry." In a dig at bandleader Artie Shaw, who had tearfully claimed in a Committee hearing that he had been "duped" by the Communist Party, Stander testified,

"I am not a dupe, or a dope, or a moe, or a schmoe...I was absolutely conscious of what I was doing, and I am not ashamed of anything I said in public or private."

An excerpt from that statement was engraved in stone for "The First Amendment Blacklist Memorial" by Jenny Holzer at the University of Southern California.

Other notable statements during Stander's 1953 HUAC testimony:

- "[Testifying before HUAC] is like the Spanish Inquisition. You may not be burned, but you can't help coming away from a little singed."

- "I don't know about the overthrow of the government. This committee has been investigating 15 years so far, and hasn't found one act of violence."

- "I know of a group of fanatics who are desperately trying to undermine the Constitution of the United States by depriving artists and others of life, liberty, and the Pursuit of Happiness without due process of law ... I can tell names and cite instances and I am one of the first victims of it. And if you are interested in that and also a group of ex-fascists and America-Firsters and anti-Semites, people who hate everybody including Negroes, minority groups and most likely themselves ... and these people are engaged in a conspiracy outside all the legal processes to undermine the very fundamental American concepts upon which our entire system of democracy exists."

- "...I don't want to be responsible for a whole stable of informers, stool pigeons, and psychopaths and ex-political heretics, who come in here beating their breast and say, 'I am awfully sorry; I didn't know what I was doing. Please--I want absolution; get me back into pictures.'"

- "My estimation of this committee is that this committee arrogates judicial and punitive powers which it does not possess."

Stander was blacklisted from the late 1940s until 1965; perhaps the longest period.

After that, Stander's acting career went into a free fall. He worked as a stockbroker on Wall Street, a journeyman stage actor, a corporate spokesman—even a New Orleans Mardi Gras king. He didn't return to Broadway until 1961 (and then only briefly in a flop) and to film in 1963, in the low-budget THE MOVING FINGER (although he did provide, uncredited, the voice-over narration for the 1961 noir thriller BLAST OF SILENCE.)

Life improved for Stander when he moved to London in 1964 to act in Bertolt Brecht's Saint Joan of the Stockyards, directed by Tony Richardson, for whom he'd acted on Broadway, along with Christopher Plummer, in a 1963 production of Brecht's The Resistible Rise of Arturo Ui. In 1965, he was featured in the film PROMISE HER ANYTHING. That same year Richardson cast him in the black comedy about the funeral industry, THE LOVED ONE, based on the novel by Evelyn Waugh, with an all-star cast including Jonathan Winters, Robert Morse, Liberace, Rod Steiger, Paul Williams, and many others. In 1966, Roman Polanski cast Stander in his only starring role, as the thug Dickie in CUL-DE-SAC, opposite Françoise Dorléac and Donald Pleasence.

Stander stayed in Europe and eventually settled in Rome, where he appeared in many spaghetti Westerns, most notably playing a bartender named Max in Sergio Leone's ONCE UPON A TIME IN THE WEST. He played the role of the villainous mob boss in Fernando Di Leo's 1972 poliziottescho thriller CALIBER 9. In Rome he connected with Robert Wagner, who cast him in an episode of It Takes a Thief that was shot there. Stander's few English-language films in the 1970s include THE GANG THAT COULDN'T SHOOT STRAIGHT (1971) with Robert De Niro and Jerry Orbach, Martin Scorsese's NEW YORK, NEW YORK (1977), which also starred De Niro and Liza Minnelli, and Steven Spielberg's 1941 (1979).

Stander played a supporting role in the TV film Revenge Is My Destiny with Chris Robinson. He played a lounge comic modeled after the real-life Las Vegas comic Joe E. Lewis, who used to begin his act by announcing "Post Time" as he sipped his ever-present drink.

After 15 years abroad, Stander moved back to the U.S. for the role he is now most famous for: Max, the loyal butler, cook, and chauffeur to the wealthy, amateur detectives played by Robert Wagner and Stefanie Powers on the 1979–1984 television series Hart to Hart (and a subsequent series of Hart to Hart made-for-television films). In 1983, Stander won a Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film.

In 1986, he became the voice of Kup in THE TRANSFORMERS: THE MOVIE. In 1991 he was a guest star in the television series Dream On, playing Uncle Pat in the episode "Toby or Not Toby". His final theatrical film role was as a dying hospital patient in THE LAST GOOD TIME (1994), with Armin Mueller-Stahl and Olivia d'Abo, directed by Bob Balaban.

Stander was married six times, the first time in 1932 and the last in 1972. All but the last marriage ended in divorce. He fathered six daughters (one wife had no children, one had twins).

Stander died of lung cancer in Los Angeles, California, in 1994 at age 86. He was buried in Glendale's Forest Lawn Memorial Park Cemetery.

3 notes · View notes

mastcomm · 5 years ago

Text

Film Forum Asks, What Is the Experience of Black Women in Film

Film Forum’s latest series, “Black Women: Trailblazing African American Performers & Images, 1920-2001,” opening Friday, is an event. Not just something to mark on your calendar, but an event to line up for. Among the women featured here are Josephine Baker, Evelyn Preer, Pam Grier, Diahann Carroll and Janet Jackson.

It’s rare to see a film series of this size devoted to black actresses, many of whom — like Theresa Harris and Francine Everett — were underappreciated in their lifetimes, relegated to uncredited roles as maids and servants. (Though, interestingly, the Museum of Modern Art is about to host an eclectic series of its own, “It’s All in Me: Black Heroines,” from Feb. 20-March 5.)

With over 60 films and special events, including tributes to Ella Fitzgerald and the archivist Pearl Bowser, the Film Forum series has many themes. Maybe too many. But what is clear is that each work helps tell the history of black women in film and how they operated — both subversively and overtly — to tell their stories, even when scripts failed to flesh out their characters. To put the series in perspective, I spoke recently with the film historian Donald Bogle, author of books like “Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films,” who programmed this wide-ranging series with Ina Archer, an experimental filmmaker and media preservationist.

While things are changing, black actresses and other actresses of color still struggle in a white, male-dominated industry (just look at this year’s Oscar nominees), fighting for some control over their roles. “We do have more women working now, more women in general, but these problems continue,” Bogle said in a recent phone interview. “Of all the stereotypes, the mammy figure is the one that America cherishes the most.”

Here are edited excerpts from the conversation.

This is quite an extensive series: four weeks of films, covering 81 years.

Originally it was to be cut off at 2000. Then I said, “Well, no, Halle Berry’s Oscar comes from the 2001 film ‘Monster’s Ball.’” So it covers a lot of history.

Where did you begin? What did you just know you had to include?

Dorothy Dandridge in “Carmen Jones,” from 1954. Dandridge was the first African-American, male or female, to be Oscar-nominated in the leading role category. I felt that was significant. And her performance in it, she’s this very dynamic, assertive, independent woman who of course is punished for her independence and her assertiveness.

And then “Cabin in the Sky,” with Ethel Waters and Lena Horne. They’re of two different generations. Ethel Waters was one of my favorite actresses, but she was very, very difficult. She’s terrific in the film. There is the sort of nightclub sequence when she reclaims her sexuality to win back her husband. The thing about Ethel Waters in the film is that she’s — as in life at that point — an older black woman, she’s heavier, she was browner than Lena Horne. Yet she has this sexuality, which is very important.

I have to say with “Cabin in the Sky” and “Stormy Weather,” those films are just rich cultural documents with great African-American performers, female and male, whose work might have been forgotten, or unacknowledged were it not for film. John Bubbles, for example, who plays Domino Johnson in “Cabin in the Sky,” he dances — and I mean what a dancer. He was the man that Fred Astaire apparently looked up to.

There are so many examples of that.

Nina Mae McKinney, who’s in the 1929 “Hallelujah,” she was really Hollywood’s first black love goddess. King Vidor [the film’s director] had seen the play “Blackbirds of 1928.” Nina Mae was in it. And King Vidor remembered her position in the chorus line [during an interview years later]. He said “third girl from the right.” After all those years, he just remembered how her talents jumped out at him off that stage. But McKinney does “Hallelujah,” and it is a performance that the executives at MGM all felt she had what it took to become a star. And it wasn’t going to happen.

Any more recent performances that stick with you?

Angela Bassett as Tina Turner in “What’s Love Got to Do With It.” Even Whitney Houston in “The Bodyguard.” I think she’s just right as this pop star being threatened, and she has a kind of — you don’t doubt who she is in that. Because she’s able to bring her offscreen persona to the character.

That’s the other thing with some of these films — when we come to them and we know what happened to some of the women or what didn’t happen to them in terms of their careers. It becomes another kind of experience. It’s rather bittersweet when you’re just thinking of all the possibilities that were there in terms of talent, but not there in terms of what the industry was going to do.

Can you expand on that, and some of the themes you wanted to convey to viewers?

It is a kind of journey. In many cases, it’s not just playing a role, but playing against it — to send out covert messages about the way they saw things. In creating a character the actress also had to create a back story of her own — for the character that she’s playing.

One of the things I’m hoping people will go away with are these crucial moments where something else is happening onscreen that the director or the writer may not have been aware of when they were shooting. In the original 1934 “Imitation of Life,” with Louise Beavers and Fredi Washington, we have these two stereotypes — or archetypes. You have the mammy figure, this black woman who has a pancake recipe. And her white friend, who she gives it to, makes a fortune. The black woman’s daughter, played by Fredi Washington, a fair-skinned black actress, rejects her mother in order to pass as white.

I interviewed Fredi Washington many years later. What she felt about the character was not there in the script. The director, John Stahl, said he wasn’t going to make changes. But if that’s the way she felt about her character to play it that way. And that’s what she tried to do. And you get these moments with Beavers, the submissive black mother, and Washington, a tragic mulatto character who seems to be cursed by her drop of black blood. But you get moments with them of true intimacy and true connection, even though they’re at odds with one another. Each understands intuitively the other’s position, which the script is not stating.

It’s nice to see a number of black female directors like Julie Dash and Maya Angelou here. How do their works shift the narrative for black actresses?

And also Kasi Lemmons, who directed “Eve’s Bayou,” and “The Watermelon Woman” director, Cheryl Dunye, and Leslie Harris’s “Just Another Girl on the IRT,” a bit earlier. This is another perspective, with women behind the camera, telling the story. That’s the thing you always have to ask yourself when you’re watching a movie: Who is telling these stories, what are they telling me and what are they not? And in so many films, black women have had to fill in the hole in the script of what is not really being said. But with women directors you’re getting something else, a more complicated vision of dilemmas and situations confronting black women. Here I think that you see films that only women would have made — and their feelings for their characters and the kinds of decisions that their characters have to make.

Of the films here, which ones do you think might surprise viewers the most?

The surprises within the series might be things that were made for a mainstream audience but we see something else happening in them. I’m thinking of “Set It Off.” It does not have a female director but it has Queen Latifah. She goes all the way with that character, and what it is saying about her sexuality and how she feels. [She plays a lesbian in this 1996 heist movie.] She’s a marvel. I think there’s a generation now that will be surprised when they see it.

It’s Oscar season again, and, surprise, there’s not much diversity among the nominees. Actresses like Halle Berry and Hattie McDaniel have been criticized for the roles they won Oscars for, yet you included those films in the series.

With Halle Berry, “Monster’s Ball,” it wins her the Oscar. I think she’s very good in it but it still presents a certain problem that’s been in the movies and I don’t think we’re really free of today. It’s really a white man’s redemption movie. She is bringing about, in a sense, his attempt to rehabilitate. She is alone in that film, there was no real black community — because she’s lost her husband, has lost her son. But with all of the dilemmas that she has in that film, the question we always ask is, “Well, doesn’t she have friends or family that she might be able to reach out to”? She’s just isolated.

I think that she was deserving of the Oscar. But this is pointing out to us as black viewers our conflicting feelings when we see some of these films. And this goes way back where you’re excited to see a performer onscreen able to do something but you may also be completely distressed by certain aspects of these films and what they’re lacking.

The thing about Hattie McDaniel, I think that she really has some agency in her role [in “Gone With the Wind”]. You hear that voice, and it is a sonic boom. And you know that she was born not to take orders but to give them.

And her whole thing with Vivien Leigh — and other white co-stars — is that she’s not afraid of them. She doesn’t back off. When we see “Gone With the Wind,” again, we would like to know where does Mammy actually reside? Does she go to the slave quarters? Is there a room in this big house? What is her relationship with Prissy, played by Butterfly McQueen, or with Pork [another servant, played by Oscar Polk]? “Gone With the Wind” won’t tell us that. But she has something else within herself — that we know there has to be something else there. [Good] actresses will create a back story for their character.

Black Women: Trailblazing African American Performers & Images, 1920-2001

Jan. 17-Feb. 13 at Film Forum, 209 West Houston Street, Manhattan; filmforum.org.

from WordPress https://mastcomm.com/film-forum-asks-what-is-the-experience-of-black-women-in-film-2/

#Entertainment

0 notes

crabbypalsart · 1 year ago

Text

Jan messes with Bacon on the wrong day. 🫢

Yeah, saw this stupid ass meme and thought "Yeah, this is exactly how it would play out when Bacon finally stands up to Jan." X•D

#Its even more funnier to me cause I've always imagined Jan to have Cindy's voice and like X•D this meme just happens to exist #Jan would just have a sliiiight Southern accent; I believe.#Bacon The Dorky Devil #Bits The Dorky Devil #Janet Dorothy Eve #Cassandra Lovett #Lester Puss #Bacon N' Bits #Rubberhose #My OCs #Crabby Pal's Art

26 notes · View notes

peterknowsshit · 4 years ago

Text

Road trip (Leg 1, Part 5) Pride in the Pines #TheRedDoorsWrite

Peter:

-I knew there was a reason I packed this shiny gold vest at the last minute. I had even pulled it out of my bag at one point, sure there was no way in hell I was going to need it on the trip. But just like every other time my fucked up version of a Spidey sense was tingling, I ultimately gave in and trusted that it meant it would come in handy at some point. And low and behold, here we were. We had seen the advertisements all over Northern Arizona for Pride in the Pines. And decided it would be a fun thing to check out before we rolled out of the state to continue our trek west. As I eyed myself in the mirror, it felt like something was missing. Reaching for one of my hats hanging on the pegs near the bed, I tried my usual brown one on for size and shook my head. I may not know shit about fashion. But I knew that didn’t work. Tossing that one on the bed, I reached for the black one. There it was. That was the missing piece. With a grin and a nod, I made my way out of the bus in search of @MyJokersWild-

Tori:

[I could have watched him a thousand times try on hat after hat and the reaction would have still been the same. It was no secret that @PeterKnowsShit was a fine specimen to look at but put him in that button up and vest? Well, let's just say that soft sigh that left my lips was paying homage to women across the world that ever had a thing for a man that knew how to rock an entrance and the color gold.] My Gods.. [When you did the spin for me to fully take it all in, I couldn't help but laugh almost nervously.] You can't be serious right now. Peter Pan! [Wolf whistling, I wasn't even sure I knew what I was asking but I did know one thing, the festivities that awaited us that night were something I was never going to forget, especially with the likes of you in that hat.]

Peter:

-My grin was instant when my eyes landed on my pretty bird, and I let out a chuckle at that wolf whistle- Well, I was second guessing the C-3PO vest. But if it gets that reaction out of you… -winks as I walk up and place a tender kiss to your lips- Have you ever hit up one of these pride things before, babe?

Tori:

Not here but elsewhere I have! [It wasn't my first rodeo at a PRIDE celebration and once I had turned into a free spirited teen like my mother, there wasn't one I missed since. Whether it was to pay my respects to those few that had gone before me, celebrating in their honor and in general or to be with others of my kind, I always looked forward to the month of June every year. This year however, was even more special because I got to spend it with you. That fact fueled my excitement the more I checked you out in your attire for the evening and I gave you a quick kiss back, careful not to get any more glitter on your clothes. Let alone your mouth as our chariot awaited. Our sights set on downtown where you could already hear the buzzing of the car horns and music blaring from loudspeakers. The energy alone, was calling our names like a corner street light coming on would. That being the signal from childhood that it was past time to come home.]

Peter:

-The closer that we got to our destination, the more palatable your excitement got. And I found myself stealing even more glances than usual at you. It didn’t help the way that colorful eyeshadow seemed to make your eyes pop even more, and briefly had me wishing that my vest had been a more vibrant color to match- I’ve been a couple times for various reasons. -grins- It’s always a good time. But I have a feeling this year is going to top even those. -places a hand on your thigh, giving a playful squeeze- Anything in particular that makes Pride for you? Something you have to see or do to make it complete?

Tori:

You mean besides one of the famous shows and a joint? A toast at the end of the night! Mmm, pancakes at IHOP or Denny's sounds amazing too. [Who was I kidding? Of course, I only had to ponder your question for a moment when instantly a shot of Peppermint Schnapps with a Miller High Life came to mind, a dear old friend's signature drink in memory and a tale that would spark laughter in all those who heard it was soon to follow as you made the drive for us and parked once we arrived in true stoner fashion. One of the clubs had to be in our sights but not before we made our way over to the walkway of tents you had every plan of showing off to me then. The smile on my face only widened the closer we got as I heard the hostess with the mostess over the outdoor intercom system. The celebrations

https://www.youtube.com/watch?v=1PLQR0kBLvU&feature=youtu.be

Peter:

-As we made our way through all the different tents, most of them adorned with shirts that said things like, ‘Adam and Steve, not Adam and Eve,” I couldn’t ignore the loud booming music from the drag tent. My eyes occasionally flicking over there to catch glimpses of big wigs and colorful lights. By the time we reached the end of the row, I turned to you with a raised brow- What is it with Liza Minnelli and drag queens? This is like the third one I’ve heard...

Tori:

It won’t be the last either. She is an icon, mine. Judy Garland’s daughter. [Smiling as we made our way down the rest of the strip, the make-up was flawless, not a hair out of place and as I walked through with you, to the human eye, we were mingling with the stars. Liza, Madonna, Janet Jackson, Cher, and Lady Gaga, were all in attendance and let me just say, they did not disappoint. Nor did Mariah Carey number three four and five. Between merchandise booths from local artists and the bars open for curbside, there wasn’t a stone left unturned when it came to celebrating, or showing our love and support for our community, our friends and our family. Having reached the end of the row, we were having to make a decision to go either left or right. Either way we chose, the day of adventures already proved we were in for a treat and I ducked my head inside the first tent on my right to see what was going on inside, dragging you with me. The scent of that powerful herb hitting my senses like a ton of bricks was too inviting to ignore once I caught wind of it.] You smell that, Peter Pan? [That’s when we found them, or maybe I should say they found us. There she was as if I had plucked her right out of the movie itself and before you know it, her voice like velvet filled the air. Mother Judy. It was Dorothy, in the flesh. “My my, if he’s Peter Pan, hold up Tink. They do not make men like him anymore, honey.” I flat out snickered. That smile growing incredibly wide as the ladies, Mariah number six and myself, fawned all over mine as we shared not one but three blunts going around our little drum circle and what they had signed us up for next was something that was going to go down into the history books indeed.]

Peter:

-Sitting there in that vest, you would think I would be the brightest one in the room. But the way these women were dressed made it look like I was wearing a potato sack of boredom. And the more times I was passed to, the more vibrant everything seemed to become. Looking down at the blunt in my hand as I slowly exhaled, I popped my brows. This shit just might give my homegrown pride a run for its money. I was so lost in that thought, that I didn’t even notice the music getting louder, and was caught by surprise when an impeccably manicured hand pushed me back. Before I could utter a word I was overwhelmed by the smell of expensive perfume and hairspray. Not my pretty bird. Definitely, not my pretty bird. I wish I could tell you which one it even was that was now using me as a prop to their show but all I could see was hair. Lots of hair coming to swallow me whole. It got in my nose, my eyes, and as I coughed and choked a little at the taste of aforementioned hairspray, in my mouth. As I worked to pull my head back and breathe non aerosol air, I briefly wondered if this was the way that I was going to go. A long ass life burned out in a blaze of glittery glory. But just as the desperation was starting to take over, the song ended and my lap was free again. Taking a big gulp of air, I realized even though the wig had departed my lap, there was still enough hair in my mouth to make another of my own. Shooting @MyJokersWild a look of desperation, I attempted to pluck the hairs from my tongue-

Tori:

A human chair? My Peter Pan? [I laughed. That blunt now long gone but the conversation between Dorothy and myself had still been in full swing as I chanced glances @PeterKnowsShit’s way, making sure he was alright with the sudden burst of attention he was getting. The second his hat went however, all bets were off, that long hair of his not just my undoing but the collective “Girrrrrl.” that sounded around the makeshift dressing room could have been heard two streets over if you asked me. “Do you see him, Dorothy! Right off the cover of one of those romance novels. He has to be in the show! The crowd will eat him up honey if I don’t first!” All those big hopeful eyes were on him, even the Mariahs’ were laying the eye fucking on thick and I couldn’t help but nod my head, giving him a wink.] Just one song.. [Cracking up, I was still high as hell but managed to get back up on my feet, Dorothy already joining @PeterKnowsShit with the rest of the ladies and I gave him the universal hand gesture for grabbing a drink, knowing that if I was feeling thirsty as hell, so was he as our newfound friends began to help you get ready with the sounds of I’m coming out starting to play.]

Peter:

-I was still picking the hair out of my mouth when I vaguely heard @MyJokersWild referring to me as a human chair. And damn if that wasn’t an accurate description of what I had just been through. I was still reeling so much from the first round that I didn’t even fight my hat being plucked from my head and placed atop another wigged one. Was that one of the Mariahs? Hell, if I knew. But I was interrupted from that thought process when the chorus of, ‘Girrrrl,’ sounded around me. Now my eyes were darting between dramatically made up faces as they plotted my ass being part of the show. What the hell was going on here? Bringing my eyes back to my pretty bird as she joined right in on the encouragement, I knew I was outnumbered- What all does this entail? -my brow cocked in a show of are you fucking kidding me when Liza number one answered with, ‘Don’t you trust us?’ I had to bite back an answer of, ‘To thoroughly suffocate me and make me the first vampire ever to die at the hands of a drag queen? Yes.’ Apparently I wasn’t going to be answered as a chorus of laughs now filled the dressing tent and suddenly I was being accosted by brushes and pink fuzzy blobs of nope. Now, I was cursing every thought I had about not being colorful enough because I was sure by the time this was done, I was going to be everything but bland. Suddenly a blast of cold and perfumed something hit my face, causing me to blink rapidly- Fuck! That burns? What the hell was that? Satan’s piss? -Another round of laughter at my expense as my hair was tousled and then they all stepped back admiring me. ‘You know what he would be perfect for?’ Liza number one turned to one of the Mariahs with a knowing nod. My eyes flicking between the two of them as they seemed to have a silent conversation- What? What would I be perfect for? I’m not wearing a dress. -Finally they seemed to hear me as Mariah shook her head, “Oh, no, no, honey. A dress you will not wear. You’ll just join Belle over here in her rendition of Beauty and the Beast. Damn it, I forgot the mask. But we’ll make it work.” Next thing I knew, I was in the middle of the stage, bright lights shining on me as I looked out at the crowd which was now packed. I had made it clear to them that dancing was not my strong suit. So, if they expected me to do anything complicated, they were going to regret it. After many attempts to teach me to “flow” across the stage and me nearly tumbling off the side as I blinked through the mountains of spray glitter they had sprayed on me, they finally took my words to heart and allowed me to stay put in a chair. Luckily, this time around the wig was some complicated up do that stayed out of my face. And Belle proved to be a little more hands off as she danced around me, mouthing the words. What I hadn’t accounted for was how fucking long the song was under those bright lights. Now, that damn vest was working like a sauna, causing me to sweat. And wouldn’t you know it, Belle was sweating too under that dress and wig. She was also getting awfully fucking touchy again. I tried, man. I fucking tried to be a good sport. Grinning through the pain as that shit dripped into my eyeballs. I wasn’t going to see right for a week. Then she propped herself in my lap again, sweaty body to sweaty body as she casually slid that glove from her hand, and flicked it out into the crowd just in time for another fucking song to start. Glaring up at Belle with red, glitter filled eyes, I mumbled- I thought it was just one song? It took a few notes before I recognized what fucking song it was now. Just in time for Belle to stand, ripping off her dress to reveal a sparkly bodysuit beneath, and striking a pose as she mouthed the lyrics, ‘It’s raining men!” To my horror several leather clad men jumped up on the stage and began gyrating around me. I attempted to get up only to be slammed back into the chair and held there by Belle’s surprisingly strong grip, a quick shake of her head that had a small drop of glitter sweat flicking from the end of her nose and smacking me right in the middle of the

forehead. Nope. This was done. I promised one song. I struggled with Belle as she motioned for her dancers to help her out. Now the Village People from Hell were holding me in place as Belle did dances that would make a stripper blush. Then it happened. That glittered up chest was being pressed to the side of my head as I clawed and fought for freedom. I don’t know what the hell those boobs were made of, but it definitely wasn’t soft. And as she turned to the crowd in a dramatic flourish, I seized the opportunity to jump up and yank myself free of her hold. Only to trip on that motherfucking wire of her microphone. Haven’t these people heard of wireless microphones? Instinctually, I reached out in an attempt to break my fall, which only brought Belle down with me, in a faceplant right to the groin that I couldn’t have planned if I tried. With a shove of Belle, I was up off that ground and jumping from the stage in a beeline for the exit of that damn tent. Only stopping once I was sure I was free to send @MyJokersWild a text- Oh dear God, it got in my mouth again. Help!

Tori:

I’ll be right back... [Famous last words and sure enough, I sing-songed all four of them before I ducked completely out of @PeterKnowsShit’s line of sight, realizing the words had left my lips before I could stop them as my mind finally caught up, and of course I knew better. I. Knew. Better. A jinx, was a jinx was a jinx as my dad would say and in this case, it was a given that the moment you did say those words, the next thing you knew, you’ll be two songs deep into a rescue mission while still waiting for those celebratory free gratis drinks you were gifted for helping out. My Peter Pan was being a good sport about the whole thing, totally and completely on board through the rainbow filled haze we found ourselves in.. One song, @PeterKnowsShit had agreed to just one and I had reassuringly went along with it because seeing him up there, well, it just added to the “Remember that one time..” list of memories we were making here. So when I saw Dorothy’s head pop up not a second later out of nowhere while I was standing in line for the bar, I couldn’t help but wonder what awaited me upon my return. My view of the stage had been nearly blocked off by paying customers more than ready to wet their whistles and before I knew it, Dorothy’s arm was hooked around mine, dragging me to the front of the line, calling in a favor or two no less, I was sure when the stools before us suddenly opened up and the invitation presented itself. “I can’t thank your man enough! All of us have had our fair share of turns playing Beast for Crazy Belle all month! The goddess herself has smiled down upon me with the likes of you two!”] If you don’t mind me asking, why do they call her crazy? [When I was met with a “You’re about to find out.” Drinks now in hand, or one hand rather, I watched as Dorothy graciously grabbed my free hand and helped me climb up on the stool to get a better look, seeing how she had done the same only seconds ago. Before I could fully take it all in, a flash of gold filled the sky as a surge of bodies surrounded and began piling up on the stage. The big finale was raining men literally. And just like with lightning, realization struck again.] Oh no… [It wasn’t just a finale, it was an encore too. Every performer from along the boulevard, was making their way up to the stage just in time for us all to see @PeterKnowsShit almost levitate, and yes, I mean close your eyes and up you go levitate. It wasn’t even ninety seconds later that he was in that sitting position one minute, and almost off the stage the next… Almost. Life as we know it sometimes has a way of making our wildest dreams come true and in that moment as the stage was descended upon by every color of the rainbow, I laughed at the sight of you popping out of what could only be described as a huge pot of gold. And while you were magically delicious, Belle was no match for your Beast literally when she met him in the form of your crotch. That was it. You were gone in a sea of wigs galore and lifting my head back, I let out a loud whistle before taking a leap of my own down off the stool, drink still in hand when I got that incoming text alert from you. “Oh dear God, it got in my mouth again. Help!“ As quick as my fingers flew across the screen with an “OMW” back, I was just as quick to fire off another one too.] I can’t believe you stuck your dick in crazy! [Hitting send, I laughed again and sent a follow up before pocketing my cell as I made my way outside, in search of you. That’s right. He didn’t know it yet but I saw it all and pancakes were most definitely on the menu. I just had to know if @PeterKnowsShit preferred Denny’s or IHOP.....]

Peter:

-The sound of @MyJokersWild calling my name jarring me out of my trance as a grin instantly spreads across my face at the sound of your laughter. I was about to point out again that had I known she was referred to as Crazy Belle, I would’ve resisted the whole thing a little harder. Only I was interrupted by the waitress appearing at our table with our pancake orders. Now my mind was effectively redirected to the doughy goodness that would soon be filling my mouth. And by the time both plates were set in front of us, I had already placed the blueberry syrup I knew was your favorite in front of you, and was reaching for the OG for myself. Taking the time to draw designs on my pancakes with the syrup as I poured, I only looked up at your question. “Thinking about the night again?” That knowing smirk you sported causing me to chuckle low, and shake my head.- Baby, I’m going to be thinking about last night for ages to come. -picks up my fork, cutting off my first bite, and popping it into my mouth before offering you a closed mouth grin- #TheRedDoorsWrite #Pride

0 notes

vintagetvstars · 9 months ago

Text

Hot Vintage TV Women's Bracket - List of the Ladies!

As promised below is a full list of all 130 women in the Hot Vintage TV Women's Tournament! Thank you to everyone who submitted their favs!

Just a brief bit of cleanup before the list. Thank you for all the submissions. If your submission didn't make it into the bracket or some of your propaganda isn't used know that I still appreciated the submission even if we weren't able to use it. Some things got cut for being outside the bounds of the tournament, some things got cut because the links were broken, etc. Anything I wasn't sure about got brought to family and friends for a second opinion. I did my best to keep as much in as possible but some things just ended up leaning too far outside of our criteria. If you notice some stuff that seems outside the criteria slip by it's because I tried to be very generous so as long as something wasn't obviously outside of our time period or rules I usually gave it a pass.

Anyway, I am working on the bracket as we speak and apologize in advance cause I don't think there's any way to make round 1 completely painless, as you'll see we have a pretty stacked line-up so I'm excited to see how things work out! Enjoy and see you all on Monday April 15th for round one of the Hot Vintage TV Women's Bracket!

Eartha Kitt

Dawn French

Julia Louis-Dreyfus

Nichelle Nichols

Loretta Swit

Joan Bennett

Mary Tyler Moore

Yvonne Craig

Barbara Stanwyck

Lara Parker

Bea Arthur

Barbara Feldon

Rue McClanahan

Lynda Carter

Kellye Nakahara

Jan Smithers

Elisabeth Sladen

Diana Rigg

Janet Hubert

Carol Burnett

Jackée Harry

Betty White

Gillian Anderson

Anne Francis

Peggy Lipton

Eliza Dushku

Joan Chen

Terry Farrell

Gina Torres

Catherine Bach

Tina Louise

Carolyn Jones

Dawn Wells

Vivica A Fox

Mariska Hargitay

Deidre Hall

Aimi MacDonald

Carol Cleveland

Valerie Harper

Lisa Hartman

Julie Newmar

Fran Drescher

Melissa Joan Hart

Mira Furlan

Nana Visitor

Claudia Black

Courteney Cox

Sarah Jessica Parker

Jane Krakowski

Sarah Michelle Gellar

Sherilyn Fenn

Eve Arden

Elizabeth Montgomery

Marlo Thomas

Lucy Lawless

Joanna Lumley

Barbara Eden

Kathryn Leigh Scott

Grayson Hall

Eva Gabor

Siân Phillips

Shannen Doherty

Lisa Robin Kelly

Debbie Allen

Lisa Bonet / Lilakoi Moon

Rachel Bilson

Karyn Parsons

Jane Seymour

Jonelle Allen

Julia Duffy

Lalla Ward

Miranda Richardson

Mag Ruffman

Penelope Keith

Carole André

Amanda Tapping

Lucille Ball

Nicole de Boer

Jeri Ryan

Penny Johnson Jerald

Katy Manning

Charisma Carpenter

Morena Baccarin

Katee Sackhoff

Janine Turner

Marcia Strassman

Farrah Fawcett

Kate Jackson

Jaclyn Smith

Lily Tomlin

Melissa Leo

Sabrina Lloyd

Joan Collins

Diahann Carroll

Jennifer Aniston

Pamela Anderson

Alexandra Paul

Chloe Annett

Hattie Hayridge

Thalía

Itatí Cantoral

Connie Booth

Linda Cristal

Doris Day

Angela Lansbury

Dorothy Provine

Vivian Vance

Suzanne Pleshette

Bea Benaderet

Gracie Allen

Amanda Randolph

Anna May Wong

Sheila Kuehl

Barbara Billingsley

Barbara Mullen

Phyllis Logan

Annette Crosbie

Geraldine James

Audrey Meadows

Peggy Ashcroft

Holland Taylor

Emma Thompson

Judy Parfitt

Francesca Annis

Mädchen Amick

Joely Richardson

Alex Kingston

Cicely Tyson

Lauren Graham

Kim Cattrall

#vintage tv stars poll #todays news #breaking news #tumblr polls #vintage tv

19 notes · View notes

elcinelateleymickyandonie · 4 years ago

Text

Margaret Leighton.

Filmografía

Cine

- The Winslow Boy (Pleito de honor) (1948) (British Lion Films) ... Catherine Winslow

- Bonnie Prince Charlie (El último Estuardo) (1948) (London Film Productions) ... Flora MacDonald

- Under Capricorn (1949) (Warner Bros.) ... Milly

- The Astonished Heart (1949) (General Film Distributors) ... Leonora Vail

- El libertador (1950) (British Lion Films) ... Marguerite Blakeney

- Calling Bulldog Drummond (1951) (MGM) ... Sgt. Helen Smith

- Home at Seven (1952) (British Lion Films) ... Janet Preston

- The Holly and the Ivy (1952) (London Film Productions) ... Margaret Gregory

- The Teckman Mystery (1954) (Associated Artists Productions) ... Helen Teckman

- The Good Die Young (1954) (United Artists) ... Eve Ravenscourt

- Carrington V.C. (1955) (Kingsley-International Pictures) ... Valerie Carrington

- The Constant Husband (Seis esposas para un marido) (1955) (British Lion Films) ... Miss Chesterman

- The Passionate Stranger (1957) (British Lion Films) ... Judith Wynter/Leonie

- The Sound and the Fury (El ruido y la furia) (1959) (20th Century Fox) ... Caddy Compson

- Waltz of the Toreadors (El mayor mujeriego) (1962) (The Rank Organisation Film Productions) ... Emily Fitzjohn

- The Third Secret (1964) (20th Century Fox)

- The Best Man (1964) (United Artists) ... Alice Russell

- The Loved One (Los seres queridos) (1965) (MGM) ... Mrs. Helen Kenton

- 7 Women (Siete mujeres) (1966) (MGM) ... Agatha Andrews

- The Madwoman of Chaillot (La loca de Chaillot) (1969) (Warner Bros.) ... Constance, la loca de Passy

- El mensajero (1970) (EMI Distribution) ... Mrs. Maudsley

- Zee and Co. (1972) (Columbia) ... Gladys ...

- Lady Caroline Lamb (1972) (MGM-EMI) ... Lady Melbourne

- A Bequest to the Nation (Legado de un héroe) (1973) (Universal) ... Lady Frances Nelson

- From Beyond the Grave (1973) (Warner Bros.) ... Madame Orloff en el segmento The Elemental

- Galileo (1975) (The American Film Theatre) ... Mujer mayor en el tribunal

- Trial by Combat (1976) (Combat-Warner Bros.) ... Ma Gore.

Televisión

- Laugh With Me (1938) (BBC) ... Dorothy

As You Like It (1953) (BBC) ... Rosalind

- The Browning Version (1948) (CBS) ... Millie

- An Ideal Husband (1969) (BBC).

-Hamlet (1970) (NBC) ... Gertrude

- The Upper Crusts (1973) (serie) (ITV) ... Lady Seacroft

- Frankenstein: The True Story (1973) (NBC) ... Francoise DuVal

- Great Expectations (1974) (NBC) ... Miss Havisham

- Space: 1999 (Primera temporada, episodio "Collision Course") (1975) (ITC) ... Arra.

Teatro

- The Little Foxes, 1967

- Slapstick Tragedy, 1966

- The Chinese Prime Minister, 1964

- Tchin-Tchin, 1962

- The Night of the Iguana, 1961

- Much Ado About Nothing, 1959

- Separate Tables, 1957

- The Critic, 1946

- Oedipus Rex, 1946

- Uncle Vanya, 1946

- King Henry IV, Part II, 1946

- King Henry IV, Part I, 1946.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Margaret_Leighton

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

0 notes

papermoonstheatricaldiary · 8 years ago

Text

STEPPING OUT

January 11, 1987

STEPPING OUT is a play by Richard Harris about eight individuals who attend the same weekly tap dance class in a dingy North London church hall. At first the students show little coordination, but they later develop a level of skill and cohesiveness that allows them to present a successful performances. Harris says that the play was inspired by his late wife, a dancer who kept involved by taking local classes. She invited her husband to observe in the hopes he would find the group inspiration for a play.

The play premiered in Leatherhead, England, in 1984 and moved to London's West End where it ran nearly three years, winning the Evening Standard Award for Best Comedy. The play opened on Broadway in 1987. A musical version, Stepping Out the Musical, also by Richard Harris opened in England in 1996. The show has been adapted for American audiences by Astrid Ronning and Nina Seely as One Night A Week. STEPPING OUT was produced as a film in 1991.

STEPPING OUT began performances at Broadway’s John Golden Theatre on Christmas Eve 1986 and played a total of 73 regular performances and 21 previews. It was directed by Tommy Tune with choreographic assistance of Marge Champion. The play starred Don Amendolia (Geoffrey), Victoria Boothby (Mrs. Fraser), Janet Eilber (Andy), Meagan Fay (Vera), Cherry Jones (Lynne), Marcell Rosenblatt (Dorothy), Cheryl Sciro (Sylvia), Pamela Sousa (Mavis), Carol Woods (Rose), and Carole Shelley (Maxine), who was nominated for a 1987 Tony Award for the role.

During my stay in England during the summer of 1985, I somehow never got around to seeing STEPPING OUT, perhaps feeling it was a silly farce (that's what the ads looked like), or that it was a dance show (which I am not fond of). I also thought for a long time that playwright Richard Harris and film actor Richard Harris were one in the same. But when it came to New York City two years later I was feeling sentimental about London (it takes place near where I lived), and got a half price ticket to see it. I was really glad I did! It was a fun, if somewhat predictable show.

In 1987 I had no idea that Cherry Jones (making her Broadway debut) would become one of Broadway (and TV's) most respected actors. I was more interested in Carole Shelley, a name I recognized and one of the few genuine Brits in the company. When the film was made in 1991, Carol Woods was the only member off the Broadway cast to recreate her role, alongside Broadway up-and-comers Jane Krakowski (Grand Hotel), Bill Irwin (Largely New York), Andrea Martin (Pippin), and Ellen Greene (Little Shop of Horrors), not to mention certified film stars Liza Minnelli and Shelley Winters.

In writing this I have begun to see parallels between The Full Monty and STEPPING OUT:

Both are about dancers;

Both end in a big performance after a lot of struggle;

Both were later re-interpreted as musicals;

Both were originally set in England, but then relocated to Buffalo, New York;

Both feature cantankerous old lady accompanists!

STEPPING OUT rates 3 Paper Moons out of 5

#Stepping Out #Richard Harris #John Golden Theatre #Broadway #Broadway Play #Dance Class #Cherry Jones #The Full Monty #Carol Woods #Carole Shelley #Pamela Sousa #Tommy Tune #Marge Champion #1987

0 notes

papermoonloveslucy · 5 years ago

Text

THE MOCAMBO

January 3, 1940 - June 30, 1958

The Mocambo was a nightclub in West Hollywood, California, at 8588 Sunset Boulevard on the Sunset Strip. Lucille Ball and Desi Arnaz were frequent guests at the Mocambo and were close friends of the co-owner Charlie Morrison. Morrison’s partner (in name only, mostly) was Felix Young.

The Mocambo was once described as “a mixture of imperial Rome, Salvador Dali, and a birdcage.” Interiors were designed by Tony Duquette with murals by Jane Berlandina. Duquette was an uncredited costume designer on Ziegfeld Follies (1945), which featured Lucille Ball. The dominant feature was a large aviary containing 21 parakeets, 4 macaws, and a cockatoo. The club’s opening was scheduled for New Year’s Eve 1939, but was delayed when animal rights activists asserted that the loud noise might negatively impact the birds! Morrison died a year before the club closed. He was broke at the time of his death, so Frank Sinatra volunteered to sing at the club for two weeks to make enough money to pay for his funeral.

Lucy and Desi at the Mocambo in July 1942.

Bonita Granville with Lucy and Desi at the Mocambo in 1943.

Lucy and Desi at the Mocambo in 1949. On June 6, 1949, LA Examiner reporter Dorothy Manners wrote:

“Desi Arnaz and his gang open at the Mocambo, June 21.”

Desi remarried Lucille Ball in a Catholic ceremony on June 19, 1949.

Lucy and Judy Garland in a Charleston dance contest at the Mocambo in 1950.

The idea for "Hollywood Anniversary” (ILL S4;E24) came from the fact that Desi Arnaz threw a surprise anniversary party for Lucy at the Mocambo on November 30, 1953. After a huge cake was served, a TV set was wheeled out and the guests watched the “I Love Lucy” episode “Too Many Crooks” (ILL S3;E9).

Lucy and Desi with Gordon and Sheila MacRae at The Mocambo in the 1950. Sheila MacRae was featured in “The Fashion Show” (ILL S4;E20).

Lucy and Desi at the Mocambo during the 1950s. During the 1950s Marilyn Monroe used her influence to get Ella Fitzgerald booked at the club, thereby reinvigorating her career. Contrary to popular belief, Fitzgerald was not the first black singer to play the Mocambo.

The Mocambo’s main stage was the inspiration for the Tropicana set.

In “Hollywood Anniversary” the Mocambo was recreated on the “I Love Lucy” soundstage. The club was previously mentioned in “Don Juan and the Starlets” (S4;E17) as the nightclub hosting the party for the premiere that Ricky is invited to - without Lucy.

~ From Bright Boulevards, Bold Dreams by Donald Bogle

Among the many celebrities who frequented the Mocambo were:

Clark Gable and Carole Lombard, Humphrey Bogart and Lauren Bacall, Errol Flynn, Charlie Chaplin, Elizabeth Taylor, Judy Garland, Henry Fonda, Lana Turner, Ava Gardner, Bob Hope, James Cagney, Sophia Loren, Janet Leigh and Tony Curtis, Natalie Wood and Robert Wagner, Grace Kelly, Debbie Reynolds and Eddie Fisher, Howard Hughes, Kay Francis, Marlene Dietrich, Theda Bara, Tyrone Power, Gene Tierney, Jayne Mansfield, John Wayne, Ben Blue, Ann Sothern, and Louis B. Mayer.

Universal Studios in Orlando replicated the exterior of the nightspot on their backlot. The buildings actually house studio administrative offices. For many years, the theme park also hosted a Lucille Ball museum and gift shop.

The West Hollywood Mocambo IS NOT connected to the El Mocambo nightclub in Toronto, Canada. That location opened in 1948 and is still around today. It is also NOT related to the Mocambo restaurant in Calcutta, India, which is said to be the oldest nightspot in India, opening in 1956.

#Mocambo #Lucille Ball #Desi Arnaz #Lucy #Desi #I Love Lucy #West Hollywood #Nightclub

15 notes · View notes

networkingdefinition · 5 years ago

Text

Fireplaces Quotes

Official Website: Fireplaces Quotes

(adsbygoogle = window.adsbygoogle || []).push();

• A house with no fireplace is a house without a heart. – Gladys Taber • According to Gur’s theory of boredom, everything that happens in the world today is because of boredom: love, war, inventions, fake fireplaces – ninety-five percent of all that is pure boredom. – Etgar Keret • Announced by all the trumpets of the sky, Arrives the snow, and, driving o’er the fields, Seems nowhere to alight: the whited air Hides hills and woods, the river, and the heaven, And veils the farmhouse at the garden’s end. The sled and traveller stopped, the courier’s feet Delayed, all friends shut out, the housemates sit Around the radiant fireplace, enclosed In a tumultuous privacy of storm. – Ralph Waldo Emerson • At home I used to spend calm, pleasant nights with my family. My mother knit scarves for the neighborhood kids. My father helped Caleb with his homework. There was a fire in the fireplace and peace in my heart, as I was doing exactly what I was supposed to be doing, and everything was quiet. I have never been carried around by a large boy, or laughed until my stomach hurt at the dinner table, or listened to the clamor of a hundred people all talking at once. Peace is restrained; this is free. – Veronica Roth

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Fireplace', orderby: 'rand', order: 'DESC', template: '1', limit: '68', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_fireplace').html(obj); jQuery('#thelovesof_fireplace img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); ); • Burning fossil fuels is like breaking up the furniture to feed the fireplace because it’s easier than going out to the woodpile. – Theodore Roosevelt • But you can’t just sit around the fireplace and sip Cokes and eat pretzels and get an attitude of confidence. You have to put in hard work. – Lee Haney • Call me an alarmist, but there are certain words I don’t like to hear together: cheap fireplace, discount brakes, cut-rate surgery. – Margo Kaufman • Cities have always been the fireplaces of civilization, whence light and heat radiated out into the dark. – Theodore Parker • Comedy clubs have brick walls behind the performer. Bricks make you funny. When I’m in front of a fireplace, I’m hilarious. – Mitch Hedberg • Emma took the revelation, on polygamy supposed she had all there was; but Joseph had wisdom enough to take care of it, and he had handed the revelation to Bishop Whitney, and he wrote it all off… She went to the fireplace and put it in, and put a candle under it and burnt it, and she thought that was the end of it, and she will be damned as sure as she is a living woman. Joseph used to say that he would have her hereafter, if he had to go to hell for her, and he will have to go to hell for her as sure as he ever gets her. – Brigham Young • For me, there’s nothing better than curling up in my favorite blanket on a cloudy or rainy day and just knit. Especially in front of the fireplace. – Magdalena Neuner • For the millennium [New Year’s Eve], you really have a choice to make. You either have to be naked with your head on fire and a shotgun in Bali or else you have to spend time with friends or family around the fireplace. And I’m choosing option B – Tom Morello • I am dying a thousand cruel and unusual deaths as fifty pairs of eyes take me in, size me up like something that should be hanging over a fireplace in a gentleman’s den. – Libba Bray • I am thinking,’ he remarked quietly, ’whether I shall add to the disorder in this room, by scattering your brains about the fireplace. – Wilkie Collins • I can’t be No. 1 with an MVP trophy. I could be No. 1 with the championship ring and the championship trophy on my fireplace. – Jeff Kent • I consider the television set as the American fireplace, around which the whole family will gather. – Red Skelton • I don’t approve of open fires. You can’t think, or talk or even make love in front of a fireplace. All you can do is stare at it. – Rex Stout • I don’t believe anything can do as much for a room as a glowing fire in an attractive fireplace. Men and dogs love an open fire – they show good sense. It is the heart of any room and should be kindled on the slightest provocation. – Dorothy Draper • I DON’T CARE!” Harry yelled at them, snatching up a lunascope and throwing it into the fireplace. “I’VE HAD ENOUGH, I’VE SEEN ENOUGH, I WANT OUT, I WANT IT TO END, I DON’T CARE ANYMORE! – J. K. Rowling • I DON’T CARE!” Harry yelled at them, snatching up a lunascope and throwing it into the fireplace. “I’VE HAD ENOUGH, I’VE SEEN ENOUGH, I WANT OUT, I WANT IT TO END, I DON’T CARE ANYMORE!” “You do care,” said Dumbledore. He had not flinched or made a single move to stop Harry demolishing his office. His expression was calm, almost detached. “You care so much you feel as though you will bleed to death with the pain of it. – J. K. Rowling • I don’t know why, but the warmth and the comfort of flickering light help. And a fire, in the fireplace or on the beach, is very comforting. I think when you make something consistent and familiar, it helps. I light candles every single night in my home. – Evangeline Lilly • I don’t want everybody to see exactly where I live, what my sofa or my fireplace looks like. – Marilyn Monroe • I feel I want to be wise with white hair in a tall library in a deep chair by a fireplace. – Gregory Corso • I had this idea… I wanted the sound to sing and have that thickness but yet still have an edge so that it could articulate. So my dad and I designed the guitar… the one that was made from an old fireplace. • I had you pictured dead in a pool of blood in front of the fireplace. And now you show up alive, and I want to kill you myself. (Zack) – Jennifer Crusie • I just like TV. I think to me, it replaced the fireplace when I was a child. They took the fire away and they put a TV in instead and I got hooked on it. – John Lennon • I just love family meetings. Very cozy, with the Christmas garlands round the fireplace and a nice pot of tea and a detective from Scotland Yard ready to arrest you. – Rick Riordan • I left him in his wheelchair, staring sadly into the fireplace. I wondered how many times he’d sat here, waiting for heroes that never came back. – Rick Riordan • I lingered most about the fireplace, as the most vital part of the house. – Henry David Thoreau • I never waited for my Irish Cream coffee to be the right temperature, with a storm happening outside and my fireplace crackling … I wrote every day, at home, in the office, whether I felt like it or not, I just did it. – Stephen J. Cannell • I said to myself that I shall try to make my life like an open fireplace, so that people may be warmed and cheered by it and so go out themselves to warm and cheer. – George Matthew Adams • I think people who come into my home feel comfortable and welcome and loved. And the biggest thing in my living room (the fireplace) is in and of itself an expression of love. – Julia Roberts • I thought of my mother as Queen Christina, cool and sad, eyes trained on some distant horizon. That was where she belonged, in furs and palaces of rare treasures, fireplaces large enough to roast a reindeer, ships of Swedish maple. – Janet Fitch • I took out a whole fireplace and put in broken glass and installed a burner underneath, so it looks like fire on ice. I did that in my bedroom suite. I’m pretty handy. – Cory Monteith • I wrote about people who liked fake fireplaces in their parlor, who thought a brass horse with a clock embedded in its flank was wonderful. – Betty Smith • If my favorite, most comfortable place is by our fireplace in cold weather, expedient places are on an airplane, in a waiting room or even waiting in line; frequently these days, while on the phone having been ‘put on hold.’ – Joyce Carol Oates • If she were (looking into my eyes), she’d have seen how absolutely floored I was the first time I finally, truly saw her. The clouds moved at just the right moment, fully lighting her face by the moon. She was dazzlingly beautiful. Underneath thick lashes were eyes blue as ice, something cool to balance out the flames in her hair. I felt a strange flutter in my chest, like the glow of a fireplace or the warmth of the afternoon. It stayed there for a moment, playing with my pulse. – Kiera Cass • I’m never going to believe a Poirot mystery again. Never. All those witnesses going, “Yes, I remember it was 3:06 p.m. exactly, because I glanced at the clock as I reached for the sugar tongs, and Lady Favisham was quite clearly sitting on the right-hand side of the fireplace.” Bollocks. They have no idea where Lady Favisham was, they just don’t want to admit it in front of Poirot. I’m amazed he gets anywhere. – Sophie Kinsella • Imagination is the politics of dreams; imagination turns every word into a bottle rocket. . . . Imagine every day is Independence Day and save us from traveling the river changed; save us from hitchhiking the long road home. Imagine an escape. Imagine that your own shadow on the wall is a perfect door. Imagine a song stronger than penicillin. Imagine a spring with water that mends broken bones. Imagine a drum which wraps itself around your heart. Imagine a story that puts wood in the fireplace. – Sherman Alexie • In winter we lead a more inward life. Our hearts are warm and cheery, like cottages under drifts, whose windows and doors are halfconcealed, but from whose chimneys the smoke cheerfully ascends…. We enjoy now, not an Oriental, but a Boreal leisure, around warm stoves and fireplaces, and watch the shadow of motes in the sunbeams. – Henry David Thoreau • It really reminds me of the great movies of the 30’s and 40’s with huge sets and voluminous fireplaces you could walk around in. Glazed floors. I was expecting a Busby Berkley dance number. Big fanfare and all the girls coming out. I’d have joined in. It’s got that scale, you know? – Ray Stevenson • It’s just very homey in Ireland. It’s very comforting and comfortable. There’s lots of fireplaces with fires. It’s just really cozy. – Amy Adams • Klaus Wulfenbach: Was my son upset? Bangladesh DuPree: Oh, him? Yeah! He’s all set to be a hero and rescue her–and then he finds out he’d need fireplace tongs to get her undressed? Yeah, upset is the word. – Phil Foglio • Look at the way the walls curve,’ Macey said, her gaze panning around the strangely shaped room. ‘it’s almost like…’ ‘The library,’ Liz said, and immediately I knew that she was right. It was exactly like the library at the Gallagher Academy, from the position of the fireplace to the tall windows that overlooked the grounds. ‘How do you know?’ Zach asked. Liz looked totally insulted. ‘Because…uh…library.’ ‘Okay.’ Zach threw up his hands. ‘Point taken. – Ally Carter • Maigret Sets a Trap was always going to be the first film, and it seemed to be quite a nice story. But of course it meant that here I was playing this new character for the first time, in a place where he had been a relative failure, as all these people had been murdered and the pressure was on. Rather than starting optimistically with his pipe in front of the fireplace, he was in quite a difficult place. – Rowan Atkinson • Maybe we were being a bit unrealistic, but we had this hope that if we could just get into the Ivy League, everything would be set. We dreamed of Gothic libraries and leafy green quads and romantic dorms with fireplaces and guys who were not only cute but also smart and charming, and, quite possibly, British. In college, we believed, we’d finally find our people. – Sarah Strohmeyer • Miss Trent regarded her thoughtfully. “Well, it’s an odd circumstance, but I’ve frequently observed that whenever you boast of your beauty you seem to lose some of it. I expect it must be the change in your expression.” Startled, Tiffany flew to gaze anxiously into the ornate looking-glass which hung above the fireplace. “Do I?” she asked naively. “Really do I, Ancilla?” “Yes, decidedly,” replied Miss Trent, perjuring her soul without the least hesitation. – Georgette Heyer • Most of us sleepwalk through our lives. We take all its glories, its wine, food, love, and friendship, its sunsets and its stars, its poetry and fireplaces and laughter, for granted. We forget that experience is not, or should not be, a casual encounter, but rather an embrace. Consequently, for too many of us, when we come to the end, we wonder where the years have gone. And we suspect we have not lived. – Jack McDevitt • My passions have never jumped out of the fireplace and set fire to the carpet. – Mason Cooley • My wife, Daniela, and I live in an old house from 1810 with three fireplaces at the end of a dead-end dirt road on Cape Cod, so I turn the trees into firewood for us and a friend of mine sells the rest. – Sebastian Junger • No sane local official who has hung up an empty stocking over the municipal fireplace is going to shoot Santa Claus just before a hard Christmas. – Al Smith • One afternoon, when I was four years old, my father came home, and he found me in the living room in front of a roaring fire, which made him very angry. Because we didn’t have a fireplace. – Victor Borge • Poetry is a fireplace in summer or a fan in winter. – Robert Hass • September has come, it is hers Whose vitality leaps in the autumn, Whose nature prefers Trees without leaves and a fire in the fireplace. So I give her this month and the next Though the whole of my year should be hers who has rendered already So many of its days intolerable or perplexed But so many more so happy. Who has left a scent on my life, and left my walls Dancing over and over with her shadow Whose hair is twined in all my waterfalls And all of London littered with remembered kisses. – Louis MacNeice • Snowflakes swirl down gently in the deep blue haze beyond the window. The outside world is a dream. Inside, the fireplace is brightly lit, and the Yule log crackles with orange and crimson sparks. There’s a steaming mug in your hands, warming your fingers. There’s a friend seated across from you in the cozy chair, warming your heart. There is mystery unfolding. – Vera Nazarian • Take a nap in a fireplace and you’ll sleep like a log. – Ellen DeGeneres • Tessa looked quickly to Will, but he only crossed the room as he always did to lean against the fireplace mantel. Cecily had never been able to decide if he did this because he was perpetually cold or because he thought he looked dasing standing before the leaping flames. – Cassandra Clare • That’s a lovely piece,” Kat said, pointing at a Louise XV armoire near the fireplace. The man raised his eyebrows. “Did you come to steal it?” “Darn it,” Kat said with a snap of her fingers.”I knew I should have brought my big purse. – Ally Carter • The computer is the new fireplace, everyone in the family gathers around the digital hearth for warmth. – Amy Poehler • The great love is gone. There are still little loves – friend to friend, brother to sister, student to teacher. Will you deny yourself comfort at the hearthfire of a cottage because you may no longer sit by the fireplace of a palace? Will you deny yourself to those who reach out to you in hopes of warming themselves at your hearthfire? – Mercedes Lackey • The home is the empire! There is no peace more delightful than one’s own fireplace. – Marcus Tullius Cicero • The Maze is a painting of the inside of my skull, which I painted when I was in England as a patient in Maudsley and Netherne psychiatric hospitals. It is a story of my life, well in the sense that people tell stories by the fireplace to entertain their guests, trying to make them accept you. In this case I wanted to be accepted, as an interesting specimen. – William Kurelek • The most significant gifts are the ones most easily overlooked. Small, everyday blessings: woods, health, music, laughter, memories, books, family, friends, second chances, warm fireplaces, and all the footprints scattered throughout our days. – Sue Monk Kidd • The national distrust of the contemplative temperament arises less from an innate Philistinism than from a suspicion of anything that cannot be counted, stuffed, framed or mounted over the fireplace in the den. – Lewis H. Lapham • The tendency of fire is to go out; watch the fire on the altar of your heart. Anyone who has tended a fireplace fire knows that it needs to be stirred up occasionally. – William Booth • The union of men in large masses is indispensable to the development and rapid growth of the higher faculties of men. Cities have always been the fireplaces of civilization whence light and heat radiated out into the dark cold world. – Theodore Parker • There were shadows galore in the dim light, but there was one shadow that did not correspond to any object in the room. It lurked next to the fireplace, a formless, undulating darkness. – Bentley Little • There’s a saying I read recently; I painted it on the fireplace and in my studio: “Be kind to everyone you meet, for everyone is fighting a great battle.” We all are. Everyone. – Gloria Vanderbilt • This is the world we live in, a world of safety and happiness and order, a world without love. A world where children crack their heads on stone fireplaces and nearly gnaw off their tongues and the parents are concerned. Not heartbroken, frantic, desperate. Concerned, as they are when you fail mathematics, as they are when they are late to pay their taxes. – Lauren Oliver • We no longer build fireplaces for physical warmthwe build them for the warmth of the soul; we build them to dream by, to hope by, to home by. – Edna Ferber • What I’m always trying to do with every book is to recreate the effect of the stories we heard as children in front of campfires and fireplaces – the ghost stories that engaged us. – Chuck Palahniuk • When I got inside, I just sort of stood there. There’s nothing stranger than the smell of someone else’s house. The scent goes right to your stomach. Mary’s house smelled like lemon furniture polish and oatmeal cookies and logs in a fireplace. For some reason it made me want to curl up in the fetal position. I could have slept right there on their kitchen table. – Adam Rapp • When I retire I’m going to spend my evenings by the fireplace going through those boxes. There are things in there that ought to be burned. – You don’t have to shoot me,” says the young lion. “I will be your rug and I will lie in front of your fireplace and I won’t move a muscle and you can sit on me and toast all the marshmallows you want. I love marshmallows. – Shel Silverstein • You might be a redneck if you have a picture of Johnny Cash, Willie Nelson, or Elvis over your fireplace. – Jeff Foxworthy • You should not use your fireplace, because scientists now believe that, contrary to popular opinion, fireplaces actually remove heat from houses. Really, that’s what scientists believe. In fact many scientists actually use their fireplaces to cool their houses in the summer. If you visit a scientist’s house on a sultry August day, you’ll find a cheerful fire roaring on the hearth and the scientist sitting nearby, remarking on how cool he is and drinking heavily. – Dave Barry [clickbank-storefront-bestselling]

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'a', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_a').html(obj); jQuery('#thelovesof_a img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'e', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_e').html(obj); jQuery('#thelovesof_e img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'i', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_i').html(obj); jQuery('#thelovesof_i img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'o', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_o').html(obj); jQuery('#thelovesof_o img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'u', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_u').html(obj); jQuery('#thelovesof_u img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

0 notes