#Paul Stuart Shoes

[pleasantlyinsincere]

Chris Hutchins - John's This Photo Kills postcard and Stuart

It was a warm June day in 1965 when the postcard landed on the desk of my office at the NME, deep in the heart of Covent Garden. The card was addressed to me but John, whose unmistakable handwriting marked him out as my correspondent, began 'Dear Mick', clearly alluding to Mick Jagger [...]. The message went on in typical Lennon vein: 'Woke up this mornin' - cornflakes - brown sugar - dig? Shoes - mac - raining down - still digging? ... Folk fingers - brass coffee - couldn't sleep - broke my line. Won't be back in time. DIG??? He signed it 'THE BIFOLKALS'.

I read it over and over again but never could work out half of what he was trying to say. Except, that is, for the 'brown sugar' bit. It was the term in those days - and this was Sixties, remember - for heroin [...].

But it was the picture on the other side that was most interesting - a photograph of himself, Paul, George and Ringo. Over each face he had inked-in dark glasses and on his one hand showing, a black glove. There was more: in the center of the group he had drawn a fifth person, a fifth Beatle and it was none other than the late Stuart Sutcliffe. Stuart had always worn dark glasses.

The card had been sent from Genoa mid-way through the Beatles' Italian tour. [...] But the conversation had become maudlin when I reminded him that he was going to talk to me for an article about Stuart. [...] In that sad telephone conversation before they set off for Milan, I asked him if he was happy: 'I'd be a lot happier if Stuart was still part of us,' he said, 'The Beatles would be complete.' And before he rang off he said 'Ill send you something.'

[John showing Hutchins around recently purchased Kenwood.]

There were John Lewis style paintings everywhere, but hung in one of the guest bedrooms were just two drawings and our host became clearly emotional when he explained they were there for 'sentimental reasons'. They were in fact works by his late dear friend, the man who helped him found the Beatles, Stuart Sutcliffe.

In that moment all John's feelings for the one man he had most liked and admired became apparent, he turned away but not before I saw his eyes welled up with tears. John never liked looking back when it exposed his feelings [...]. But even he could do nothing to hide the sadness brought on by such reminders of the past as hung before us.

We left the 'Sutcliffe room' and I noticed that he locked the door behind him. The room had become a shrine.

[doomedtodestruction]

Anya Taylor-Joy at the 2021 CFDA Fashion Awards in NYC.

-

Stylist: Anya Taylor-Joy and Paul Burgo

Outfit: Oscar de la Renta by Laura Kim and Fernando Garcia

Shoes: custom Stuart Weitzman

Hat: custom Gigi Burris Millinery

Gloves: Wing & Weft Gloves

Jewelry: Tiffany & Co.

[parkerbombshell]

8 Days This Week Episode 15

8 Days This Week Wednesdays 8pm EST bombshellradio.com Here is your playlist formatted with dashes between the artist and song titles: 8 Days This Week Ep. 15 This week, on 8 Days This Week, Tony Stuart and Aaron Badgley have chosen some interesting stories from the week of July 29 to August 4. Stories about John Denver, Carl Perkins, Terry Jacks, Anne Murray, SARS Stock, The Concert For Bangladesh, Bob Dylan, and even Paul Anka. Then the stories are all tied together, and we see numerous connections. Finally, some current rock news. All of this, plus great music on 8 Days This Week. 1. The Beatles - Eight Days A Week 2. Terry Jacks - Concrete Sea 3. Sass Jordan - Make You A Believer 4. Carl Perkins - Blue Suede Shoes 5. John Denver - What Are We Making Weapons For? 6. Anne Murray - You Won’t See Me 7. Paul Anka - My Way 8. Bob Dylan & The Band - Yazoo Street Scandal 9. George Harrison - Something (Live) 10. Carl Perkins and Friends - Matchbox 11. The Police - Walking In Your Footsteps       Read the full article

[placerdiario]

Louis Vuitton - Word from Stuart A. McIntyre on Vimeo.

A tribute to the words of Muhammad Ali by Poet Yasiin Bey (Mos Def) and Calligraffitist Niels Shoe Meulman

Full Campaign Here: louisvuittonjourneys.com/thegreatest Visit Louis Vuitton on Youtube: youtube.com/watch?v=MjTLhW0c5cM&feature=plcp

Agency : Ogilvy Paris Managing Partner : Romain Lartigue Creative Director : Kurt Novack Art Director : Adrien Havet Account Director : Dalila Joly Art Buyer : Annette Hallum Digital Producer : Talla Seck

Production House: Steam Films Managing Partner: Jennifer Sykes Executive Producer: Krista Marshall Director: Stuart A. McIntyre Producer: Paul Matthews Cinematographer: Kris Belchevski Camera Operators: Stuart Cameron, Claudio Manni, Luis Moreira

Editing: Posterboy Executive Producer: Michelle Lee Editor: Stephen Sora

Colour: Alter Ego Executive Producer: Greg Edgar Colourist: Wade Odlum

Online: Motor VFX Flame Artist: Daniel Kelly

Music House: Apollo Studios Executive Producers: Benedicte Luneau, Koo Abuali, Phillipe-Aubert Messier, Yan Dal Santo Music: Mathieu Brault, Daenen Bramberger, Mike Wise Singer: Michael Mooney, Sound Design: Yan Dal Santo

[dietcockdidion]

okay im not sure if this list is patrick-only but i promise i also have evelyn and jean and the guys, so get ready for some inspo and add yours if you see something missing!!

- lightweight linen suit with pleated trousers, Valentino Couture

- a cotton shirt, Valentino Couture

- a dotted silk tie, Valentino Couture

- perforated cap-toe leather shoes, Allen-Edmonds.

- custom-made tweed jacket

- pants and a cotton shirt, Alan Flusser shop

- silk tie, Paul Stuart.

- mini-houndstooth-check wool suit with pleated trousers, Hugo Boss

- silk tie, Hugo Boss

- cotton broadcloth shirt, Joseph Abboud

- shoes, Brooks Brothers.

- two-button single-breasted chalk-striped wool-flannel suit

- multicolored candy-striped cotton shirt, Patrick Aubert

- silk pocket square, Patrick Aubert

- polka-dot silk tie, Bill Blass

- clear prescription eyeglasses, Lafont Paris.

- wool tweed suit, Yves Saint Laurent

- striped cotton shirt, Yves Saint Laurent

- silk tie, Armani

- black cap-toed, by Ferragamo.

- wool topcoat, Ungaro Uomo Paris

- briefcase, Bottega Veneta

- umbrella, Georges Gaspar.

- double-breasted suit

- silk shirt with woven stripes, Gianni Versace

- patterned silk tie, Gianni Versace

- leather slip-ons, Gianni Versace.

- a wing-collar jacquard waistcoat by Kilgour, French & Stanbury from Barney's

- silk bow tie, Sales

- patent-leather slip-ons, Baker-Benjes

- antique diamond studs, Kentshire Galleries

- gray wool silk-lined coat with drop sleeves and a button-down collar, Luciano Soprani

- ostrich wallet, Bosca

- black wool trousers

- fourteen-karat gold watch, H. Stern.

- nailhead-patterned worsted wool suit with overplaid from DeRigueur by Schoeneman

- cotton broadcloth shirt, Bill Blass

- Macclesfield silk tie, Savoy

- cotton handkerchief, Ashear Bros.

- lamb's wool topcoat, Armani

- wool jacket, Armani

- wool flannel trousers, Armani

- cotton shirt, Armani

- cashmere V-neck sweater, Armani

- silk tie, Armani.

- four-button double-breasted wool and silk suit

- cotton shirt with a button-downcollar, Valentino Couture

- patterned silk tie, Armani

- cap-toed leather slipons, Allen-Edmonds.

- two-button wool suit with pleated trousers, Luciano Soprani

- cotton shirt, Brooks Brothers

- silk tie, Armani.

- two-button linen suit, Armani

- cotton shirt, Armani

- silk tie, Armani

- leatherwing-tips, Armani.

- six-button double-breasted wool-crepe tuxedo, Valentino

- pleated trousers, Valentino

- silk grosgrain bow tie, Valentino.

- faded jeans

- jacket, Armani

- white, hundred-and-forty-dollar shirt, Comme des Garçons.

- black trousers, Armani

- white shirt, Armani

- a red sad black Armani tie.

- suit, Joseph Abboud

- tie, Paul Stuart

- shoes, J. Crew

- vest, someone Italian.

- two-button wool gabardine suit with notched lapels, Gian Marco Venturi

- cap-toed leather laceups, Armani

- tie, Polo

- socks I'm not sure where from.

- double-breasted cashmere and wool overcoat by Studio 000.1 from Ferré

- wool suit with pleated trousers by DeRigueur from Schoeneman

- silk tie, Givenchy Gentleman

- socks, Interwoven

- shoes, Armani

- sunglasses, Ray-Ban.

- wool suit, Armani

- shoes, Allen-Edmonds,

- pocket square, Brooks Brothers.

Wish the book version of American Psycho was more well known because the author intentionally described all the fits as completely ridiculous but it's easy to miss stuff like Patrick wearing a PAISLEY BATHROBE WITH POLKA DOT SLIPPERS when you're being bombarded with brand names and tech specs and haircare ingredients. I would love to see what those outfits would actually look like in real life, but sadly you'll only see the movie's fashion when you try to look up American Psycho outfits.

[letterboxd-loggd]

Dead Man’s Shoes (2004) Shane Meadows

February 11th 2020

[thetweedpig]

TOM KEENE - THE AMERICAN FEAR OF HEAVY FABRICS 

http://bit.ly/1Gs9d7j

[cinnamontoastandtears]

random fic time

so, i got a request for a mcharrison teddy boy era first kiss, and putting aside how long it took me to write it, i also messed it up a little by turning it into a bit of an angst fest and making it way too plotty (must be riding my high from the other george/paul fic lmao) but i wanted to give this to y’all anyway so: here you go !!

(to the anon that requested the first kiss in the first place, dw, i’m going to write you another)

warning: drunkenness and a brief description of nausea

George stumbled up the steps with big thunks, feet heavy from the whiskey in his system, whiskey in his system because he’d been drinking alone.

Paul had been too busy with John to go out with him. Perfect John, with his perfect fucking hair, and his not-so-perfect guitar playing that even Paul, ever the perfectionist, seemed to love.

So George drank alone. And now he was coming back to the hotel alone, arms empty and mind clouded so he didn’t have to think about who he wished was in them. The view of their floor greeted him before he was ready to meet it and a groan left his lips.

He composed himself against the peeling wallpaper for a few minutes before steeling himself and trudging into the room he shared with Paul.

He found the slightly older man alone, surprisingly, strumming away on his guitar, fingers flashing and angry and not caring that they were making discordant sounds.

“Where’s John?” he muttered, letting the door slam behind him.

“With Stu,” Paul bit out, strumming hard again.

Oh. Right.

George had forgotten he wasn’t the only one that could be jealous. (Or something like that, it wasn’t that he was so jealous anyway, but-)

“Hmm,” George said, flopping down onto his bed. His stomach hated him for that, churning and sending a brief taste of bile to the back of his throat. “Guess you an’ I are one in the same then, eh?”

Paul stopped playing. George replayed his last words back over in his head, taking a minute to let it dawn on him. He shouldn’t have said that.

There came the sound of Paul moving his guitar to the side of the bed, and then more shuffling George’s deaf-from-a-crowded-bar ears couldn’t interpret. So late an hour, so complicated of feelings. His head felt like a brick.

Paul must have stood up in the lengthy amount of time it took George to figure all those sounds out (the shucking of a jacket and belt and shoes), for he was then standing over George’s bed, looking threatening as a shadow in the dark room.

“What do you mean?”

“What?”

“What did you mean, ‘we’re one in the same’?”

George knew. He knew what Paul meant, the question he was asking without even fuckin asking it, bitter with only half-wisdom on his side. (Paul was wise enough to figure himself out, not quite enough for other people. Though, of course, he was still a teenager, so there may have been lack of maturity involved as well.)

“Jus’…” George started, heaving his upper half from where it had finally rested comfortably on the lumpy mattress. “Jus’…”

He’d never been good at putting his feelings right. Never been good at explanations or confrontation or any of the shit you were supposed to be able to say to someone when you felt violated or when you wanted something. So maybe it was the alcohol or maybe it was the sheer-fucking-unfairness, but something deep inside made George gather all his feelings and spit them out of his mouth.

“You’re not the only one who gets to act jealous an’- an’ be a prick to everyone because of it. You do it too! Don’t be sittin’ there all stupid an’ angry and envious when you’re just as bad as John leavin’ with Stu to do god-knows-what. That’s not fuckin’ fair.”

George got the impression he sounded whiny, so he closed his mouth, not wanting to give Paul any reason to call him a child or immature or anything so harsh. (Barely nine months. Barely nine months and he felt entitled to treat him like that.)

“What…?” Paul’s face wasn’t clear to George even though he’d shifted and his feet were in between Paul’s feet and he was looking up at his face. This didn’t mean that he didn’t know the exact expression that was etched there.

Ticked brow, slanted mouth, bottom lip pulled slightly in. George had studied this face at length. He knew how it looked when confused.

“I’m here, fuckin’ off by myself while you’re out with John, givin’ each other a hand or some utter bullshite like that, leavin’ me alone. An’ that’s why it’s not fuckin’ fair for me to come home an’ you to be awake an’ upset an’ goin’ ‘what?’ like you don’t fuckin’ know exactly what.”

If George was the type of person who cried, he’d be in tears by now, he’d be ugly-crying and sniveling and shit and Paul probably would’ve backed away instead of doing what he did instead, which was to sink down next to George on the bed and sigh.

“I…” he started, then stopped. It almost made sense. Such an eloquent person, yet when the quiet one spoke up, all his words lost. “How do you feel about me then?” he asked instead, turning the burden of talking back to George.

The room was still dark, his head was still fogged, Paul’s shoulder brushed his and he shuddered. That should’ve said it all, really.

“What do you mean?” he asked, unintentionally mirroring Paul’s question from earlier.

“You’re jealous of me-“

“I’m jealous of John.”

“Oh. Well… right, well, jealous of him then.” Paul paused again like he was going to say something else. “For…?”

“For replacin’ me.”

“Oh.”

“Continue,” George offered, motioning with his hand.

“You’re jealous of John… for replacin’ you… an’ you’re angry at me for bein’—“ George wondered if he’d admit it, “—jealous of Stuart.” If George was a bit more sober he’d be impressed. “So I just wanna know what you think of me. Are you angry or do you wish that you were in John’s place, gettin’ to be with me like…”

George’s brain alerted him to a tone that hadn’t been in Paul’s voice before. Something almost flirtatious, walking a dangerous line between something he wanted and something he wasn’t sure he wanted. He’d always just wanted to be close to Paul. Who wouldn’t want that? But this close, what the way his hands reaching down into the gap between his and Paul’s thighs implied, this close he’d never thought of before. (And so what if that was a lie, it wasn’t like everyone was telling the truth tonight.)

“George?” Paul asked, letting George lace their fingers together.

“This is what I think of you,” he said, instead of answering the not-really-question, and put his other hand on Paul’s cheek.

“What—?”

“You known exactly what.” And George kissed him.

He hadn’t had many kisses in his life time, exactly, but enough to know when a kiss was good. Kissing Paul was good. Not right, something this taboo couldn’t possibly be right, but good nonetheless, heavenly somehow, Paul’s favorite—perfect.

Paul’s lips were soft and small and wet, and George couldn’t believe he was kissing them, that their lips were the ones meeting and not Paul and John’s like they always threatened to. Then Paul pulled away just a second to breathe, gasping and moaning just the tiniest bit, which sent George’s mind away, leaving him unprepared for when Paul dove in again.

George pushed him down into the mattress and Paul let him and Paul was letting him, and he was kissing back and…

They pulled away eventually and George rolled off of Paul’s chest, not wanting to crush him with his… well he didn’t weigh much so it might have been fine, but even still.

“That’s how I feel about you,” he managed to say, voice the tiniest bit wrecked from kissing for so long.

“I… me too… how I feel about you too,” Paul said, sounding like he was in a dream, somewhere far away.

This confused George. He’d only just figured out he felt for Paul this way, and didn’t he… didn’t John and Paul…

“What about John?”

“What about him?” Paul asked.

“Don’t you… how do you feel about him?”

George felt Paul turn toward him, so he turned too, and they were facing with each other and this was confrontation, a thing George wasn’t good at.

“I don’t… me an’ John are friends, Georgie. That’s it.”

“But you… but why…” There were several things that didn’t make sense about this. If Paul really liked him, wanted to kiss him and be with him, why did he spend all his time with John? Why did he ignore George, why was he only even here in their room because John was with Stuart?

“No.”

“No?”

“That’s still not fair,” George whispered, pretending that tears weren’t pricking his eyes. (And maybe he was the kind of person who cried.) “You can’t be tellin’ me you feel this way about me an’ then ignore me an’ be mopey when John’s gone. You can’t do that, Paul. What is that kinda shit?”

“I…” Paul started, then stopped again, losing his eloquence all over. “I don’ know…”

That wasn’t good enough. George said so and Paul’s eyebrows turned into each other and George wondered how he could save this friendship.

He didn’t have any time to think about that though because Paul kissed him again, and he wanted this, and this was what he wanted… wasn’t it?

“Paul…” George pulled away from the kiss. (How could something that felt so good be so bad and wrong and-)

“George, I don’ know how to explain myself. Maybe I was jus’ so scared that you were gonna reject me that I spent all my time with John to avoid that. But I promise, really, I promise, Geo, I don’ feel this way about John.”

The thing was, George wasn’t sure if he believed him. He wasn’t sure he was supposed to. But… Paul looked at him again, and the room was dark, and his eyes were shining, and they were alone.

So if they kissed a few more times or fell asleep in the same bed together, that would be enough right now. (And if John and Stuart came back the next morning, John’s collarbone littered with suspicious marks… Well, Paul wore them too, and George could lose a bit of the green in his eyes.)

[outoftowninac]

LUCKY STIFF

1988

Lucky Stiff is a musical by Stephen Flaherty with book and lyrics by Lynn Ahrens based upon the 1983 book The Man Who Broke the Bank in Monte Carlo by Michael Butterworth. 

It was the first produced collaboration between Flaherty and Ahrens, who went on to great success with Ragtime (1998), Once on This Island (1990), Seussical (2000) and other hit shows. 

The musical takes place in England, Atlantic City and Monte Carlo. The time is now, or very recently.

Downtrodden English shoe salesman Harry receives the unexpected news that he has inherited a fortune from his late Uncle Anthony, on the condition that he takes Anthony’s dead body on a special trip to Monte Carlo. If Harry fails, the money will go to the Universal Dog Home of Brooklyn. However, also hot on the tail of Uncle Anthony’s money is Rita, Anthony’s lover with whom he embezzled $6 million behind her husband’s back. And hot on Rita’s trail is her brother Vinnie, who has been blamed for the crime.

‘LUCKY’ PRODUCTION HISTORY

Lucky Stiff was created and first performed off-Broadway Playwrights Horizons  in April 1988, winning the Richard Rodgers Award. The show starred Stephen Stout, Julie White, Stuart Zagnit and Mary Testa.

The musical was next produced at Maryland’s Olney Theatre in May 1989, starring Evan Pappas, winning the 1990 Helen Hayes Award for Best Musical. 

A 1994 studio cast recording included Pappas, Judy Blazer, Testa, Jason Graae, Debbie Shapiro Gravitte, Paul Kandel and Patrick Quinn.

In 1994, the musical had its British debut in the midlands, and in 1997 it had a West End production starring Frances Ruffelle, Paul Baker, and Tracie Bennett.

In October 2003, it was presented as part of York Theatre's Musicals in Mufti concert series, starring Zagnit, Testa, Malcolm Gets, and Janet Metz.

A feature film version of Lucky Stiff premiered at the 2014 Montreal World Film Festival. It stars Dominic Marsh, Don Amendolia, Nikki M. James, Jason Alexande, Mary Birdsong, and Dennis Farina. 

THE ATLANTIC CITY CONNECTION

In a prologue, the chorus sets the scene in a song titled “Something Funny’s Going On”:

ALL (sung): Something funny’s going on And it isn’t very pretty.  This is how it all began, With the murder of a man.  Bang! RITA shoots HARRY (spoken): Oops! ALL (sung): In Atlantic City, New Jersey.

After opening scenes set in England, the action shifts to Atlantic City, New Jersey, home of Rita LaPorta, whose late husband was manager of an (unnamed) Atlantic City casino. 

SOLICITOR to HARRY: “Due to an unfortunate accident, your Uncle, Mr. Tony Hendon of Atlantic City, New Jersey, has passed on. Apparently, casino managers do quite well in Atlantic City, New Jersey. In US dollars, Mr.  Witherspoon, a currency I find highly distasteful, your Uncle left you...six millions dollars!” 

Rita is presented as the typical New Jersey Italian-American mob wife in the style of Carmella Soprano in “The Sopranos” or Angela DeMarco in Married to the Mob. Rita is extremely nearsighted, but luckily, her brother Vinny Di Ruzzio is an optometrist at Atlantic City Optometry. 

VINNIE to a PATIENT: “Is this your first visit to Atlantic City Optometry, Mr. Loomis?”

A production at University of Southern Oregon included a poster for the business. The poster gives the address as Baltic Avenue in Atlantic City. The real road was immortalized in the game Monopoly! Since it is the cheapest property on the board, we can assume Vinny’s practice is not exactly catering to an upscale cliental. 

Rita barges into her brother’s office brandishing a newspaper. In the film version, the newspaper masthead reads Atlantic City Bugle. This is a fictional newspaper. Atlantic City Press was (and is) the newspaper of record in the shore town. 

Rita enlists her brother’s help in tracking down the heart-shaped box of diamonds she stole.  Off they go to the south of France, leaving Atlantic City behind. The city by the sea is mentioned again during the play’s climactic ending. 

RITA, pointing a gun at ANNABEL: “Where is that heart-shaped box?” ANNABEL: “It’s...it’s in Atlantic City!” 

DEAD UNCLE TONY, confessing: “I knew that bullet that killed Luigi was meant for me. I owed the guy. So I came up with a plan, fast. I planted my own obituary in the Atlantic City papers so people would think I was dead.” 

‘LUCKY’ / AC NJ TRIVIA

Atlantic City was not included in the original book, which is set exclusively in Europe. It was the innovation of Lynn Ahrens to ground the show in the United States before moving the action to the Continent. Las Vegas being further afield, Atlantic City it was!  

Flaherty and Ahrens returned to Atlantic City as a setting in Ragtime. Click here to read about it!  

The film cast includes several prominent actors from New Jersey: Jason Alexander (Livingston) and Nikki James (Summit), as well as Don Amendolia (Woodbury), Mary Birdsong (Long Beach Island), and Wesley Taylor (Elizabeth). Stage performers from New Jersey include Stuart Zagnit (New Brunswick) and Judy Blazer (Dover). 

Although Lucky Stiff has not to date been performed on Broadway, it has had several New Jersey community, college, and high school productions. 

The first time the musical was heard at the Dramatists Guild workshop, the authors were told to start again from scratch. The original piece wasn't funny enough or silly enough. Stephen Flaherty says that there are basically two completely different scores for for the show; before, and after the workshop. Annie Golden played Annabelle in the workshop. 

Ahrens found her copy of Butterworth's novel at sale of old books from the Pierpont Morgan Library. Interestingly, the Morgan Library figures prominently in the climax of Ragtime, another F&A musical. 

The character of Annabelle Glick was originally named Annabelle Smith.  

The song "Times Like This" was written to replace another song called "I Wouldn't Waste My Time" that was deemed too sad. The song "Times Like This" is featured on Christiane Noll's album A Broadway Love Story.

[papermoonloveslucy]

MODELING INTO THE MOVIES

August 8, 1936

By Jeannette Meehan, HOLLYWOOD 

From the women’s angle, there are simply too many gorgeous newcomers in Hollywood. That fact is plain. 

From the gentlemen’s angle, Hollywood is pleasantly crowded with the most alluring bits of femininity ever to delight the bald-headed row. This fact is even plainer. Oh, say it isn’t so, but there a new day dawning in the west for the Stage Door Johnnies. 

Whence comes this influx of Eves? Who are these girls of such attractive physical make-up? 

Well, sir, most of them are ex-models. 

The highway and by-ways to Moviedom are past counting. Those most traveled have been the extra route, the beauty contest route or the I-have-a-relative route. Yesterday our newcomers were night club crooners, radio personalities and million-dollar heiresses. Today the majority of candidates for stardom are no longer being recruited from these avenues. It now quite obvious that any girl who has been a model approaches the casting office with an asset that permits her to pass up the waiting list. 

Oh, phooey, what’s a model got that the others haven’t? 

Well, when Radio Picture wanted five beauties for the fashion show sequence in “Roberta” they tested 30 girls, and then sent out an S.O.S. to the ranks of professional models. That was a year ago. Those five models so delighted the camera that they’re still under contract. (1)

Just a few months ago, when M-G-M went scouting for 22 modern Venuses for “The Great Ziegfeld”, they discovered that the ex-models had a lot more poise and personality than the kids who were merely movie struck. Eighteen of those 22 “Ziegfeld Girls” were former models. Fourteen of the 18 were given contracts. You just can’t argue with “figures” like that, or should I say with “figures like theirs"? (2)

“Model your way to the movies” isn’t just a catchy phrase. Models come to Hollywood already equipped with the elementary essentials which studios spend a great deal of time and money trying to hammer into inexperienced youngsters. Models have already served their apprenticeship to the art of carriage, grace and charm. They’ve already passed a certain type of beauty contest. The girl whose picture helps to sell beauty preparations has to have a face that leads you to believe that the product is worth trying. A pair of silk stockings modeled on muscle-bound or "spindle” legs would scarcely lure you to the hosiery department. 

You never see a good model stumble over her train. She remains regal and sure-footed in the most confusing draperies. 

Figuratively speaking, these girls are above reproach. Most fashion houses require that their models be above medium height, broad through the shoulders, slim through the hips, and that their proportions be symmetrically arranged. Thus, they’ve long since graduated from the routine of diets, masseurs, and classes for corrective posture that faces tire average beginner. 

In other words, movie producers are finding out that modeling is a natural complement to screen work. Film executives are discovering that the girls who come to them from portrait and artists studios and from fashion salons are far ahead of those who approach Hollywood's pot of gold with no training. 

Not only that, but these ex-models seem to be well-mannered, well-educated girls whose off-screen poise and chic rivals that of their screen betters. 

Oh, dear are they gorgeous? They're enough to make us ordinary girls forget to look before we leap. Just for instance, take Pauline Craig [above] (3), an auburn-haired, statuesque beauty from Cleveland, O. She’s five feet six and one-half inches tall, weighs 118 pounds, and has a figure that only Jean Harlow (4) could be unconcerned about.  

Miss Craig was a “Ziegfeld” girl - now she’s under contract. She skipped the first grade in motion picture training, and I guess we all know why. She was a model. Her glorious smile has appeared in hundreds of advertisements. As a fashion model she worked for I. Magnins. (5)

Are you wondering if these girls observe any general rules for the maintenance of health and beauty? Miss Craig will tell you that most of them prefer fresh air to smoky drawing rooms, and that they substitute milk for alcoholic beverages.

Incidentally, her hobby is collecting pictures of the Dionne quintuplets. (6)

Another girl recruited from the model ranks for “The Great Ziegfeld" was Wanda Perry (7), a vivacious brunet from Brooklyn. She's five feet five and one-half inches tall, weighs 120 pounds, and has brown eyes. 

With her classic features and her superb figure, there was a great demand for her in New York’s portrait galleries and exclusive clothing establishments. She has posed and modeled for Vogue, Harper's Bazaar, McFadden Publications and for tooth paste ads. 

With an already perfect camera presence, she is not to be enrolled in the studio's kindergarten for beginners. 

Over at Paramount there’s a queenly blond named Elizabeth Russell (8), probably the best known of former New York models. A favorite of such distinguished illustrators as Russell Patterson, James Montgomery Flagg, McClelland Barclay, Dean Cornwell, Paul Hesse, and Steichen, the photographer. Miss Russell is now in possession of a flattering long-term contract.

Artists agree that her features are photographically perfect. Artist or no artist, they’ll look perfect to you! She has modeled hose, nightgowns, and coiffures. Her blonde beauty has helped to sell cigarettes, jewels, soap, sheets, automobiles and first-aid kits. Very soon she'll be helping Paramount sell “Girl of the Ozarks,” her first picture (9). Miss Russell is five feet eight inches tall, weighs 118 pounds, has blue eyes and naturally blond hair. 

Another beautiful blonde who modeled her way to the movies is Louise Stuart (10), a former Chicago debutante. After graduating from Miss Mason's Castle (11) she went to New York to visit former school chums. It was during one of these visits that she was persuaded to pose for cigarette ads. One good look at her flawless countenance, and modeling jobs were her for the asking. With plenty of time on her hands, and nothing to do with it, she went to work. 

Miss Stuart attributes most of her success with the test director to her experience as a model. Posing for artists and photographers, she says, gave her a self-assurance which she has never lost. You'll see her first in “Lady Be Careful." (12)

A third Paramount prize is Veda Ann Borg (13), a stunning, red headed girl from New York. Before the studio signed her to a long-term contract, her divine proportions and sparkling personality had created a sensation in the modeling field. 

One of the most exquisite of Hollywood's newcomers is brunette Anita Colby (14) who stands five feet seven inches tall without her high-heeled shoes. Her face has smiled at you from magazine covers, commercial advertisements and from the pages of the nation's smartest fashion periodicals. Her beauty is attractively framed in poise, wit and charm. She is conversant with world affairs, music, art and literature. Pictorially speaking, she’s a model of perfection. Radio proudly points to her name on its contract list. 

Radio has two other "model" charmers in the persons of Maxine Jennings (five feet eight inches tall), and Lucille Ball (five feet six and one-half inches tall). Miss Jennings (15), a former model for the famous couturier, Jean Patou, is a stately redhead as handsome a creature as you ever laid your eyes on. You'll soon be seeing her in featured leads. 

Miss Ball (above), a blue-eyed blonde from Montana (16) and former model for Hattie Carnegie, is considered an important trump in the studio's hand. Her bosses have thus far cast her in wise-cracking roles, hoping to develop her into a counterpart of the late Lilyan Tashman (17) - but Lucille doesn't seem to need much help along those lines. Her poise, her suave delivery and her flair for clothes have already added to the gaiety of nations and have cannoned her well along the road to stardom. 

One of the most beautiful of the "model" brunettes is Hester Deane (18) who is doing much to enhance M-G-M productions. Her likeness on the backs of magazines has caused many a gentleman to change his brand of cigarettes, and she posed for automobile body advertisements long before the studio discovered that her presence on screen would “up” the grosses. 

She was born in Oklahoma City. Her education included art and music. Now, when she isn’t modeling or working in pictures, she designs clothes, takes piano lessons, and studies philosophy. 

A good look at Mary Jane Halsey (19) will have different reactions on you, depending on your sex. If you’re a woman, you’d just as soon she broke her neck.

Miss Halsey was born in Milwaukee. After her family moved to Los Angeles she became a model for a famous cosmetician. She is five feet six inches tall and weighs 120 pounds. She has blue eyes, and ‘shhhhhh’, she writes poetry. 

If these "model" newcomers get any taller, a few of our leading men will have to wear stilts. Extreme height, which has sounded the gong for many a beginners’ career, doesn't seem to be a handicap for the ex-models. When these lovely girls began to invade Hollywood, apparently the enthusiastic producers forgot all about the traditional physical specifications for screen heroines. There was a time when all actresses had to be extremely petite and slim, like Gloria Swanson and Colleen Moore, and, more recently, like Claudette Colbert and Margaret Sullavan (20). Unless you were a diminutive little trick about five feet two inches tall, and weighed less than 100 pounds, you might just as well have stayed on the farm. Greta Garbo and Kay Francis (21) were overlooked for a long time because of their height. 

But the restrictions seem to have been called off. It appears that models can grow as tall as they like without the danger of facing dismissal from the casting office. Margaret Lyman (22), one of the prettiest of the model group to win a picture contract, stands five feet nine inches in her stocking feet, and weighs 129 pounds. 

One of the most photographed models of the country, Miss Lyman has posed for Vogue, Harper's Bazaar, The New Yorker and for cigarette and soft drink ads. She has brown hair and brown eyes. She wears a larger shoe than Garbo. 

And no less charming is pretty Jane Hamilton [below] (23), another popular girl who found her way into pictures through the route of her professional success as a model.

#   #   # FOOTNOTES FROM THE FUTURE

(1) “Roberta” was released by RKO on March 8, 1935. It was Lucille Ball’s 21st film.  Models were needed for the fashion sequences. The film also employed models Virginia Carroll, Diane Cook, Lynne Carver, Lorraine DeSart, Betty Dumbries, Myrna Low, Margaret McChrystal, Marie Osborne, Wanda Perry, Donna Mae Roberts, and Kay Sutton.  In addition to Lucille Ball, Wanda Perry, Maxine Jennings, and Jane Hamilton were in the film and profiled in this article.

(2) “The Great Ziegfeld” was MGM’s 1936 biopic of Florenz Ziegfeld, the showman who glorified female beauty on stage. Lucille Ball was not in this film, but was later part of the cast of “Ziegfeld Follies” (1951). This film employed dozens of showgirls and models to play the Ziegfeld Girls. Those profiled in this article include Pauline Craig, Wanda Perry, Hester Dean, Mary Halsey, and Margaret Lyman. 

(3) Pauline Craig (1914-97) made her screen debut in “The Great Ziegfeld” but only did five more films, leaving the business in 1939. 

(4) Jean Harlow (1911-37) likely did not know or care about Pauline Craig, even if Craig’s figure did give Harlow a run for her money. She was known as the original platinum blonde sex symbol. She died at age 26, at the peak of her popularity. MGM closed for her funeral. 

(5) I. Magnin & Company was a San Francisco, California-based high fashion and specialty goods luxury department store. It expanded across the West into Southern California and the adjoining states of Arizona, Oregon, and later to Chicago, Illinois, and Washington, DC, metropolitan areas. Mary Ann Magnin founded the company in 1876 and named the chain after her husband, Isaac. The chain was bought out by Macy’s in 1994. 

(6) The Dionne quintuplets (born May 28, 1934) are the first quintuplets known to have survived their infancy. The identical girls were born just in Ontario. All five survived to adulthood. The Dionne girls were born two months premature. The Ontario government and those around them began to profit by making them a significant tourist attraction. As of this writing, two of the girls are still living. 

(7) Wanda Perry was born Helen Beuscher in Brooklyn, New York, on July 24, 1917. When she was sixteen, she was named Miss New York City, and was offered a movie contract by Earl Carroll. Helen moved to Hollywood and took her mother's maiden name, Wanda Perry, appearing in films as a showgirl, an Earl Carroll Girl, a Goldwyn Girl, a dancer in "George White's 1935 Scandals," a fashion model, an extra, a bit player and a stand-in for Lucille Ball! Her final film was as an extra in Lucy’s Mame (1974). 

(8) Elizabeth Russell (1916-2002) was the sister-in-law of Rosalind Russell. She started doing films in 1936 and finished her career in 1960. (9) “Girl of the Ozarks” (1936) was a Paramount film also starring Virginia Weidler, Henrietta Crossman, and Leif Erickson. 

(10) Louise Stuart did two pictures for Paramount back-to-back in 1936. That was the extent of her film career.

(11) Miss Mason’s Castle is a reference to Miss C.E. Mason’s Suburban School for Girls in Tarrytown-on-Hudson, New York. It was open from the late 1880s to 1934. The castle was razed in 1944. 

(12) “Lady Be Careful” (1936) did not feature Louise Stuart as is said here, although records could be incorrect. The film did feature Elizabeth Russell, however. 

(13) Veda Ann Borg (1915-73) did her first film for Paramount in 1936, and was continually employed in Hollywood until 1963. She was the first actress cast as Honeybee Gillis in “The Life of Riley” TV series, replaced a short time later by Marie Brown, then Gloria Blondell. 

(14) Anita Colby (1914-92) was born Anita Counihan. Early in her career, at $50 an hour, she was the highest paid model at the time. She was nicknamed "The Face" and appeared on numerous billboards and ads, many of them for cigarette advertisers. She did three films in 1936 alone, the same year she appeared on 15 magazine covers in a single month. In subsequent years she only acted in three more films, returning to modeling. 

(15) Maxine Jennings (1909-91) did 10 films with Lucille Ball between 1935 and 1937.  After 1938, her film appearances were sporadic.  She made her final screen appearance on a 1968 episode of “Hawaii 5-O”. 

(16) Lucille Ball (1911-89) is stated as being a blonde from Montana. She was actually a brunette from Upstate New York.  

(17) Lucille is once again compared with Lilyan Tashman (1896-1934) a stage and screen actress known for her skill at verbal wit as well as her throaty delivery. She died at age 37, just one year after Lucille Ball arrived in Hollywood. 

(18) Hester Dean became known as 'The Girl with the Fisher Body' after modeling for the Fisher Automobile Company. Her only film was “The Great Ziegfeld” (1936). 

(19) Mary Jane Halsey (1913-89) was also in “The Great Ziegfeld” (1936) but by that time had done nearly a dozen films. She continued to act on screen until 1945. 

(20) Gloria Swanson was 4′11″, Colleen Moore was 5′3″, Claudette Colbert was 5′5″, and Margaret Sullavan was 5′3″. 

(21) Greta Garbo was 5′7″ (same as Lucille Ball), and Kay Francis was 5′9″. 

(22) Margaret Lyman (1915-2002) was one of the models hired for “The Great Ziegfeld” in 1936. She did two more pictures before leaving screen acting behind. 

(23) Jane Hamilton (1915-2004) was a Goldwyn Girl in “Roman Scandals” (1933) just like Lucille Ball. Hamilton, however, had done one previous film as a Goldwyn Girl, “Gold Diggers of 1933″.  She did seven other films with Lucille Ball. Her final screen role was in 1949. 

[parkerbombshell]

From Memphis To Merseyside Ep 91

Thursdays 8pm EST bombshellradio.com From Memphis To Merseyside The Big Bang Ep. 91 July 5, 1954…Elvis Presley, Bill Black and Scotty Moore stumble upon a new sound, a glorious accident. This episode, Tony Stuart and Aaron Badgley set the scene for Elvis anad his band and explore the influences that went into Elvis becoming Elvis. #RockandRoll #Blues #Jazz #Country #Gospel 1. Ric Denis - This Rumbling Sky 2. Arthur ‘Big Boy’ Crudup - That’s All Right 3. Big Mama Thornton - Hound Dog 4. Fats Domino - The Fat Man 5. Bing Crosby - Chattanoogie Shoe Shine Boy 6. Patti Page - (How Much is) That Doggie In The Window 7. Little Richard - Please Have Mercy On Me 8. Les Paul & Mary Ford - Vaya Con Dios 9. Perry Como - Don’t Let The Stars Get in Your Eyes 10. Bessie Smith - I’m Wild About That Thing 11. Louis Jordan - Choo Choo -Ch-Boogie 12. Louis Jordan - Saturday Night Fish Fry 13. Joe Turner - Shake Rattle and Roll 14. Wynonie Harris - There’s Good Rockin’ Tonight 15. Erline Harris - Rock and Roll Blues 16. Billy Ward and the Dominoes - Sixty Minute Man 17. Eddy Arnold - Bouquet of Roses 18. Jimmy Wakely - One Has My Name (The Other Has My Heart) 19. Hank Williams & His Drifting Cowboys - Lovesick Blues 20. Hank Snow - I’m Moving On 21. Tennessee Ernie Ford - Shotgun Boogie 22. Lefty Frizzell - Always Late With Your Kisses 23. Sister Bessie Griffin - I Sing Because I Am Free 24. Mahalia Jackson - Move On Up A Little Higher (Part 1) 25. Sister Rosetta Tharpe - Strange Things Happening Every Day 26. Jackie Brenston & His Delta Cats - Rocket 88 27. Johnny London - Drivin’ Slow 28. Archie Bleyer - Hernado’s Hideaway 29. The Four Aces - Three Coins In The Fountain 30. Kitty Kallen - Little Things Mean A Lot 31. Bryan James Duffy - The Red Brick Road 32. Elvis Presley - That’s All Right Read the full article

[centralcalisosa]

Ushering in the warm weather- Warmer weather calls for lightweight pieces and in a lot of cases, brighter colors. I had to revamp my wardrobe eight years ago when I realized that a lot of my wardrobe was grays and blues. I believe that most of us that are sartorially inclined, go through this process. We build our staples as a foundation and when that is done, we ask what's next. We then see pictures of stylish people at Piti or wherever, preening in bright colors and interesting cuts, and then we identify the next road that we would like to travel. My road was similar. It took me six years to build the staples; the blue solid suit, the mid-gray suit, charcoal gray suit, pinstripe blue suit, pinstripe gray suit, the check suit, and then a cotton suit. Then in 2013, I decided I wanted to invest in some true summer pieces. This blazer falls under that path that started in 2013. This blazer is from Luciano Barbera Collezioni, made by Attolini. Beautiful shoulders, hand-made buttonholes, it's just a masterpiece. It is 100% linen and partially lined so it's a great spring/summer staple. I have worn it with white linen pants, and softer blue linen as well and it works fine. Here I pair it with these light gray slacks from Samuelsohn for work to ground it for a work setting (hint if you want to wear a loud piece into an office, gray pants will usually work best to ground it for a business casual look appropriate for the office). I also felt like playing around with colors, so I am rocking this red linen/silk tie grenadine from Seaward and Stern with the wool/linen pocket square from my local custom clothier, R Douglas. I believe that the red accents the dark burnt orange pattern in the suit. I anchor all this with the solid blue shirt from Eton, to provide a blank canvas for all the other items (akin to the function of the gray pants). To finish it off, I wore these beautiful shoes from Paul Stuarts Stuarts Choice. I believe this pair was made by Grenson. As typical of some English-made shoes, the leather is still stiff, 7 years later. But the burgundy color compliments the burgundy red tie. All in all, a louder business casual look but it still works.

[doof-doofblog]

"Your Dad!"

Monday 3rd May 2021

I'M BACK!!!!!!!! Hello again folks! I know it's been a super hot minute since I last posted! I've been working all the hours under the sun, but I'm back! I've actually binged watched a whole week's worth of EastEnders in an attempt to catch up - so instead of blogging about a whole week of stuff you've already watched I'm just going to list the main moments that have grabbed my attention:-

Martin and Whitney still grieving for Kush

The fact Kush's body will be transferred to Dubai / Whitney unable to hold a funeral for her fiancé

Isaac opening up to Patrick about his schizophrenia / learning about Paul

Amy trolling Janet online about her modelling

Gray and Whitney's plan to take down the Mitchell's

Isaac thinking he's been mis-diagnosed

Bernadette offering to be Rainie & Stuart's surrogate

Bailey over-hearing Karen & Mitch discussing money issues

Nancy & Tamwar are getting a divorce

Mila's Mum finding her

Ben & Callum's wedding venue going bust / getting married in two weeks time

Nancy choosing to be sterilized because she doesn't want children

Bailey running away!

Wow, a lot of drama and a lot of emotion! But now I've highlighted the main points of the previous week, I'm going to focus on Monday's episode! The first thing I am going to mention is the Taylors. All over the Square they have put up Missing posters of Bailey. The poor family are going out of their minds worrying where the little girl could've gone. Even though the family are searching the Square and further afield, Mitch gets the feeling that the police are starting to point the finger at him when they come knocking and demanding to search both Bailey's room and his own room. Jack tries their best to persuade Mitch and Karen that it's just precaution incase they might've missed anything - but after Keegan's past with the police, its seems that Mitch is starting to feel like the police are blaming him for his daughter's disappearance. One thing that does tip him over the edge though is when Jack asks him to go down to the station to make statement - to simply talk about anything which might've happened at home for Bailey to run away. Even though Mitch mentions that Bailey lost her Mum and her older sister within the space of a year, she's a strong, brave and smart child. But for a split moment, you see a look in Karen's eyes - knowing full well that the family are struggling with money issues at the moment, she thinks that maybe Mitch going to the station would help, but Mitch has none of it!

Later as he storms out of the apartment, both Keegan and Bernie are eager to help search for young Bailey, as well as putting new posters up. It seems that Mitch has informed Keegan about what's been happening at home, as when Keegan suggests that maybe going to the station might help the police in finding Bailey, Mitch raises his voice to his son informing that there's no way he'll be going to the police station. But then, little Amy approaches asking whether there has been any sign of Bailey, to which Mitch responds with negative emotion - claiming that if Bailey had been found, he wouldn't be on the streets handing out flyers. But realising he spoke to Amy in a horrible way, he apologies to the young girl and asks whether she might know anything, whether Bailey was having any trouble at school.

Interestingly, Amy happens to mention that she was getting laughed at by a boy at school because of her shoes, informing Mitch that she had tried to use glue to stick her shoes back together after falling apart. But then she also mentions that there was one lunchtime when Bailey spent it in the toilets crying because she couldn't afford to go the space camp. Thinking that Amy might be mistaken - he claims that Bailey had informed them that it was all expense paid. But Amy confirms that that isn't true, poor Mitch is absolutely devastated to learn that his daughter has lied, also realising that she actually never went to this school event, simply because her parents/guardians couldn't afford for her to go.

For some reason, I personally don't understand why Bailey has run away. She knows she's in a home where she is completely loved, does she feel that maybe her family would be better off without her? Does she feel guilty because she's wanted to do something which her family can't afford? Either way, I hope Bailey will be safe and she comes home soon, and eventually the Taylor's will get back on their feet!

--

The next brief thing I have to mention is Bobby. We haven't seen him for a while, have we? We last saw him going on brief dates and trying to get himself out there to meet new people, but of course under a false name. Is Bobby now maybe thinking he wants to make a go of having a proper serious relationship with someone? Is he now ready to for a long lasting relationship? Even though Kathy questions whether he'll be bringing a plus one to Ben & Callum's wedding, Bobby informs her that he's just going to take it slow with the dating game - keep his options open. But then he interestingly admits he may sign up to Kim's dating agency, The Foxcatcher!

Kathy tries to reassure her Grandson that he doesn't need to join her dating agency, he's a good looking lad who can meet anyone anywhere if he really wanted. However, as Kim is sorting her flyers and her business in the Cafe, Bobby asks whether he's free to take one and asks whether it's worth him giving it a go. Kim tries her best to reassure him that as soon as he's filled all the leaflets in, she'll be able to find him someone who's a perfect match - but she does admit that maybe it would be best if he didn't mention he had been in prison, but in a way tries to remain positive by telling the teenager "It's good to have a bit of mystery!" … Will The Foxcatcher actually work for Bobby? I'm intrigued to see if he does eventually meet someone who'll accept him for who he is, regardless of his past.

--

Meanwhile, in other areas of the Square, Linda is furious after learning that Nancy is wanting to be sterilized after announcing she doesn't want to have children. Linda can't seem to understand why he daughter can't just take contraception like every one else, I guess she kind of fears for her daughter that in a few years time she might change her mind about having children and regret what she's done. As Linda voices her concerns to Mick, she doesn't seem to realise that Nancy is listening to every word she's saying. As Nancy makes herself known, she decides to tell her Mum straight that she has an appointment in two weeks time to be sterilized and there's nothing they can do to stop her, at the end of the day, it's her body and it's her decision - even informing her Mum that the clinic she is going to is a legit clinic and she's not seeing some dodgy doctor off the internet, as she throws a leaflet on the dinner table.

I guess Linda's reaction is understandable, she's worried for her daughter and wants her to do the right thing, however she can't seem to grasp that Nancy simply doesn't want to have children - ever! As Nancy disappears and she's left with Mick, she gushes about how she was looking forward to becoming a Grandparent and spoiling her Grandchildren - but then just because Nancy doesn't want children, doesn't mean she won't ever become a Grandparent! She then decides to plead to Mick to speak to their daughter, considering that Nancy has always been a "Daddy's Girl" - she might listen to what he has to say. Even though Mick agrees to speak to her, he makes to point out that he can't make any promises on her changing her mind, but he also mentions that he wants Linda to promise not to give Nancy any more agro, to which she reluctantly agrees to.

Later as Mick and Nancy are enjoying a drink together, Mick opens up to his daughter, claiming that he wants Nancy and Frankie to get along - even though I personally thought that they were, did you guys feel the same or have I missed something? Of course learning she had a half-sister must've been hard for Nancy, but since she's returned she seems to have been nice to Frankie, even acknowledging that Frankie isn't to blame for what happened to her Dad, technically they are both victims by the same woman. However, as the conversation carries on, he pleads his daughter to give her Mum one last chance. I also do have to admit that I love the fact that Mick mentioned that he's the only male living with a family of female's and, in all honestly he can't be living with all the emotion and hormones flying everywhere - typical man really isn't he?! But to keep the piece Nancy agrees to give her Mum one final chance, however whilst they're having this conversation - back at home, Linda appears to have called up the clinic portraying as Nancy - I have a horrible feeling that Linda is going to do something she really shouldn't! Is she going to jeopardise her relationship with her daughter?! (I know the majority of you have already seen Tuesday's episode, but I'm leaving that for tomorrow!)

--

Finally the last thing I have to mention of course is Ballum! After trying to approach Whitney and try and be the supportive friend, Whitney still wants nothing to do with Callum. In her mind, he is marrying the person who basically killed her fiancé! (Deep down in my stomach I am screaming that she's got it all wrong!) Whitney claims that Callum needs to know who he's marrying and once he knows the truth, will he still go through with the wedding? Recalling about their own wedding, she claims that keeping secrets is the worst thing to do before getting married. Even though Callum tries to stick up for Ben claiming that he knows exactly who he is, it looks as if Whitney's words begin to play on his mind.

Later as Callum returns home, Ben appears to be heading out, eager to find out where he's going Callum questions his fiancé's plans, but the only piece of information that Ben will give him is that he has a meeting. He's not telling him where and not telling him with who, which of course makes Callum speculate even more that perhaps Whitney could be right?!

But unbeknown to Callum, Ben actually has a wonderful surprise in store for his fiancé. Both he and Stuart are seen preparing to meet someone, dressed in their fine clobber Stuart marks Ben 6 out of 10 for his efforts! Ben is looking nervous and it seems that the reason why soon bursts through the door of the cafe. The arrival of Stuart and Callum's Nan - Violet Highway! It made me giggle when she mistook Ben for someone who actually worked at the Cafe, bless poor Stuart had to remind his old Nan that Ben is actually the one marrying Callum. My first impression of Violet is that she seems friendly, very quirky and seems to be open-minded about her Grandson being homosexual, Ben also seems to have made a good impression on his Nan.

But as Ben attempts to surprise his fiancé' by bringing his Nan back home, Callum catches him completely off guard and questions him straight on whether had had anything to do with Kush's death. To be honest the look on Ben's face looks disappointed and completely heartbroken, he's completely stunned that he's even been asked that question. As the silence between them is immense, Violet pops her head around the door, acknowledging her Grandson. Of course, poor Callum realises his horrendous mistake and is absolutely mortified to even speculate that Ben would've been involved in Kush's death. Ben looks across the room at Callum with really hard-hitting disappointed eyes, to be honest, at this moment I really felt sorry for him.

Even though Callum is thrilled to see his Nan, it's clear that the tension between Callum and Ben becomes slightly obvious, as Violet asks whether there's trouble in paradise already. As Stuart realises that Ben and Callum need space, he suggests that he gives his Nan a tour of Walford. At this moment Ben is deeply hurt by Callum's doubts about him. He even reassures Callum that since he's been a part of his life, he has completely changed his ways, and he's gone through so many lengths to prove himself to him, mentioning that he's wanted to have a completely clean slate with him.

But then, as Callum realises that Ben is being truthful, he knows that he's going to have tell him some truths if they're going to get married. I didn't see this coming to be honest but it did have me worried - Callum admits that the slate isn't as clean as Ben might think it is. As Ben looks up in confusion, Callum begins to explain that he lied about being undercover a while back. Ben's face drops as he takes in everything his fiancé' is saying. Callum tries to defend himself claiming that he never had a choice and he only did it to protect Ben, but DI Thompson wasn't target, and in actual fact - it was Phil! The pure look of shock on Ben's face says it all really doesn't it?!

I do feel for Callum, but I do hope that Ben will be able to understand Callum's actions. Will he understand that Callum was in a way being blackmailed to do it? DI Thompson was really the ones out to get them, plus Callum went back on it all, didn't he? He did change his mind! I know guys might've seen it already, but I'm really looking forward to seeing the next episode - will Ballum survive and be able to pull through this?!

So before I end this blog post, I have to mention that EastEnders have announced that Harry Redknapp is going to have a cameo appearance in the soap! I have to be honest, I don't know how I feel about this news, I personally think it's a bit silly, but then again it might be pretty good? It is just for a small cameo role and as far as I know, he will be playing himself - although I've not seen anything mentioned otherwise. His appearance will happen during the European Championships in the summer. How do you guys feel about this celebrity appearance? I'm intrigued to hear your thoughts on this one! Maybe it won't be too bad? I guess we'll have to wait and see!

Thank you all for reading! I am so happy to be back, I'll be back again tomorrow following Tuesday's episode! Enjoy the rest of your evening folks! Love you all xXx

[saleintothe90s]

427. Super Bowl 1991 Commercials (1/27/1991)

(I love that this carefree ad ran in the WE’RE AT WAR issue of my local paper, Daily Press, ten days before the Super Bowl):

I believe my mom would save the papers from the war, and send them to my dad who was out to sea at the time. That’s the only reason why we still have this copy that’s in my collection right now (I took this pic back in 2017 when I re-found it). 

So, anyway, just like 30 years ago, Super Bowl 2021 is being held during an uncertain time in the country, and just like in 1991, advertisers were hesitant. Diet Pepsi pulled a “call this number for your chance at a million dollars” ad days before the game, citing “world events”, and the fear of “Disrupting our nation’s ability to communicate” 1: 

New York Times on wartime Super Bowl coverage the following day: 

Even the commercials were affected by events in the Gulf. In most Super Bowl telecasts, the messages are slick and expensive. This year's batch was somewhat toned down because of the war, most notably the ads of Coke and Pepsi, which abandoned ambitious promotions and made sure the viewer knew it. (And didn't Pepsi have to love that halftime shot of a soldier drinking its product while watching the game in Saudi Arabia?) 2

(source) 

Before we get started, I have to mention Whitney Houston’s Star Spangled Banner from that year. Every Monday morning in elementary school, we had to stand for the Star Spangled Banner along with the Pledge of Allegiance. For weeks after the game, we always stood for the Whitney version. I always refer to this Super Bowl as the “Whitney Houston Super Bowl”.

Ok, now to the “subdued” (?) commercials, beginning here: 

Look, I know that Jay from the Purple Stuff Podcast said he loved this commercial in the Super Bowl Commercials episode, but I think this Bugle Boy commercial with the GoGos is so lame. I mean, I’m going to say it, were the GoGos still relevant in 1991? Was Bugle Boy clothes still a thing in 1991? 

Are picture-in picture TVs still a thing?!

Bud Bowl 3 with Bud Dry this year! I predict Bud Light will win this year.

At 4 minutes in, Advertising History happens. Yes, it’s the Ray Charles Diet Pepsi UH-HUH commercial! I was seven when this aired, so this was one of the first big commercial campaigns I really remembered. I have this strange memory of seeing a TV interview with the Uh-Huh girls (Meilani Paul, Darlene Dillinger and Gretchen Palmer) , and they said they were coming out with an album soon, and little me was like, “I’m going to buy that album”. It never came out. 

Ray made an appearance on Pepsi cans in 2018. I never got my hands on the Ray can, I always got Britney or MJ when I got a pack of Diet Pepsi that Summer. 

I’ve been meaning to watch the John Goodman critical flop King Ralph for months now. 

Is wielding around a giant bottle opener legal at the Bud Bowl?

Part 2 starts with an upset at the Bud Bowl -- Bud Light hid the football in his label? what? So many questions with the commercials this year. 

Peter Jennings updates us during the commercial break about the war. The Air Force was using smart bombs to disturb the oil flow into the Gulf, started by the Iraqis.  It was 3am and quiet in Saudi Arabia. 

Earlier, I mentioned that I was just a little kid when this was going on, and I don’t remember much. However, I do remember thinking “Iraq” was spelled “Arrack”, until I saw the word “Iraq” in a newspaper headline. 

Peter will be back at halftime for another update. Yup, you heard me, no halftime show was broadcast that year. If you were at the stadium in Tampa that year you saw the show with the New Kids on the Block and an “all kids Super Bowl”, but if you were watching it on TV, you got the news, and maybe after the premiere of Davis Rules after the game, you saw the show, pretaped, but most people didn’t see the show. There’s a great video by Secret Base about the “worst halftime show ever”. Peter Jennings was “the Beyonce of 1991″. It looks like from Secret Base’s video that we didn’t miss anything. i mean a small bowl-cut haired boy sang “Wind Beneath My Wings”, which I’ve mentioned before, is the saddest song ever: 

(that little kid has major hair roots)

 The original World Football League only lasted two years.   I found an early game on YouTube.

McDonalds thought that neon clad skiers could sell its steak sandwich with onions, mushrooms, and sauce that looks little McRib-y.

Here is a Harlem Globetrotter dancing with Miss Piggy. 

Karl Malone had some jazzy LAGears.  Did you know that there are some LAGears on the Payless Shoes website? 

I have more questions, what is that popping out of that Panasonic TV? A remote control? Way back in the beginning of this website, I asked another question about a Panasonic Commercial that aired this evening.

 Bud Bowl update at the end of part 2: 

Part 3

Oh, give me a break with this elementary school garbage, Hertz. This is the Super Bowl.

All the goodwill I gave the Ray Charles Diet Pepsi commercial is out the door after hearing Jerry Lewis sing murder the song. 

A 40 oz of Budweiser crushed and murdered some Bud Light bottles. Game’s tied.

Part 4

~the new Panasonic portable laptop word processor~ Nope, this wasn’t a computer, it just handled word processing. 

Eriq La Salle played an olympian in a Budweiser commercial. ~America~

Ok, Boomer. But seriously, l’m 37, and I still want Reebok Pumps. 

Diet Coke dumped their Leslie Nielsen commercial, and instead ran a commercial stating why they didn’t feel right airing it? I don’t think this commercial would hurt anybody’s feelings or offend anybody, Diet Coke. In 1994, The New York Times mentioned it as an ad fail: 

In 1991 the Persian Gulf War overshadowed the cola wars, forcing Coca-Cola and Pepsi-Cola to reassess plans to promote contests with humorous commercials.

Coca-Cola went ahead with its contest, but replaced its silly spots, starring Leslie Nielsen as a bumbling police detective, with serious spots, including one announcing a $1 million donation to the U.S.O. There have been few more surreal moments in advertising history than when a somber-voiced announcer in a no-frills Diet Coke commercial asked consumers to play the "Crack the Code for Real Refreshment" game.

Pepsi, by contrast, scrapped its contest but stuck with its funny commercials, featuring Ray Charles warbling "You got the right one baby, uh-huh!" for Diet Pepsi. The result: Diet Pepsi trounced Diet Coke -- and Coca-Cola has yet to return to the Super Bowl. 3

A sense of relief washed over me when I saw my bbys, Jon Lovitz and Dana Carvey in an American Express commercial.

Jon couldn’t shop at Needless Markup. 

Budweiser is cheating again. 

(part 5)

Bud Light won fair and square!

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1. “Pepsi Promotion Fizzles Out.” Broadcasting, January 28, 1991. 26. https://worldradiohistory.com/Archive-BC/BC-1991/BC-1991-01-28.pdf 

2. Lapointe, Joe. “SUPER BOWL XXV: TELEVISION; ABC’s Coverage Stays in Perspective.” The New York Times, January 28, 1991, sec. Sports. https://www.nytimes.com/1991/01/28/sports/super-bowl-xxv-television-abc-s-coverage-stays-in-perspective.html.

3. Elliott, Stuart. “Super Triumphs and Super Flops.” The New York Times, January 30, 1994, sec. Business. https://www.nytimes.com/1994/01/30/business/super-triumphs-and-super-flops.html.

[themagicalmysticalboy]

Uhm i'm angsty type sooo if you feel like writing John and Paul/platonic with -- i know it hurts now. but it gets better. with time. the pain gets a little less until it's more of an ache rather than some big overwhelming lump in your throat -- and number 17 -- you'll make me very happy 😁 also i'm a big fan of your fic I Want To Tell You. you rock, girl ✌🏻😉

Request: John/Paul, platonic, for one muse to stay the night with the other to keep them from hurting themselves. “I know it hurts now. but it gets better. with time. the pain gets a little less until it’s more of an ache rather than some big overwhelming lump in your throat.”

tw: death discussed, suicidal ideation

a/n: Okay, just for you, anon lol. Also!!! I’m glad you’re enjoying I Want to Tell You. Lowkey doing this as a form of procrastination... 

Paul would be lying if he said the events of tonight were unexpected. Well, night is a strong word. The sun would be rising soon but the world was still plunged in darkness when the phone call came. He answered on the first ring, as he had already been up long enough to make a cup of tea.

The line was silent.

“John?”

Still, there was only silence.

“You there?”

Finally a sharp, nasally, inhale came through. Paul waited patiently for a response, taking a sip of his tea. “Why are you up?” His voice sounded hoarse and sticky.

“Couldn’t sleep so I made tea.” He didn’t bother asking why John was awake. The answer was obvious. “Have you got yourself any sleep?”

“Why can’t you sleep?” The question came across as quipped and bitter.

Paul set back in his chair, his brow furrowed. “Same as you, ‘suppose. It’s been a rough couple weeks.” His mind drew back to Stuart’s funeral and his eyes shut tight for a moment.

“Aye, well it’s not like you actually cared for Stu at all.” His words were slurred with, what Paul presumed was, drink. “So what's the loss of sleep for, huh? For me, is it? Or for guilt?” Acid-like resentment poured from John’s tongue.

His body went tense and he slowly sat his tea to the side. He took a moment to gather his composure. John was grief-stricken, looking for an out. Paul just so happened to be the one to take the lashing. “Where’s Cyn? She’s there with you?”

“I hope you feel like shit- more shit than me, even. You deserve to, anyroad.” The gulp of alcohol was wholly audible as he paused. “I should have died.” His words were strained with the sting of his drink. “I should be- not him. I’ve got nothing to offer the world. Just worthless.”

Paul’s stomach dropped and fear rose in its place. “You’re not worthless, not at all. You have just as much right to be alive as anyone.”

“You’re wrong, though.”

Panic was building in his chest. He didn’t want John to do anything he might regret in his drunken stupor. “John, where is Cynthia?”

“Told her to piss off.”

“John- I- I’m coming over.”

He hung up before John could come at him with some snarky reply. 

With as much haste as possible, he shoved his feet in his shoes. Grabbing his coat and keys, he was out the door.

The car whipped through the empty streets. He blew a couple lights. The ride felt too long and too fast all at once. He had no idea what he’d say or do once he was there but he wanted to do something. He wasn’t wholly convinced John would try to off himself or anything but he wouldn’t be surprised if he edged on alcohol poisoning. 

Once the car came to a stop in the drive, Paul made his way to the door. He didn’t bother knocking, letting himself in with his own key. As he strode into the house, he called out for John.

The clank of a bottle hitting the counter radiated from the kitchen. Paul huffed out a sigh, forcing himself to walk much slower as he entered the dimly lit room. John was standing surprisingly straight for having a half drained bottle of something dark in his hand.

“What-” He hiccuped, “do you want?”

“Y’know, you did call me first, yeah?”

“Don’t remember extending an invite.” His eyes were glossy but somehow still zeroed in on Paul.

“You’re well on your way to drinking yourself sick, love.”

John rolled his eyes, his body like water as he hauled himself off the counter, bottle still in hand. He was moving head on into a wall so Paul hurried to cross the kitchen, reaching out for John. With narrowed eyes, John grabbed his wrist, pulling them both into the wall. They hit with a resounding thud, staying hunched against the wall. Neither budged from their apparent staring contest.

Both their heavy breathing slowed and John’s eyes softened, quickly filling with tears. Paul took it as a sign as slowly slipped the bottle from John’s grip. As soon as the bottle was out of his grip, he let out a cry, sinking to the floor with his back to the wall. 

Paul placed the bottle on the counter before joining him on the cold tile.

“It hurts so goddamn much,” he sobbed, curling in on himself.

Anxious not to screw it up, Paul chewed at his lip. He threw an arm over John’s shoulder and pulled him closer. “I know it hurts now. But it gets better, with time. The pain gets a little less until it’s more of an ache rather than some big overwhelming lump in your throat.”

John’s shoulders shook as he cried and Paul only held him tighter. “Will you stay with me?”

Paul glanced between John and the bottle. It was definitely in John’s best interest to stay. “Sure, mate.”

[victorianwhitechapel]

Mary Ann Nichols timeline

1845 – Mary Ann “Polly” Walker is born at Dawes Court, Shoe Lane, City of London (London) to Edward and Caroline Walker (August 26). 

1851 – She is christened. 

1852 – Her mother Caroline dies, Polly is around 7. 

1864 – Mary Ann marries printer’s machinist William Nichols at Saint Bride's Parish Church in Fleet Street, London (January 16). 

1864 – Polly and William's first son, William Edward, is born (December 17). 

1866 – Polly and William’s first son, William Edward, dies in his infancy. 

1866 – Polly and William’s second son, Edward John, is born (July 4). 

1868 – Polly and William’s third son, Percy George, is born (July 18). 

1868 – Polly and William's children get christened on the same day at St Peter, Walworth (August 9). 

1870 – Polly and William’s fourth child, daughter Alice Esther, is born (December). 

1874 – The family moves to the Peabody buildings, Stamford St, Blackfriars Rd, Lambeth (South London). 

1876 – Polly and William’s fifth child, second daughter, Eliza Sarah, is born (December). 

1878 – Polly and William’s sixth child, son Henry Alfred, is born (December 4).

Ca. 1880/81 – Polly and William separate and he gets the custody of the children, except the oldest, who leaves home. 

1880 – Polly enters the Lambeth workhouse (September 6). 

1881 – Polly leaves the Lambeth workhouse (May 31). 

1882 – William stops paying Polly's allowance of 5 shillings a week when he knows she's living “as a prostitute” (with another man). Polly went to Lambeth Parish who summonsed William for restoration of maintenance but he won the case. 

1882 – Polly stays at Lambeth workhouse (April 24 1882, to January 17 1883).

1883 – Polly stays at Lambeth Infirmary (January 18 to 20). 

1883 – Polly stays at Lambeth workhouse (January 21 to March 24). 

1883 – Henry Alfred, Polly and William’s son, is baptised as his son with his lover Rosetta Walls. 

1883 – Polly lives with her father Edward at Camberwell, London borough of Southwark, south London (March 24 to May 21). 

1883 – Polly stays at Lambeth workhouse (May 21 to June 2). 

1883 – Polly goes to live with blacksmith Thomas Stuart Dew. 

1886 – She attends the funeral of her brother, who had died in an explosion of a paraffin lamp. 

1887 – Polly and Thomas Stuart Dew split, she stays at St Giles Workhouse, Endell Street, West End (October 25). 

1887 – Polly stays at Strand workhouse, Edmonton, North London in the London Borough of Enfield (October 26 to December 2). 

1887 – She is caught sleeping rough in Trafalgar Square and sent to Lambeth workhouse (December 2 to 29). 

1888 – Polly stays at Mitcham Workhouse and Holborn Infirmary, Holborn (January 4 to April 16). 

1888 – She stays at Lambeth workhouse (April 16 to May 12). 

1888 – Polly takes a position as a domestic servant with the Cowdrys at Rose Hill Rd, Wandsworth (May 12 to ca. June/July). 

1888 – Polly stays at Gray’s Inn Temporary workhouse (August 1 and 2). 

1888 – She goes at Wilmot Lodging house at 18 Thrawl street, Spitalfields (August 2 to 30). 

1888 – Polly is seen at Whitechapel Road and the Frying Pan Public House before returning to Wilmot's. As she doesn’t have the doss money to pay for the bed, she is requested to leave (August 31). 

1888 – Polly meets fellow lodger Emily Holland, who asks her to come back to the lodging house with her. Polly refuses and goes down Whitechapel Road (August 31). 

1888 – Polly's murdered body is found by Charles Cross and Robert Paul at Buck's Row. She was 43 (August 31).

Your life was difficult and cut short. You were free at last... 🌼