#bett gloria

[rhera]

[ Know, then, this veil is a type and a symbol, and I am bound to wear it ever, both in light and darkness, in solitude and before the gaze of multitudes, and as with strangers, so with my familiar friends.

No mortal eye will see it withdrawn. This dismal shade must separate me from the world: ... ] — The Minister's Black Veil

Senso (1954) Inglourious Basterds (2009) Double Indemnity (1944) Anna Karenina (2012) Moulin Rouge! (2001) Sunset Boulevard (1950) Tess (1979) Ludwig (1973) Now, Voyager (1942) Chinatown (1974)

[matratzen-universum]

Elegant und komfortabel – das Bett Gloria

Erleben Sie mit diesem stylischen Bett Gloria viele gemütliche Stunden. Sein geradliniges Design und sein gepolstertes Kopfteil in Wabensteppung mit umlaufenden Stehsaum verleiht ihm sein ganz besonderer Charakter.

Der schlichte Bettrahmen in Kombination mit dem aufwendig gestalteten Kopfteil gibt dem Polsterbett Gloria eine extravagante Moderne. Der Kopfteilrücken ist im Echtbezug verarbeitet und bietet Ihnen die Möglichkeit, das Bett frei im Raum aufzustellen.

Die Leichtigkeit in der Optik erzeugen die filigranen Metallfüsse in der Farbe anthrazit, sowie der stilvolle Bezug aus Flachgewebe in Pepe grey.

Ein komfortabler Ein- und Ausstieg ist durch die gerundeten Bettoberkanten in der Höhe von 43 cm gewährleistet. Bei Bedarf können Sie die Einlegetiefe von Lattenrost und Matratze 4-fach einstellen, somit ist das Bett auch für höhere Matratzen und Lattenroste perfekt geeignet.

[hotvintagepoll]

Propaganda

Bette Davis (All About Eve, Now Voyager, Jezebel)—She is a bitch and I like her so much. Also: unf. She does it all: rage, vulnerability, romantic passion, hauteur that invites beholders to say "step on me" under their breath. Her work in the 1930s, from melodramas to romantic comedies, is excellent, but I've mentioned 1940s films above because I feel that she really was at her best once the studio allowed her star image to get edgier. Also her decades-long platonic friendships with male co-stars (e.g. Paul Henreid, Claude Rains) are very important to me. Anyway: bow down before Bette Davis, HBIC.

Gloria Swanson (Don't Change Your Husband, Queen Kelly, Sadie Thompson, Sunset Boulevard)—the absolute BALLS this woman had! an icon of the 1920s, her career had simmered down, decent living in radio, deciding you know what? you know what i'll do? I'll star as the haggard old aging decrepit horror icon in Sunset Boulevard, that's what I'll do. Nobody else in Hollywood would take the part (every other actress didn't want to be framed as a has-been)—gloria said, fuck that, I'll eat this role alive and serve cunt the whole time. she was still so gorgeous when they made Sunset Boulevard they had to intentionally make her up/costume her to make her look older than she was. mad respect for the screen legend who says yeah, i am a screen legend, i was always that bitch and here I am again to prove it

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Bette Davis:

"The absolute GOAT of vintage cinema. An icon. Her EYES. Any time you see Bette on screen you know she's about to steal the spotlight. Her range is incredible, she can play coy, shy, mischevious, innocent, evil, hideous, beautiful, cunning, and wise all with the same self assurance and talent. I live in awe of her ability. And, of course, she's gorgeous. I think she peaked in 1950 with "All About Eve", at the age of 42- she was in full control of her craft, she's a milf, and her scratchy voice makes me nervous in a good way."

"She’s Bette fuckin’ Davis! She had a great sense of humor and a lovely pair of eyes! She was a camp icon and fuckin’ knew it. And she wasn’t afraid to make fun of herself!"

64.media.tumblr.com

"shes got a whole song of saying how hot someone is bc they look like her"

"She's got Bette Davis eyes! Incredible character actress, charming, witty as all hell. Her favourite accessory was a lit cigarette."

Gloria Swanson:

She was THE idea of a 1920s sex comedy star, and was a hot (and totally unhinged) older woman in Sunset Boulevard. Hot as a young woman and as an older woman? Yes plz

I feel like she would slay in alternative fashion

her performance as Norma Desmond in sunset boulevard makes me insane. I love her

[s0uvlakii]

the eyes of the old hollywood ladies

[warningsine]

GIRLS5EVA • Summer Dutkowsky

[dancyrilkingston]

Polish film posters for Sunset Boulevard and All About Eve

[velvet4510]

IMPORTANT NOTES: So sorry I had to abbreviate Brando’s amazing On the Waterfront line on the third option - these darn poll entries have a word limit. The full line is this: “You don’t understand! I coulda had class! I coulda been a contender! I coulda been somebody, instead of a bum, which is what I am.”

The penultimate option is from All About Eve.

The final option is from Taxi Driver.

[erstwhile-punk-guerito]

[bargainsleuthbooks]

Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears by Michael Shulman #NewBooks #AcademyAwards

Just in time for this year's Academy Awards is a recollection of key times in the Academy's history. #OscarWars #AHistoryofhollywoodsweatandtears by #MichaelShulman #AcademyAward #newbooks #Oscars #Hollywood #actors #actresses #Bookreview #audiobook

America does not have royalty. It has the Academy Awards. For nine decades, perfectly coiffed starlets, debonair leading men, and producers with gold in their eyes have chased the elusive Oscar. What began as an industry banquet in 1929 has now exploded into a hallowed ceremony, complete with red carpets, envelopes, and little gold men. But don’t be fooled by the pomp: the Oscars, more than…

[notesfromachair]

Pre Oscar Buzz

The Oscars will be held this coming weekend and it’s time for some random observations. #1 – CHRIS ROCK AND THE WILL SMITH OSCAR SLAP ONE YEAR LATER Well, we finally got our complete response from Chris Rock and it did not disappoint. It was broadcast Saturday night on his live Netflix comedy special, Selective Outrage. If you did not tune in, just know the entire set is great – smart, candid…

[voluptuarian]

another thing that's weird about adults who make an identity out of reading children's books is what they hold up as representative of the values they find in YA/young reader's fiction. They typically bring up wish fulfillment fantasy, morals and clear cut lessons, adventure stories with mild peril, strong centering on friendship and found family, and stories that make them "feel good" and are extremely light on genuinely challenging themes or ethically dubious situations.

Meanwhile when I was neck-deep in YA as a kid in the 90s and early 2000s this was the kind of stuff I was reading, other kids were reading, and that was winning awards, being highlighted on shelves and recommended by librarians:

Hatchet by Gary Paulsen, in which a teenage boy survives a plane crash and is stranded in the Canadian wilderness and forced to survive on his own for months. He is ultimately rescued but is permanently altered by the experience. His navigating the drama of (I believe either currently separating or recently divorced) parents is also a major plot element.

Virtual War by Gloria Skurzynski, where real-life wars have been eradicated and instead are fought virtually, (inspired, if I remember correctly, by the disastrous results of a previous nuclear conflict) by specially chosen champions who are trained in combat strategy from childhood. Throughout, the three child champions are forced to question and push back against what the government has told them is the truth as well as against their own prejudices, including toward one of their own who is considered a "mutant" due to his dwarfism; it also details the grueling hours-long "war" in which the kids watch thousands of little 3D soldiers get blown up and dismembered and leaves them feeling genuine guilt for participating in.

Julie of the Wolves by Jean Craighead George, which focuses on a teenage Inuit girl who is orphaned, forced into marriage and sexually assaulted, then runs away and ends up lost in the Arctic and survives by befriending and living with a pack of wolves.

Out of the Dust by Karen Hesse, in which the heroine lives with her parents on a failing farm as the Dust Bowl is beginning, accidentally sets her pregnant mother on fire resulting in her mother's lingering death and the death of her baby, and the girl herself being permanently maimed, after which she and her father become estranged and she eventually tries to run away.

Summer of My German Soldier by Bette Greene, which follows a young Jewish American girl on the WWII homefront who befriends (and falls in love with) a German POW, and when he escapes, hides him in her home for months; eventually the prisoner is caught and killed and the girl is sent to prison after being ostracized from the community and disowned by her parents.

The Ramsey Scallop by Francis Temple, where the heroine, engaged since childhood to her current fiance, is sent on a pilgrimage with him as way of working out his trauma from serving in the crusades. Neither of them feels ready to get married and the fiance is dubious about doing much living at all, but they're able to get to know each other and build trust on the road. It's been ages since I read it but I'm pretty sure there's a scene where a hot single guy who helps patch up an injury she sustained then offers to have sex with her, which she decides to turn down.

Music of the Dolphins by Karen Hesse, where a feral child who has been raised by a pod of dolphins is rescued and taken to a center for rehabilitation. The whole thing follows her progress at understanding to how to be human, and eventually her decision to reject it all and go back to her dolphin family.

The Last Book In the Universe by Rodman Philbrick, whose hero is a teenage orphan living in a purposely abandoned dystopia, ostracized by his community for being epileptic, whose only friends are an old man who is the last literate person in the community and a monosyllabic feral child. The split between the have-nots and the haves, who live in sheltered futuristic cities, and discussion of privilege (one of the main characters is a girl from the cities who comes out to do charity work in the dystopian district) are major themes, and violence is a regular occurrence, including toward the finale when the boy's mentor is murdered by a mob while he watches.

(And of course there's Among the Hidden and its sequels by Margaret Peterson Haddix which I never read, but my sister did, and I know at some point a whole bunch of child characters are massacred by the government because it upset my sister so badly she cried.)

And I couldn't forget The Dear America series, which includes:

character who is finishing high school as the Vietnam War begins and watches her social circle split nastily over the issue, lives through classmates and friends getting drafted, and ends up working at a hospital as volunteer where she is assigned to help disabled veterans

character whose mother (and I think siblings), as well as numerous fellow travelers die while traveling alongside her on the Oregon Trail, and later accidentally poisons to death several of her friends after picking a look-alike plant for their dinner; only one survives, who she eventually marries

character who is kidnapped by a local native tribe and eventually adopted, then marries a fellow captive, only for him and other friends and family to be killed when the tribe is attacked by Europeans, putting her into a total crisis of identity and conflicting loyalties

character who is taken from her tribe to be put in residential school, during which she is forcefully acculturated, severely bullied by another classmate, and a childhood friend of hers is accidentally buried alive

multiple books about immigrants in the 1800 and 1900s which highlighted struggles with poverty, cultural pressures, and prejudice; one of them follows a pro-union factory worker who watches as multiple friends die in the Triangle Shirtwaist fire, and another whose father imports her to America at 13 to marry a coal miner

most of these stories emphasize the young protagonist ending up in situations were they are either on their own, or so alienated from the adults around them that they might as well be. The protagonists have to assume the adult duty of taking care of themselves, but also of thinking for themselves and making their own decisions and judgements about their lives and the world.

they are also going through big changes, often ones created by their parent's decisions, and which they frequently dislike or are straight up Bad for them. This contrasts with later, when the protagonists are able to make decisions for themselves-- often this comes through hardship and abandonment, but ultimately allows them to control their narrative going forward.

the setting and events are often harrowing, deeply unpleasant, and put the protagonist and their friends in danger of victimization by forces around them. Obviously this is exciting for kids to read, but it also allows them to see someone their age on their own, entering into Adult situations and taking on that role. It's also a break from the overtly positive or cartoonishly (but usually un-seriously) bad circumstances that dominate younger kids fiction and an introduction to the idea that life is just terrible most of the time, sometimes massively and unbelievably so. (It's going from the early childhood story of Madeline's thrilling adventures escaping forced labor in a factory, to the older kid's or YA story of seeing the protagonist work at one day after day, getting injured, having friends get sick, and then watching a girl's scalp get ripped off by the machine, something which creates not excitement but genuine horror and sympathy.) These plots also allow adolescents a chance to experience Big Emotions (like the ones they're about to fall head-first into themselves) in a stable, safe way. All of this aims to create a bridge from the juvenile reality to the genuine, adult one. Trite moral lessons are dispensed with in favor of allowing the child to go out and start thinking for themselves. And especially in stories like the Dear America books, it allows a look at things that happened in the past that we have, or should learn from, but also allows for a fuller emotional, ethical, and empathetic development.

often the introduction of sex is part of the story, from initial experiences of attraction (and the resulting self-consciousness, jealousy, etc.) but also sometimes actual sexual experience. Especially in the historical stories, marriage is also frequently part of the story-- either again, as a fantasy introduction to adult experiences, or as a realistic detail separating a child's historical experience from current ones and creating a better understanding of the hardships historical people went through.

and most include some form of rejection of prevailing authority and thought. Instead of blindly "doing what your parents tell you to" these protagonists must do what they think is practical or ethical. The boy in Hatchet cannot wait for an authority figure to guide him, he must figure out how to survive entirely on his own, while the kids in Virtual War are old enough to begin questioning the entire structure they've been raised in, and to develop empathy for figures that structure has deemed outsiders; the heroine of Music of the Dolphins decides the entire experience of being in human society is not for her, and returns to living with animals.

So these books offer harrowing circumstances, protagonists who are isolated literally or through moral or political alignment, and who must learn to live on their own and make decisions for themselves, often in defiance of prevailing attitudes. They usually emphasize finding one's place (even if that place is completely alone and unsupported), fostering understanding and sympathy with others, even with people who are considered "undesirable," who are different, or who have behaved badly to you in the past. And they frequently involve violence, budding sexuality, exploitation and abuse by authority figures/structures, and a heaping helping of death, including the deaths of beloved friends and family members. What is "feel good" and "unchallenging" about that? And like, I can't speak for what YA is bringing to the table now, but these people are overwhelmingly adults, they were reading YA at around the same time I was, I don't think it would be possible for them to have somehow missed the plethora of books with these hallmarks. So where did they get this idea that YA is some land of comfort where no complicated idea can ever reach you? Even Harry Potter is full of them, and we know they read that!

[hotvintagepoll]

can we just talk for a second about how insane the 1950 best actress oscar nominee lineup was. GLORIA SWANSON as NORMA DESMOND in SUNSET BOULEVARD! BETTE DAVIS as MARGO CHANNING in ALL ABOUT EVE! anne baxter also in all about eve! eleanor parker in the pretty fucking gay women-in-prison noir caged (also feat. agnes moorehead)! which i wish i'd remembered to propagandize about before we lost her in round 2! (per wikipedia the studio originally wanted bette davis and joan crawford for it "but Davis declined the role, suspecting it to have objectionable homosexual content.") and JUDY HOLLIDAY (also lost from us to the shadow realm already, alas) in BORN YESTERDAY, who i do not begrudge winning over the rest of this bonkers collection of talent because judy holliday is fucking wonderful

:D

Bette Davis vs Gloria Swanson

Anne Baxter vs Waheeda Rehman

Eleanor Parker vs Audrey Hepburn

Agnes Moorehead vs Chelo Alonso

RIP to Judy Holliday, good enough for the Academy but not for the hot vintage electorate & kicked from the tournament in Round 2.

[alovelywaytospendanevening]

The All About Eve vs. Sunset Boulevard Oscar match is one of the greatest ever. Both films have very clever plots and are full of strong performances. Both are still memorable. This is Hollywood and the Academy Awards at their peak.

As much as I like All About Eve (and Bette Davis), I would pick Sunset Boulevard and Gloria Swanson over them. Sunset is one of my favorite movies (and Gloria's performance is simply mesmerizing!); but at least it lost to a strong contender.

It's a pity Gloria and Bette split the Best Actress votes, causing them to lose it to Judy Holliday (!!!). Both would have easily won in a less crowded year.

Yoooo graphic design is my passion, and the 1950s have blessed me with their presence. 1950 started the decade off with two bangers - All About Eve and Sunset Boulevard.

All About Eve is not one to skip. Every member of the massive, all-star cast delivers an outstanding performance. The plot is sophisticated and sinister, with all of these little intricacies that demand your full attention. Oof! What a treat!

All About Eve also pushed back on the way people went to the theater in 1950. They forced scheduled showings with advance tickets to prevent people from entering in the middle of the film (something I was not fully aware was still happening in 1950???) Clearly this did not reduce sales with an $8+ million box office total.

Sunset Boulevard was not far behind (or ahead, rather, as it premiered 2 months earlier). Gloria Swanson's anticipated return to film brought in much publicity in larger cities, bringing in a modest box office total. The film-noir style of this one gave it a refreshing, fast pace that I was quite a fan of. It is superb melodrama, with just enough unease to make it an instant success.

At the 23rd Academy Awards, All About Eve set a new record for nominations, a record that will be tied two other times in Oscar history but never broken. Both films received a staggering number of acting nominations, with only one win between the two.

New insights for the 1950s include multiple acting nominations and a new Upset insight for higher general audience reception on Rotten Tomatoes! These two really went above and beyond.

Unofficial Review: You just can't compare the two! Goodness.

All About Eve can be found on the internet archive, and Sunset Boulevard is free on Pluto.

[peterlorrefanpage]

Let’s find Peter Lorre!

Caricature by Al Hirschfeld (1954) for the Fifth Avenue Cinema in New York City of various Hollywood actors from the first half of the 20th century.

I do believe Peter Lorre is located in the middle of the left side, below Edward G. Robinson:

Among those pictured are:

Adolphe Menjou Alec Guinness Anna Magnani Bela Lugosi Ben Turpin Bette Davis Bing Crosby Bob Hope Boris Karloff Buster Keaton Charles Boyer Charles Laughton Charlie Chaplin Chico Marx, Groucho Marx, Harpo Marx Clara Bow Clark Gable Douglas Fairbanks Edward G Robinson Erich von Stroheim Fernandel Fred Astaire Gary Cooper George Arliss Gerard Philipe Gina Lollobrigida Gloria Swanson Greta Garbo Harold Lloyd Harold Lloyd Hedy Lamarr Ingrid Bergman Jean Gabin Jean Harlow Jimmy Durante Joan Crawford John Gilbert Judy Garland Katharine Hepburn Laurence Olivier Lillian Gish and Dorothy Gish Lionel Barrymore Lon Chaney Louis Jouvet Mae West Marie Dressler Marilyn Monroe Marlene Dietrich Mary Pickford Maurice Chevalier Michel Simon Michele Morgan Mickey Mouse Mickey Rooney Myrna Loy Norma Shearer Orson Welles Peter Lorre Raimu Rita Hayworth Rudolph Valentino Shirley Temple Spencer Tracy Stan Laurel and Oliver Hardy Stepin Fetchit Theda Bara Vivien Leigh Wallace Beery Warner Oland WC Fields William Powell William S Hart

Have some more Hirschfeld - Peter Lorre caricatures:

Peter Lorre in "Crime and Punishment," drawn June 1936

Peter Lorre in "M", 4/9/33

Peter Lorre & pals in the "You'll Find Out" trade ad, 1940

[billboard-hotties-tourney]

Okay, folks, the mini-tourney is inching closer to the finals, so I'm going to give a list of the competitors in the Miss Billboard Tourney in order to give everyone a chance to submit more propaganda. The nominees are:

Lale Andersen

Marian Anderson

Signe Toly Anderson

Julie Andrews

LaVerne Andrews

Maxene Andrews

Patty Andrews

Ann-Margret

Joan Armatrading

Dorothy Ashby

Joan Baez

Pearl Bailey

Belle Baker

Josephine Baker

LaVern Baker

Florence Ballard

Brigitte Bardot

Eileen Barton

Fontella Bass

Shirley Bassey

Maggie Bell

Lola Beltran

Ivy Benson

Gladys Bentley

Jane Birkin

Cilla Black

Ronee Blakley

Teresa Brewer

Anne Briggs

Ruth Brown

Joyce Bryant

Vashti Bunyan

Kate Bush

Montserrat Caballe

Maria Callas

Blanche Calloway

Wendy Carlos

Cathy Carr

Raffaella Carra

Diahann Carroll

Karen Carpenter

June Carter Cash

Charo

Cher

Meg Christian

Gigliola Cinquetti

Petula Clark

Merry Clayton

Patsy Cline

Rosemary Clooney

Natalie Cole

Judy Collins

Alice Coltrane

Betty Comden

Barbara Cook

Rita Coolidge

Gal Costa

Ida Cox

Karen Dalton

Marie-Louise Damien

Betty Davis

Jinx Dawson

Doris Day

Blossom Dearie

Kiki Dee

Lucienne Delyle

Sandy Denny

Jackie DeShannon

Gwen Dickey

Marlene Dietrich

Marie-France Dufour

Julie Driscoll

Yvonne Elliman

Cass Elliot

Maureen Evans

Agnetha Faeltskog

Marianne Faithfull

Mimi Farina

Max Feldman

Gracie Fields

Ella Fitzgerald

Roberta Flack

Lita Ford

Connie Francis

Aretha Franklin

France Gall

Judy Garland

Crystal Gayle

Gloria Gaynor

Bobbie Gentry

Astrud Gilberto

Donna Jean Godchaux

Lesley Gore

Eydie Gorme

Margo Guryan

Sheila Guyse

Nina Hagen

Francoise Hardy

Emmylou Harris

Debbie Harry

Annie Haslam

Billie Holiday

Mary Hopkin

Lena Horne

Helen Humes

Betty Hutton

Janis Ian

Mahalia Jackson

Wanda Jackson

Etta James

Joan Jett

Bessie Jones

Etta Jones

Gloria Jones

Grace Jones

Shirley Jones

Tamiko Jones

Janis Joplin

Barbara Keith

Carole King

Eartha Kitt

Chaka Khan

Hildegard Knef

Gladys Knight

Sonja Kristina

Patti Labelle

Cleo Laine

Nicolette Larson

Daliah Lavi

Vicky Leandros

Peggy Lee

Rita Lee

Alis Lesley

Barbara Lewis

Abbey Lincoln

Melba Liston

Julie London

Darlene Love

Lulu

Anni-Frid Lyngstad

Barbara Lynn

Loretta Lynn

Vera Lynn

Siw Malmkvist

Lata Mangeshkar

Linda McCartney

Kate McGarrigle

Christie McVie

Bette Midler

Jean Millington

June Millington

Liza Minnelli

Carmen Miranda

Joni Mitchell

Liz Mitchell

Marion Montgomery

Lee Morse

Nana Mouskouri

Anne Murray

Wenche Myhre

Holly Near

Olivia Newton-John

Stevie Nicks

Nico

Laura Nyro

Virginia O’Brien

Odetta

Yoko Ono

Shirley Owens

Patti Page

Dolly Parton

Freda Payne

Michelle Phillips

Edith Piaf

Ruth Pointer

Leontyne Price

Suzi Quatro

Gertrude Rainey

Bonnie Raitt

Carline Ray

Helen Reddy

Della Reese

Martha Reeves

June Richmond

Jeannie C. Riley

Minnie Riperton

Jean Ritchie

Chita Rivera

Clara Rockmore

Linda Ronstadt

Marianne Rosenberg

Diana Ross

Anna Russell

Melanie Safka

Buffy Sainte-Marie

Samantha Sang

Pattie Santos

Hazel Scott

Doreen Shaffer

Jackie Shane

Marlena Shaw

Sandie Shaw

Dinah Shore

Judee Sill

Carly Simon

Nina Simone

Nancy Sinatra

Siouxsie Sioux

Grace Slick

Bessie Smith

Mamie Smith

Patti Smith

Ethel Smyth

Mercedes Sosa

Ronnie Spector

Dusty Springfield

Mavis Staples

Candi Staton

Barbra Streisand

Poly Styrene

Maxine Sullivan

Donna Summer

Pat Suzuki

Norma Tanega

Tammi Terrell

Sister Rosetta Tharpe

Big Mama Thornton

Mary Travers

Moe Tucker

Tina Turner

Twiggy

Bonnie Tyler

Sylvia Tyson

Sarah Vaughan

Sylvie Vartan

Mariska Veres

Akiko Wada

Claire Waldoff

Jennifer Warnes

Dee Dee Warwick

Dionne Warwick

Dinah Washington

Ethel Waters

Elisabeth Welch

Kitty Wells

Mary Wells

Juliane Werding

Tina Weymouth

Cris Williamson

Ann Wilson

Mary Wilson

Nancy Wilson

Anna Mae Winburn

Syreeta Wright

Tammy Wynette

Nan Wynn

Those in italics have five or more pieces of usable visual, written, or audio propaganda already. If you have any visuals like photos or videos, or if you have something to say in words, submit it to this blog before round one begins on June 25th!

If you don't see a name you submitted here, it's because most or all of their career was as a child/they were too young for the cutoff, their career was almost entirely after 1979, or music was something they only dabbled in and are hardly known for. There are quite a few ladies on the list whose primary career wasn't "recording artist" or "live musician," but released several albums or were in musical theater, so they've been accepted.