#it’s like mid 60s - 1970

[disco-cola]

shakin‘ all over - listen to my 60s go go girl inspired playlist here on spotify 🌼

[thefabelmans2022]

how canon do we think those little funeral booklets props are because they kinda imply connor was born in canada??

[hotvintagepoll]

Propaganda

Angela Lansbury (The Harvey Girls, The Court Jester, The Manchurian Candidate)—The babe, the myth, the legend. In her own words her early hollywood roles were "a series of venal bitches" and they were all glorious. Half of them wanted to kill you and you probably would have thanked them. She even goes toe to toe with Judy Garland in The Harvey Girls! That said, she was chronically underused and misused during this era - she was just 36 when she was cast as Elvis Presley's mother in Blue Hawaii and a few years later commented that she'd played so many 'old hags' that most people thought she was in her 60s. She thought she was "all talent, no looks" but she was the full package! Post-1970 I hope we all know what an incredibly talented and compassionate badass she was, but I feel like not enough people know her early roles as a hot (often villainous) young thing.

Angie Dickinson (Rio Bravo, Point Blank, Ocean's Eleven)—Though it could be argued that overall her career leans more to TV, during this time period she was splitting movie title credits with the very top names in the business.

This is round 1 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.]

Propaganda for Angie Dickinson:

Propaganda for Angela Lansbury:

"Angela Lansbury might not be where your mind goes first when you think of hot leading women, because she had a later career revival. But she began acting in the early 1940s after leaving London due to the Blitz. In the first couple decades of her film career she has an openness about her. She said she never really fit in with the Hollywood crowd and to me she gives off a friendly, untarnished vibe."

"Most of us know Angela Lansbury as old lady sleuth Jessica Fletcher, but it's important to know that she was smoking hot in her younger days as well as a damned fine actress. Although she didn't get lead roles until her early 40s, at 17 she was a supporting actress in films such as Gaslight (1944), National Velvet (1944), and The Picture of Dorian Grey, for which she won the Golden Globe for best supporting actress and was nominated for the Oscar. Even in her memorable performance as the manipulative mother in The Manchurian Candidate, she is listed as a supporting actress as she does not play the love interest. She was successful both on stage and screen, and won the Tony for her lead role in the musical Mame on Broadway in 1966. TL;DR While Angela Lansbury mostly played supporting roles in films before 1970, she had what it takes to be a leading actress, which we know from her success on stage and tv from the mid 60s onward"

"She looked like a princess but bit like a viper"

"Is there anything this woman couldn't do? Act in comedy and drama, sing, dance, be a wonderful human being - quite simply a true and wonderful lady."

"god she had such an incredible career all throughout her life really but as a young lady she was just as incredible as she was in her later years. enchanting voice, amazing personality, and absolutely GORGEOUS. she lamented not having the looks to play leads in romance but that idea is so batshit because look at her??? she's one of the most terrific women of all time. also she's my grandmother's favorite actress and i truly get it"

"she is the fairytale princess of my dreams in court jester"

[posttexasstressdisorder]

They killed our Jesus: A Lament for Generation Jones

Two things happened in 1980 that would ensure the iron grip of the fascist state would (first slowly, then quickly), tighten on the entirety of the nation's populace from that moment forward: Ronald fucking Reagan was installed as president, and a CIA-psyop'd Christian Nationalist shot and killed John Lennon.

Those two things are connected.

First let's look at exactly who "Generation Jones" encompasses, and specific moments in the generational timeline that defined our future. The wiki page is actually quite good. Here's an excerpt that really hits it on the head:

"The name "Generation Jones" has several connotations, including a large anonymous generation, a "keeping up with the Joneses" competitiveness and the slang word "jones" or "jonesing", meaning a yearning or craving.[17][18][19] Pontell suggests that Jonesers inherited an optimistic outlook as children in the 1960s, but were then confronted with a different reality as they entered the workforce during Reaganomics and the shift from a manufacturing to a service economy, which ushered in a long period of mass unemployment. Mortgage interest rates increased to above 12 percent in the mid-eighties,[20] making it virtually impossible to buy a house on a single income. De-industrialization arrived in full force in the mid-late 1970s and 1980s; wages would be stagnant for decades, and 401Ks replaced pensions, leaving them with a certain abiding "jonesing" quality for the more prosperous days of the past.

Generation Jones is noted for coming of age after a huge swath of their older brothers and sisters in the earlier portion of the Baby Boomer population had; thus, many note that there was a paucity of resources and privileges available to them that were seemingly abundant to older Boomers. Therefore, there is a certain level of bitterness and "jonesing" for the level of doting and affluence granted to older Boomers but denied to them.[21]"

That sets the stage, for the most part. I was four when JFK was shot on TV. I was a wide-eyed, open-eared five year old when The Beatles were on Ed Sullivan and The Supremes were on the radio. I was ten when we landed on the moon, and I wanted to be a hippie at Woodstock at eleven. "Basketball Jones" came out when I was 12...I jonesed for a telescope because SPACE and got one from that great maker of fine telescopes, KMart.

Generationally, we jonesed to be ten years older, so we could have had all the cool shit THEY had. They had The Beatles, and we had the solo Beatles, they had Hendrix, Cream, Jefferson Airplane, and we had the fucking BeeGees and disco. It's like we, as a generation, were fated to live The K-Mart Knockoff of Life, instead of the bright, shiny Brand Name One all our older brothers and sisters got.

MUSIC and SCIENCE were EVERYTHING to us as kids/teens...the Eshittification Of Music truly began in 1973, and proceeded through SynthPop Hell in the '80s. Rock and Roll heroes became hairdos with guitars. The rock heroes of the '60s were getting married and having kids and baking bread. AM Radio ceased to be something you listened to for music...it began to replace music with strident, screaming hate voices that would eventually engulf all of AM Radio 24/7/365.

We were continually thwarted most of the way from our young adulthood on, blatantly from the moments in 1980 that the vile Ronald Reagan and the core operatives of evil for the next 50 years took over, and then the moment of what I call "Our Generational Wounding", the murder of John Lennon.

Back in '66, John had inflamed all the grandpas of todays magats by saying (truthfully) that with teens, The Beatles were more popular than Jesus. Beatle hate became a Very Big Thing in Bumfuck South Texas. Record burnings, merchandise burnings, book burnings, all were commonplace. A very palpable, and very specifically "Anti-Beatle" hate got instilled in a lot of kids/teens at that point, so anything to do with the Beatles was taboo for "good people" (read Southern Baptists) to like.

That, of course, made me love them that much more, and to follow their paths from their breakup forward with 'bated breath, buying every 45 they put out, trying to save pennies up to buy their albums.

John was the radical hippie, the one who wanted peace, the one with the weirdo wife, the one who held a "Bed-In" for peace. In a very fundamental-to-our-generation way, John Lennon was OUR "Jesus".

Richard Nixon (president from '68 to '74) HATED him.

In 1971, there was a true mass consciousness that incorporated us along with our older siblings, a musical mass consciousness. I became aware of many things in 1969, specifically fall of '69, so I was experiencing all this in real-time, as it happened. When the news that The Beatles officially broke up came across the AM radiowaves in May of '70, it was A. Very. Big. Deal. Everyone watched everything they did from that point on with GREAT interest.

George put out "My Sweet Lord" and "What Is Life" (first record I ever bought), John put out "Instant Karma", "Mother", then "Power To The People", then "Imagine". Ringo put out "It Don't Come Easy", and Paul & Linda had "Uncle Albert/Admiral Halsey". EVERYBODY was a "post-breakup Beatle critic", panning Paul's very first solo 45 "Another Day", "Uncle Albert" was the followup. This band called Badfinger that sounded suspiciously like The Beatles appeared on American radio, and would make 1972 one of the final "Golden Years" of AM Rock Radio.

In 1970 we heard about this Elton John guy, by the end of '72, I was playing as many of his songs on the piano as I could figure out. My favorite album was (still is) "Madman Across The Water". When "Goodbye Yellow Brick Road" came out in '73, a very noticeable shift was occuring.

Pop became much less political. It softened. It mellowed. It grew its hair long and lived in the country, learned how to grow potatoes and play the mandolin, making Country Rock the one lasting "legacy" of our sad sub-generation. By the time I graduated HS in May of '77, it was all there was on the radio, besides....disco. Oof.

One of my first TV memories was JFK getting shot. That was the Generational Wounding of our older brothers and sisters. When Mark Chapman (a Christian nationalist who changed the words of "Imagine" to "Imagine there's no John Lennon") shot John in December of 1980, it was the 2 in the 1-2 PUNCH done to our OUR generation. The first, of course, being the installing of Reagan and the evil Evangelical influence beginning in earnest.

It also began the buildup of the "Holy War" radical right, and an utter denial and clampdown of "hippie", of "counterculture" in general began, ensuring that John's vision of world peace would never come true, at least not on their watch. They had, effectively, killed OUR Jesus, along with our chances of the kind of security our older sibs got in spades. It also marked the unholy marriage of the evangelicals and the republican apparatus.

When Reagan got elected by virtue of the vile Newt Gingrich's 'Southern Strategy', a clampdown in earnest on the very SPIRITUAL EXISTENCE of our generation's incredible want and need, our collective JONESING for world peace began. Richard Nixon had planted the seeds. Nixon hated John Lennon with a passion. After Reagan was elected, I firmly believe Chapman was "activated" and they killed John as a Christmas present to Nixon.

It was after that, when the dream of a scientific future began to die, as well. When we were in high school, SCIENCE WAS EVERYTHING, so we wanted to be some kind of scientist "when we grew up".

I dealt with four years of college, majored in Biology, and in early 1981 realized my dream of being a Forest Ranger in Yosemite or some other national park somewhere, living in a cabin, giving talks to visitors about the biology aspects of the park....all that went POOF, almost instantaneously. My degree would get me nowhere, so I left before the end of that year and started working in record stores.

I was effectively the Cusack character in the movie about record stores, but it led to a dead end. Record stores weren't all that glamorous, and yes, the pay was dogshit. I tried working in record stores for the love of the music, while trying to BE a musician in a town FILLED OVER FLOWING with musicians, but that was quickly shat on by the beginning shrieks of late-stage capitalism.

It was like working in the record stores was my trying to keep holding onto the dream, our generation's dream...John's dream of world peace (along with my dream of being a working musician) died a pitiful death by the end of 1986.

What followed was nothing but a series of Jobs I Hated, and the beginnings of the true Jonesing for the life we'd been promised, because we didn't get the raises, the pensions, the house, the car, boat and camper, none of that shit for us. A life of being a low-paid, no-insurance drub, destined to be a life-long renter, unless a financial miracle happens.

So when people ask why we (as a generation) hate Ronald Reagan so much, let's just say I'm with Bugs on this one.

[sissylittlefeather]

Bonded: Part 4

Baby What You Want Me to Do

A/N: Here is the next part to the vampire series I started last Halloween! Things are heating up as we move from 1960 to 1970 with vampire Elvis and our vampire reader. I hope you enjoy!

Need to catch up?

Part 1

Part 2

Part 3

Warnings: 18+ minors DNI, kissing, cussing, fingering, oral sex (f receiving), penetrative sex, unprotected sex, creampie, but they're vampires so also blood drinking, biting, and someone with a pretty serious illness

Word count: ~3.8k

December 1970

He prays desperately that they'll find you. You're his only hope.

Elvis paces the TV room at Graceland smoking his cigar much too quickly. What will he do if the guys can't find you? He's talked to three different vampires and they all refused to help him. Surely, once he explains, you'll do what he needs.

There's also a small part of him that just wants to know where you are, wants to see you again. He's wondered where you were so many times over the last decade and he almost broke down and looked for you on several occasions. But he was never as desperate as he is now.

He sits down on the couch and stares absentmindedly at the TVs as they play three different football games. Hopefully Sonny and the guys can find you. They have to find you.

******

You leave your job at the Moulin Rouge not long after your encounter with Elvis. People start to notice that you aren't aging. But more than that, everything there reminds you of him. So you pack up and move to Rome. You bounce around Europe for the better part of the decade and then decide you'll go home to America. By the mid ‘60s there are more soldiers, but you have no interest in living in Vietnam. Besides, you’re getting a little tired of the routine that keeps you alive. Several times you consider giving up entirely and letting yourself fade, but there’s always a reason to keep going, even if it’s just that you have to go to work the next day.

You watch Elvis's career from afar, see every single one of his movies, and cry when you watch the Special in ‘68. That's when you go home, settling in Las Vegas to become a showgirl. There is a steady stream of male tourists and, if you’re being honest, the vague chance that you might run into Elvis. In a way, you’re happy, despite living alone. After Paris, you stop looking for others like you and learn to be content to live in isolation. Even after all these years, the only one you really want is him.

You get invited to one of his parties once by some guy who is trying to show off, but you bail at the last second, scared of how he might react to seeing you again. He’s married with a child, why would he want to reconnect with the woman who ruined his life? Still, his life doesn't seem ruined when you read what the papers have to say about his grand return to the stage. You're happy he’s happy and you make that be enough.

******

Elvis walks upstairs to Lisa Marie’s room and stands in the doorway for a little while just watching the scene in front of him. His little girl lays in the bed asleep as the nurse sits beside her waiting for the next coughing fit.

“How is she?” He whispers and the nurse looks up at him.

“Not any better. The doctor is worried that the whooping cough will turn to pneumonia. If that happens-”

“It won't.” He can't entertain that possibility in his mind. She's already too sick. He walks over to the bed and kneels down beside it, looking at his toddler daughter struggling to breathe on the pillow. She's not even 3 years old. “I won't let it happen.”

“Mr. Presley, I know it's hard to think about, but she's not responding to the antibiotics. You need to-” He turns to her with his eyes burning and cruel. It's easy to forget he's a vampire until he looks like this. The nurse doesn't know, of course, but she's filled with an icy cold terror anyway.

“I've already fired three nurses for talking like this. Do you want to be next?” He spits it at her and she shakes her head vehemently.

“N-no sir. I'm sorry.” She shrinks like a mouse in front of a violent predator. Elvis glares at her, nostrils flaring, and seriously considers draining her dry. He hasn't fed in days and he feels his fangs descend just thinking about it. Shaking his head a little, he turns back to face the bed and takes a deep breath to get rid of his fangs.

“You just do your job. Leave the rest to me.” He lifts Lisa Marie’s hand to his lips and kisses it gently. “My baby will be just fine.”

The nurse nods as he stands up and walks to the doorway, pausing to look back at the bed.

“She will be fine.” He has to find you before it's too late.

******

You read in the papers that Elvis is back in Vegas at the end of January 1971. Every time you find out he's there, your heart skips and you try not to pray that this is the time you run into him. You attempt to go about your business as usual and ignore the strange pull you feel to reach out to him.

It takes every amount of threatening from the Colonel to get Elvis to go back to Vegas while Lisa Marie is sick. Her whooping cough does turn into pneumonia and she just seems to get worse with each passing day. Elvis has her moved to a hospital in Vegas so he can be with her any time he's not on stage.

In the meantime, the men he's sent to search for you continue to come up empty handed. Nobody at the Moulin Rouge knows where you are and none of their other leads go anywhere. Mary hasn't spoken with you since the day Elvis was turned. And even though they find Anya back home in Russia, she doesn't know where you are either. Last she heard, you were going back to America, but she wasn't sure where you'd gone.

Elvis breaks almost every knick knack in his Vegas suite flying into fits of rage over their incompetence. He could've told them you were in America. There's a strange feeling in him that tells him you're close by, he's just not sure where.

So when he sees you one day crossing the street in front of him on his way to the hospital, he almost doesn't believe it's you. But he'd recognize you anywhere, even with his eyes closed. For some reason, his extreme senses pick up on you better than anything he's ever experienced. He can smell you and hear you despite the bustling city around him.

Without warning, he unlocks the door and hops out of the car, ignoring the pleas from his bodyguards. He's stronger than all of them combined, so they don't even attempt to hold him back as he runs across the street to you.

You feel him before you see him, his scent almost overwhelming you. Your eyes close and you stop dead in your tracks as he comes up behind you.

“Y/n…”

“Elvis.” You turn to him, opening your eyes slowly. For a second, you both just stare at each other.

“I need you.” You're not sure what you were expecting to come out of his mouth, but it wasn't that.

“You… need me?”

“Yes. Please. Come with me.” You're on your way to work, but you don't think twice.

“Okay.” He leads you back through traffic to his car where it's parked as his bodyguards wait for him to come back. Sonny stands there, not sure what to think about the kind of woman that makes Elvis Presley jump out of a moving car.

“What the hell, boss?” Elvis just shakes his head.

“I told you she was close, man.” Sonny's mouth pops open.

“Is that… she's… that's her?” Elvis nods as he opens the door for you to slide into the backseat.

“That's her.” He slides into the seat beside you and slams the car door. You can't get over how good he looks in his velvet jacket. His hair is a lot longer than the last time you saw him, but he's just as handsome as he's ever been.

“Elvis…”

“I need your help. I've been looking for you.” Your body is screaming for you to pull him close to you, but you try to ignore the instinct.

“For me? Why?”

“You'll see.” You ride in silence, not sure what to say to the man you've loved for over a decade when you haven't seen him in just as long. When the car pulls up in front of the hospital, you really start to wonder what he wants with you. “Don't say anything to the press.”

He doesn't give you time to ask any questions before getting out of the car and running to your side to help you out.

“Elvis, what-?”

“Just come with me.” He puts his hand on the small of your back, sending shivers through both of you, and leads you past the paparazzi and through the hospital to Lisa Marie's room. At the door he turns to you with a strange look of desperation on his face. His distress is almost palpable. “I need your help with this.”

He pushes the door open and guides you into the room. When you see the little girl in the bed, oxygen pumping and monitors beeping, your hand goes to your mouth.

“This is my daughter, Lisa Marie. She has pneumonia and it's not responding to the medication.” Your eyes fill with tears, his sadness overwhelming you.

“What do you need from me?” He hesitates for a second and then decides he has nothing to lose.

“I need you to help me turn her into one of us.”

His request hangs in the air like some tangible thing. It takes a second for you to really register what he's asking, before you turn to him with your eyes wide.

“Elvis, she's a child. She's a baby. I'm not-”

“She's dying, y/n. I can't lose her.” You feel the desperation roll off of him in deep waves and look back at the toddler in the bed. For a second, you consider what it would mean.

“No, Elvis! I'm not doing this!” You turn and walk out of the hospital room. In the hallway, you lean against the wall and try to catch your breath. His emotions are making it difficult to think. You don't remember being this sensitive to him before, but it's like the years apart have made your senses even more extreme. There's always a strange sort of connection between a vampire and their maker, but yours seems to be especially strong. Or maybe his feelings are just that intense.

“Y/n! Please. You're my only hope of saving her.” His blue eyes burn with desperation.

“No!” You yell at first and then lower your voice when you realize the nurses at the desk are watching the two of you. “I'm not doing this, Elvis. I can't.”

He grabs your shoulders and shakes you a little, not hard but enough to feel.

“You have to! You did this to me! You owe me this!” He's frantic now, almost hysterical with the thought that you're refusing to do what he needs. You reach up and take his face in both hands.

“Elvis. Not here. Not like this. People are watching.” He blinks a few times and lets go of your shoulders, looking around. He sniffs hard and takes his glasses off to wipe his eyes. Placing them back on his nose, he looks at you intensely.

“Okay. Come with me.” He takes your hand and drags you back through the hospital to his car, ignoring the reporters as they yell questions about who you are and why he's at the hospital. Back in the safety of the car, he breaks down. “I don't know what else to do.”

He leans over in your arms and you hold him as he cries on your chest. Tears stream down your cheeks and your body is wracked with sobs. You're not sure if it's his sadness or yours that's got you like this, but you hold him and rock with him in your arms the whole way back to his hotel.

When you pull up, he groans and sits up, wiping his face with his hands. He pulls a handkerchief out of his pocket and hands it to you to wipe your face with. You're not sure why he didn't use it himself, but it's like that would be admitting he had cried. Once you're both cleaned up as much as you can be, he opens the car door and leads you up to his suite. As soon as you're alone, he rounds on you. His eyes are so much on fire that they're almost red.

“Tell me again why the fuck you won’t save my daughter’s life.”

“Elvis, think about what you're asking me. You want me to help you make your baby a vampire.” He turns and kicks a table.

“I want you to SAVE HER LIFE.” He snarls at you angrily. You decide that yelling back is not going to be helpful. Instead you take a deep breath and ask quietly.

“Did I save your life?” He stares at you.

“What?”

“When I turned you, did I save your life?” You say it slowly and deliberately and watch as he puts together what you're asking.

“No, but I wasn't dying.” He seems to have softened a bit though, so you continue this line of questioning.

“And are you happy that I turned you?”

“Not really.” The bitterness in his voice cuts straight through you.

“Is this the life you want for your child?” That strikes a chord and he looks up at you with his eyes cold again.

“I didn't want this life for myself.” Now it's your turn to shake your head and get a little fired up.

“Oh no you don't. You do not get to blame this on me. You begged me to turn you.” You watch as he puffs up again and prepares for a fight.

“And you knew better!”

“I told you-”

“BUT YOU DID IT ANYWAY!” He walks close to you and towers over you. “YOU DID IT ANYWAY!”

“YOU DIDN’T GIVE ME AN OPTION!” He scares you a bit, but you refuse to back down. “YOU-”

“AND THEN YOU SENT ME AWAY!” You laugh derisively.

“I sent you away?! Are you fucking kidding me?!” You take a step towards him and look up into his face. “You left me!”

He grabs your upper arms and shakes you again.

“DO YOU THINK I WANTED TO LEAVE-” You cut him off and scream.

“DO YOU THINK I WANTED YOU TO LEAVE?! I LOVED YOU!” He lets go of your arms and his mouth pops open, but he closes it quickly and turns away from you. You whisper to his back. “I love you.”

You try to suppress your tears, dying to know what he is thinking. He doesn't give you long to wonder, though. Instead, he turns back to you with a tortured expression.

“Why the fuck didn't you say anything?”

“I knew better! I knew you didn't love me!” He shakes his head.

“You decided for me.”

“Are you telling me I was wrong?!” Your voice wavers as the tears threaten to spill over. “You know you didn't-”

And then in three steps he's wrapped around you, his mouth crashed into yours, kissing you with an unbridled passion.

You don't even think, your body just responds and you jump to wrap your legs around his waist. He catches you easily and carries you to the bedroom, his mouth never moving from yours. A decade’s worth of pent up passion is escaping you both as he lays you down on the bed and rolls his hips forward to meet yours. He stops for the smallest second and strokes the side of your face with the back of his fingers. Then he leans in and kisses you softly a few times before the heat takes over again and he tears at your clothes. In a few short minutes he's got you both stripped naked and you press your bodies together, soaking in the feeling of each other’s skin. It's been so long since he's had you like this that he almost forgot what it felt like to be this close to you, but it all comes rushing back to him as you whimper underneath him. He presses his lips to your body, leaving a trail of hot kisses in his wake as he moves down your stomach. His fangs have already descended and he grazes them against your inner thigh in the place where he bit you when you made love before he left Germany. How many nights has he thought of that day? The way you tasted and smelled and how you writhed under his body in pleasure.

You're overwhelmed with the reality of him as he worships you, having spent too many years imagining him, replaying your last time together over and over in your mind with your fingers pressed to your clit, whispering his name into the darkness like a prayer. You feel your fangs against your bottom lip and arch your back as he drags his tongue up your thigh and hovers just over your center.

“You really thought I didn't love you?” He whispers, just before he lowers his mouth to you, letting his tongue dart out over your sensitive bud. You moan softly as he begins to lick and suck you with the fire of a man possessed by desire. Words are beyond you as he works your clit with his mouth and then moves down to press his tongue as deep inside you as it'll go. You whimper and gasp as he fucks you with his tongue and then moves back up, sliding two long fingers into you. The feeling of his rings against your entrance is new and particularly delicious as you feel your orgasm start to gather in between your hips. His fangs press gently into your skin as he licks you hard and slides his fingers in and out. He knows you're close to a climax, remembers the way you feel like this, and is pulling out all the stops to push you over the edge. “Come on, baby. You can let go for me. I'm not goin’ anywhere.”

He's not sure why that's what he says, but it works nonetheless and you feel yourself giving in to the pleasure as it washes over you in pounding waves. He moans a little when he feels you pulse around his fingers. As your clit softens, he pulls back a bit and it takes everything in him not to sink his fangs into your thigh. His dick is so hard it almost hurts and he's dying for some kind of release. He hasn't fed in way too long and the knowledge that you're there and you taste so good is about to kill him.

You watch, confused, as he moves away from you and sits up with his back against the headboard, leaning back and sighing deeply.

“Elvis, what-?”

“I'm trying not to bite you.” You sit up and look at him, so beautiful with his eyes closed and his head thrown back, shaggy hair a little wet with sweat. His body is taut and when your eyes land on his hard cock standing at the ready, your pussy clenches around nothing.

“Why?” You whisper as you slink over to him and crawl into his lap, straddling his thighs and taking his dick in your hand. He groans as you start to pump him and then lean in and kiss his chest. “I don't mind.”

He immediately lifts his head and looks down as you move your hair out of the way and expose your neck to him. It’s been so long and he knows how good you taste. A low growl escapes him as he leans forward and licks a spot on your neck.

“You're sure, baby?”

“Just don't drain me, but yes.” He smiles a little and drags his fangs across your skin. Your hand is still pumping him, but as he moves to bite you, you lift up and sink down onto his cock while his fangs press into your neck. Both of you moan deeply with the double sensation. You roll your hips against him as he sucks the blood from your neck and the passion begins to mount again as both of his hands move to your back. He groans as you begin to bounce on him harder, pushing him so deep inside you that you dance on the edge of another orgasm.

“Fuck, Elvis!” You moan and he backs away from your neck and pulls your mouth to his, your fangs bumping into his as you taste your own blood on his tongue. He moves his hands to your hips and starts to lift and drop you faster and faster, feeling the pleasure rise in him and threaten to explode inside you. Then, he grabs the other side of your neck with his hand and presses his forehead into yours as you fuck him.

“Of course I loved you. I’ve always loved you. I still love you.” You let out a strangled moan at his words and clamp your mouth shut. The instinct to bite him is so strong that you can barely control it. And it only gets worse when he cocks his head to the side and moves his hair off his neck.

“I can't.”

“Yes you can. Please.”

“Elvis…” But it's beyond your control when he moves his thumb to your clit and he pushes you over the edge into another blinding climax. Your eyes darken and the next thing you know, you're sinking your fangs into him as he holds you in place and cums deep inside you. The sweet taste of his blood rushes over your tongue as his cock pulses inside you. The pleasure overwhelms both of you so deeply that for a second it feels like you black out. When you both come to, you're laying on the bed with your head down by his feet and his head by yours. You feel him grab your ankle and kiss it, a smile spreading across your face.

“You okay, baby?” He asks with his lips against your skin. You sit up and rearrange to be in his arms. He kisses your forehead and sighs deeply.

“I'm fine. Better than fine. Are you okay?” You look up at him but he keeps his eyes on the ceiling.

“Yeah, I'm… I love you.” You kiss his jawline.

“I love you too. What is it?” There's a pause as you watch him try to find the words to say what's on his mind. Eventually he just opens his mouth and it comes tumbling out.

“My baby girl is gonna die, isn't she?”

You lay together in silence and the thought hits him that at least he'll have you when it happens.

******

To be continued...

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Taglist:

@ccab @atleastpleasetelephone @aliypop @18lkpeters @dkayfixates @tacozebra051 @your-nanas-house @joshuntildawn13 @lookingforrainbows @60svintage @littlehoneyposts @epthedream69 @louisejoy86 @rjmartin11 @from-memphis-with-love @deltafalax @cinnamoroll-things @burnthheparaphilia @jhoneybees @cattcb @everythingelvispresley @returntopresley @searchingforgravity @msamarican @angschrof @lustnhim @polksaladava @librababe99 @hooked-on-elvis @theelvisprincess @makethemorning @peaceloveelvis @mrspresley69

[from-memphis-with-love]

WELCOME, LITTLE DARLINGS

About me: Obsessed with Elvis for 25+ years. It's a problem.

About you: Hungry for some fanfic? Let me take you on a ride.

I write Elvis fanfiction with a special love for AU stories; I'll put Elvis in any historical or alternate universe situation to suit my - and our - collective fantasies, lol. When I write more reality-grounded fanfiction I like to focus on the mid-to-late 1960s and early '70s. If you ask me, he was at the height of his powers in 1970.

All of my writing is female-centric. I don't always write smut, but sometimes I do so let's all be adults here, use our discretion and of course enjoy. :) I love to take requests as well so please don't be shy.

Note: I am annoyingly self-critical. This means I often reread and retool my work, so please be patient with me! I am trying to kick this habit.

ONE SHOTS

Stubble Trouble (Requested): Elvis comes home from filming Charro!, looking sexier than ever with a beard. You decide to show him just how much you love it.

Magic Man: Big Daddy Elvis breaks in a virgin. You can also read on AO3 here.

1849: Lonesome and loving cowboy Presley is kind and nurturing to his wife on their wedding night. Historical western AU setting.

Phantom Frequency: Halloween night, 1969. Tired and lonely trucker Elvis Presley has a ghostly encounter. Spooky! You can also read on AO3 here.

Paper Hearts and Press Releases: Margaret Chen is a publicist secretly in love with her famous client, Elvis Presley. But his manager thinks she should cook up a story about him and his co-star to generate buzz for his upcoming movie. This involves arranging dates and photo ops for the two of them, but Margaret can't help but notice Elvis seems more interested in her. You can also read on AO3 here.

The Price of Living. What happens when a frontier nurse saves an entire town from deadly fever - and names her price? A child of her own, to be given by one of the survivors. When the straws are drawn, fate chooses Elvis Presley, a classics professor turned miner with a fiancée back home. Their marriage of duty becomes something neither expected.

SERIES

Gambling on Your Love: The fic that started it all for me. Mid-'60s Elvis is stuck in a dead end film career that he hates. Until he meets one Francesca Ferrara, a triple threat on a meteoric rise whose talent rivals his own. The Colonel is determined to put a stop to their hot and heavy romance at any cost, fearing it may hurt his client's career. But Elvis isn't gonna let that happen. You can also read this on AO3 here.

A Cowboy for Clementine: Late 1800s Western AU fic with delicious cowpoke Presley and inexperienced but enthusiastic young heiress from the North, Clementine Olivetti. Slow burn romance. You can also read this on AO3 here.

Songbird: The year is 1969. The place is The International Hotel. Valerie Pedretti, an unassuming aspiring young singer, has an unexpected encounter with Elvis Presley in a hotel elevator. It will change her life forever, both for good and bad. You can also read this on AO3 here.

Sin City Serenade: Elvis Presley has fled a murder charge in small-town Mississippi and started life over as Johnny "Velvet" Valentine, a world weary and jaded Las Vegas lounge singer. He's thoroughly escaped his past... until it comes looking for him. (Rewriting) All In: Elvis Presley is the hip swingingest, heart throbbiest, code breakingest spy you've ever seen. Set in the swinging '60s across multiple glamorous locales. (Rewriting) The King's Counsel: What if Elvis decided to fire Colonel Parker after the Comeback Special? And what if you were the saucy little minx attorney he hired to help him do it? (WIP)

[writers-potion]

Hi, I am trying to write a homosexual book that takes place in the 20s. I am unsure where to start and how bad the 20s was for homosexuality so if you have any tips it would be appreciated. Thank you for reading.

Homosexuality in Historical Fiction

I'm going to answer this in two parts: (1) Tips for writing queer historical fiction, and (2) the 1920 gay culture.

Get Your Language Right

Vocabulary is key to capturing how homsexual people identified themselves and interacted with one another at the time. Consider:

The kind of language/code used at the time. For example, gay men in the 1950-60s would have spoken Polari to skirt UK’s strict anti-homosexuality laws. This might mean your characters say seemingly ridiculous things like, “Bona to vada your dolly old eek!” (good to see your nice face)

Authenticity vs. Sensitivity. We don’t need to perpetuate old slurs just because they were used “at the time”. Would the readers of today (your target audience) be accepting towards use of such language? 

Is it really necessary? Just like in the case of foreign languages and dialects, it may be better to just refer to the code/secret language being spoken rather than overdoing it in dialogue. Also, does your character identify themselves as a part of this community at all?

Balance Between Struggle and Hope

Often in historical LQBTQ+ fiction, if the conflict is badly written, the readers are just going to feel angry and frustrated. Because:

Even the likable, otherwise reasonable characters won't be able to accept homosexuality easily, often opposing it downright.

Homosexual characters may be confused, struggle with self-doubt and self-hatred (which can't be fun to read, obviously)

The norms of the time make any “resolution” rather disappointing (compared to modern times).

Your goal is to juggle between these strong negative emotions to convey the central message and let hope shine through. Linger too much on negativity and your novel will be dark, but treating these themes 'lightly' will make you sound shallow.

So, treat oppression just as you would write a physical antagonist. It's powerful and a possible life-threatening opposition to the Lead, but it has flaws, loopholes and needs time to regroup before it hits our Lead again with increased force.

+ General Tips

Beware of giving your characters hindsight. As a writer, we know what happened both before and after the time period the characters live through, but they don't! The characters not being able to predict what comes can be a good tragic element.

The word “homosexual” wasn’t coined until 1869, and didn’t become common parlance until the early 20th century. From at least the very early 17th till the mid-19th century, the most common term for women was “tribade,” referring to the act of tribadism (scissoring). Some people used the term “fricatrice.” In the 18th century, “lesbian” and “Sapphist” started to become more common terminology. Men were called sodomites and pederasts (a word which didn’t have the paedophilic connotation it does today). The word “homophile” was coined in 1924 and was most commonly used by gay men and lesbians in the 1950s and 1960s.

“Gay” didn’t take on the almost exclusive meaning of homosexual until the 1960s, and even then, it was still used in the old sense of “merry” more than a few times. Only in the 1970s did it finally emerge as the most popular, mainstream word.

Less suspicions were aroused by a lesbian couple living together for decades than a gay male couple. Many people assumed they were just two very close spinster friends, not that it was a Boston marriage. There were many more questions about why two men would want to live together.

To avoid the very real risk of jail, lobotomy, conversion “therapy,” or the loonybin, sometimes a gay and lesbian couple would enter a ménage à quatre. Though it appeared on the surface as though two straight couples lived in the same duplex or right next door, they were actually just lavender cover marriages. Some had children (through various means) and co-parented.

Photo booths were seen as a safe space where a same-sex couple could kiss, cuddle, and embrace without fear of arrest or public suspicion.

Some lesbian couples were able to adopt children as single women, in jurisdictions which permitted that. More daring couples underwent artificial insemination and then went abroad to give birth, coming home with “adopted babies.”

Similar to the handkerchief code in the BDSM community, some gay men signalled to one another with red neckties and green carnations. Parisienne lesbians signalled to one another with violets in their hair.

There’s a long history of gay bathhouses, dating back centuries. Since male homosexuality was illegal and severely punished, a bathhouse was among the few places it was safe to meet potential partners and engage in sexual activity. Even the very real fear of police raids didn’t deter patrons. Manhattan, Paris, and London were home to many famous (and luxurious) gay baths, but there were plenty of lesser-known ones in other cities.

While not everyone was lucky enough to have a lavender ménage à quatre, many people had individual lavender marriages. Sometimes the spouse knew s/he was serving as a cover, sometimes not.

There were also more “traditional” ménage à trois marriages, composed of the lavender couple plus the true same-sex partner all living together. Sometimes these arrangements were composed of a bisexual plus a partner of each sex.

People did NOT casually out themselves! They could only confide their secret to other confirmed friends of Dorothy and extremely radical allies who had proven they could be trusted and wouldn’t turn on them.

You don’t have to make your straight characters raging, violent homophobes, but it’s completely unrealistic and historically inaccurate to show them all immediately, unquestioningly, lovingly accepting their friends’ homosexuality if the secret comes out. They might agree to not let anyone else know, but the friendship would probably be over. Other people, a bit more open-minded, might eventually reconcile but never be able to completely shake the belief that their sexual orientation is unnatural, strange, or wrong. Some people might only come around after decades of estrangement and realising gays and lesbians are just like everyone else.

To avoid discovery, some lesbians called one another by male names in their letters. Some liked those nicknames so much they continued using them in real life.

1920 Gay Culture

The United States - The Roaring Twenties 

As the United States entered an era of unprecedented economic growth and prosperity in the years after World War I, cultural mores loosened and a new spirit of sexual freedom reigned.

Harlem’s famous drag balls were part of a flourishing, highly visible LGBTQ nightlife

"Pansy Craze”: gay, lesbian and transgender performers graced the stages of nightspots in cities

lesbian and gay characters were being featured in a slew of popular “pulp” novels, in songs and on Broadway stages (including the controversial 1926 play The Captive) and in Hollywood—at least prior to 1934, when the motion picture industry began enforcing censorship guidelines, known as the Hays Code. Heap cites Clara Bow’s 1932 film Call Her Savage, in which a short scene features a pair of “campy male entertainers” in a Greenwich Village-like nightspot. On the radio, songs including "Masculine Women, Feminine Men" and "Let’s All Be Fairies" were popular.

On a Friday night in February 1926, a crowd of some 1,500 packed the Renaissance Casino in New York City’s Harlem neighborhood for the 58th masquerade and civil ball of Hamilton Lodge.

Nearly half of those attending the event, reported the New York Age, appeared to be “men of the class generally known as ‘fairies,’ and many Bohemians from the Greenwich Village section who...in their gorgeous evening gowns, wigs and powdered faces were hard to distinguish from many of the women.”

The tradition of masquerade and civil balls, more commonly known as drag balls, had begun back in 1869 within Hamilton Lodge, a black fraternal organization in Harlem. By the mid-1920s, at the height of the Prohibition era, they were attracting as many as 7,000 people of various races and social classes—gay, lesbian, bisexual, transgender and straight alike.

London - Balls and Adverts

Like other large cities at the time, London was home to many drag balls and nightclubs where the gay community could express themselves. 

"Lady Austin's Camp Boys" (1933): At a private ballroom in Holland Park Avenue, west London, 60 men were arrested in a police raid after undercover officers had watched them dancing, kissing and having sex in make-up and women's clothes. But despite facing a lengthy prison term and disgrace, the organiser, "Lady Austin", told officers: "There is nothing wrong [in who we are]. You call us nancies and bum boys but before long our cult will be allowed in the country."

Other gay men found partners through personal advertisements, which could be an equally risky strategy. 

In 1920 the publisher of a magazine called the Link and three gay subscribers were each sentenced to two years of hard labor on charges of indecency and conspiring to corrupt public morals.

Some adverts even appeared in the national press, such as the Daily Express, although they were not quite so blatant. People would ask for 'chums' of their own sex and offer to take people on holiday.

One man responding to an advert in the Link wrote that he was "very fond of artistic surroundings, beautiful colours in furniture and curtains, and softly shaded lamps and all those beautiful things which appeal to the refined tastes of an artistic mind". He added: "All my love is for my own sex", and wrote that he longed to give his love "in the most intimate way".

Gay adverts often had references to Edward Carpenter, Oscar Wilde and Walt Whitman, or would say 'I have an unusual temperament'.

Berlin - The Weimar Republic

The Weimar Republic, Germany’s first parliamentary democracy lasted from 1918 until 1933 and was a time of progressive cultural renaissance from cinema, theater and music, to sexual liberation and a flourishing LGBTQ scene.

Berlin was home to around 40 known queer bars, a number which had doubled by 1925. The cabaret bars and clubs like Eldorado were packed to the brim with lust, tassels, glitter and flamboyance.

Drag shows were the norm and stars like Marlene Dietrich (a Berlin-native) and Josephine Baker who were icons for the queer community, performed regularly in Berlin’s lavish halls.

Kiosks sold an array of well known queer publications like Die Hoffnung (The Hope), Blätter für Menschenrecht (Leaflets for Human Rights), Frauenliebe (Woman Love), and Das dritte Geschlecht (The Third Sex).

As homosexuality was still illegal, Berlin’s Tiergarten and other parks, Nollendorferplatz as well as train stations and the infamous octagonal public bathrooms

Underground spaces flourished.

Here's a list of books with an LGBTQ+ POV character, set at least partly in the 1920s:

Self-Made Boys: A Great Gatsby Remix

Dead Dead Girls (Harlem Renaissance Mystery, #1)

In the Field

The Lady Adventurers Club

Last Call at the Nightingale (Nightingale Mysteries, #1)

A Good Year

The Last Nude

The Sleeping Car Porter

Once a Rogue (Roaring Twenties Magic, #2)

Slippery Creatures (The Will Darling Adventures, #1)

Crazy Pavements

References

https://www.bbc.com/culture/article/20180212-polari-the-code-language-gay-men-used-to-survive

https://www.theguardian.com/uk/2004/jul/03/gayrights.world

https://www.history.com/news/gay-culture-roaring-twenties-prohibition

[rainedragon]

Mini Lolita Fashion History Lesson: MILK

Today, MILK is generally known as an 'otome' or 'girly' brand, and many of their modern items don't look like what modern lolita think of as lolita.

A recent MILK collection However, in the late 80s and early 90s, MILK was considered to be one of the quintessential Lolita brands.

1990s lolita wearing MILK In a 1994 zipper interview about the history of lolita fashion the brand representative for MILK states "I think what is now called lolita fashion is the fashion that milk has been making for a long time."

MILK was founded in 1970 by Hitomi Okawa (大川ひとみ). When Hitomi Okawa started as a designer there were not many DC brands yet and ready to wear fashion was really just starting to become more widespread in Japan. Okawa attended an art university in Kyoto because of a love of drawing that started in elementary school. She used to draw illustrations of girls and make things like paper dolls. At the age of 11, she drew many pictures of the same clothes and changed the patterns (polka dots, checks, flowers). She grew up the daughter of a doctor, in an affluent home where her mother would read magazines like Harper's Bazaar with 1950s and 1960s American fashion. She also looked at American fashion catalogs as a child, and cites this study of clothing in magazines and catalogs as her earliest sort of "studying" of fashion. 

50s/60s Harper's Bazaar In addition to drawing inspiration from the 50s & 60s Harper's Bazaar & American clothing catalogs, she also drew inspiration from military uniforms and how they have custom buttons and custom fabric and details like that, as well as current trends in London and Tokyo as the brand continued to develop. When she started however, she says that she was the only one making this sort of cute girly clothing in Japan and she felt like she had to make it because no one else was making what she wanted to wear.

50s/60s Harper's Bazaar

After graduating from Seian College of Art and Design, Department of Design, she started MILK in Harajuku. She wanted to start in the coolest place possible, so she decided on Central Apartment.

MILK Shop Front in the 70s, Central Apartment

She had come to Harajuku when she was either in High School or her first year of University and had stood in the middle of the pedestrian bridge right off Harajuku station, and she looked down at Omotesando and thought "Here is the coolest place, I want to be here!", and that's why she chose that location. The Bridge doesn't exist any more, it was torn down in 2011. She wasn't aware at the time that Central Apartment was a popular place for creators, she just thought that street was nice and that Central Apartment was modern and cool. In a 2021 interview she confessed that she sometimes still goes up to the pedestrian bridge on the Yoyogi Park side and looks at Omotesando, and when she does, she feels the same way she did when she was 20 years old.

Central Apartment (原宿セントラルアパート) was initially an apartment complex built in Harajuku in 1958 at the intersection of Meiji-dori. It was initially built for special international travelers like US military personnel. In the mid 1960s/early 1970s, the lower floors were converted into stores with offices in the upper apartment floors.

The Coffee shop Leon on the first floor was a popular spot with creative people. There were also shops like Mademoiselle Nonnon launched by designer Taro Aramaki which sold French style clothing and lots of horizontal stripes. Mademoiselle Nonnon is considered to be the source of the border (horizontal stripe) trend in Japan.

Initially, "MILK", was expensive and unrealistic for everyday wear, so it was mainly used as a stage costume for idols, however, people started wearing Milk as everyday clothing as time went on.

MILK also experimented with a Bridal line in the 70s as well.

While their runway looks were generally a bit more loud than the way the pieces would have been worn in real life, you can see some prairie revival influence their early 70s items as well as some silhouettes in the '76 collection that are starting to look more lolita-esque.

Here are a few runway examples from the 1980s, note the border print of a carousel in the 1988 collection and the knee length ruffled skirt in the 1982 one.

By the early 1990s, MILK was heavily featured in coordinates worn by young women who considered themselves lolita in magazines like Cutie and Zipper, and was also advertising in those magazines.

1990-1992 Cutie advertisements for MILK

Early 1990s looks from MILK were fairly consistent with what was on offer from similar shops like PRETTY and Shirley Temple.

MILK Coordinates from Nene magazine, 1995

Speaking of Shirley Temple, the founder of Shirley Temple, Rei Yanagawa (柳川れい), worked as a designer for MILK before starting the Shirley Temple children's brand in 1974.

As time went on, lolita fashion started to diverge from the MILK style, while MILK followed their own design concept and look more at current trends in girly fashion. Today, some iconic MILK items like their heart purse are still frequently used in lolita fashion, however, it would be difficult to walk into MILK today and put together a coordinate that would read the same as one made from items at Angelic Pretty.

While goth and punk brands typically have no issue relating themselves to goth or punk fashion, brands popular with lolita have sometimes resisted self-describing themselves as lolita, most likely in an attempt to not alienate non lolita customers, due to lolita fashion having a mixed reputation. MILK, like many other Japanese brands, especially DC brands, maintains that they make MILK style, even though their influence on what we call lolita fashion today, is unmistakable.

Past Posts: Olive Girls

[silly-inky]

Hazbin Hotel Characters Ages

TW: mention of death, drugs, alcohol, guns

So I got bored and wondered about the ages of some of the Hazbin Hotel characters, so here is the information I gathered, this also includes their theorised causes of death as well

Just be aware that some of this information may not be the most accurate so if I get something wrong do forgive me

Anyways

Charlie is in her 200’s, she doesn’t exactly look it, but she is immortal and her parents haven’t exactly aged much either, so she appears to be in her 20’s

Angel Dust died in his mid 30’s in 1947 from a drug overdose, he is the only one (apart from Baxter) who has a confirmed cause of death

so that would put him currently in his 110’s

Husk died at 75 in the 1970’s his death is not confirmed but is theorised to be from alcohol poisoning/ some other alcohol related incident, or he possibly could of took his own life

That would put him currently in his 120’s

(that would mean he would be, at the oldest, 52 when angel dust died)

Vaggie died in her 20’s in 2014, she does not have a confirmed cause of death, the theories I have heard about her death may not fit well now that we are aware she originally ended up in Heaven

So that currently puts her in her 30’s

Niffty died at 22 in the 1950’s, she does not have a confirmed cause of death, but some theorise it was either from being shot, falling down a chimney/ into a fireplace or being caught in a house fire

Which puts her currently in her late 90’s to early 100’s

Alastor died in his 30’s-40’s in 1933, his cause of death was a dog related incident, it is theorised he was shot and killed in a hunting accident (Alastor was either hiding a body, or was out hunting himself, when another hunter’s dog(s) was alerted to Alastor’s presence and started barking at him, the hunter mistook him for a deer and shot him in the head, and then was possibly mauled by the dogs afterwards)

So that currently put him In his late 120’s to his early 130’s

Sir Pentious died in his 40’s in 1888, he does not have confirmed cause of death but it has been theorised that he died to an invention failure

Which currently puts him in his late 170’s

Cherri Bomb died in her 20’s in the 1980’s, she does not have a confirmed cause of death but it had been theorised she was shot and killed by police during one of her rallies judging by the X’s on her body, tho is could of also been in an explosion she caused

Which currently puts her in her 60’s

(Dickhead) Valentino died in his mid 40’s in the 1970’s, he does not have a confirmed cause of death but has been theorised to have died from some form of std probably HIV/AIDS, since it was around the time of the AIDS crisis between the 1970’s and 1980’s where unfortunately a lot of people, primarily gay men, were getting it and passing away (I’m apologise but I really don’t like this character)

which currently puts him in his 90’s

Vox died in his 30-40’s in the 1950’s, he does not have a confirmed cause of death but has been theorised to have been killed on set with a piece of equipment or a literal TV (he could have been a TV host in life)

Which currently puts him in his 100’s

The list of oldest to youngest with years of existence overall

Charlie (200’s)

Sir Pentious (late 170’s)

Alastor (120’s-130’s)

Husk (120’s)

Angel (110’s)

Vox (100’s)

Niffty (90’s-100’s)

Valentino (90’s)

Cherri bomb (60’s)

Vaggie (30’s)

The list of oldest to youngest according to the age they were when they first died (this is more of a rough estimate and personal opinion)

Husk (75)

Valentino (mid 40’s)

Sir Pentious (40’s)

Alastor (30’s-40’s)

Vox (30’s-40’s)

Angel dust (mid 30’s)

Cherri bomb (20’s)

Vaggie (20’s)

Niffty (22)

If you are interested in learning more about the characters causes of death theories, there are a few posts on Reddit and YouTube (and here ofc) that go more into depth about it, the video I originally watched was:

“How every Hazbin Hotel character perished” by the YouTuber KolkoCat

I believe the YouTuber “Ayy Lmao” has also touched on the topic multiple times as his channel is mostly dedicated to Hazbin Hotel and Helluva Boss content, you can also find other theories, reviews and analysis about the show there as well

[ibarkatpeoplewoofwoofbitch]

Hazbin hotel as humans PART 2:

Husk:

He could easily have died in 1975, which, if he was born in 1912, would make him around 63

I would assume husk is in his late 50s early 60s

And suspenders were popular in the early 20th century, during the 1960s, and in the mid-1970s-1980s -

And husk failed as a magician. The golden age of magic was around the 1880s to the 1930s.

So when he was in his 20s in the 1930s magicians could've been out of style and it'd explain why he failed as a magician.

I would assume he lived in Los vegas. Because big casinos and magicians and bars. Were a thing.

This was the popular hair in the 60s:

And this was the clothing I think husk would've wore I nthe 50s-60s:

-------------------------------------------------------

Nifty:

She looked like she died in the 50s, and I think its cannon she's 22, so she was born around the late 30s and early 40s.

And it's noticeable she was a housewife. Maybe she wasn't ever crazy.

honestly? She reminds me of housewife radio. That seems like it's her background story she completely lost it.

Psychotic breakdown to the max.

I think she would've worn this:

[moodboardmix]

Miss Françoise (17 janvier 1944 - 11 juin 2024)

Miss Françoise Hardy, whose elegance and beautifully lilting voice made her one of France’s most successful pop stars, has passed away today.

She was born in the middle of an air raid in Nazi-occupied Paris in 1944, and raised in the city, mostly by her mother. Aged 16, she received her first guitar as a present and began writing her own songs, performing them live and auditioning for record labels. In 1961, she signed with Disques Vogue.

Inspired by the French chanson style of crooned ballads as well as the emerging edgier styles of pop and rock’n’roll, Miss Hardy became a key part of the yé-yé style that dominated mid-century French music.

The self-penned ballad Tous les garçons et les filles was her breakthrough in 1962, and sold more than 2.5m copies; it topped the French charts, as did early singles Je Suis D’Accord and Le Temps de L’Amour.

Her growing European fame meant she began rerecording her repertoire in multiple languages, including English. Her 1964 song All Over the World, translated from Dans le Monde Entier, became UK Top 20 hit, her fame endured in France, Italy and Germany.

In 1968, Comment te Dire Adieu, a version of It Hurts to Say Goodbye (originally made famous by Vera Lynn) with lyrics by Serge Gainsbourg, became one of her biggest hits.

Miss Hardy’s beauty and deft aesthetic – which encompassed cleanly silhouetted tailoring alongside more casual looks, including knitwear and rock-leaning denim and leather – defined the seeming effortlessness of 20th-century French cool.

She became a muse to designers including Yves Saint Laurent and Paco Rabanne, and was also a frequent subject for fashion photography, shot by the likes of Richard Avedon, David Bailey and William Klein. Later, designer Rei Kawakubo would name her label Comme des Garçons after a line in a Hardy song.

Miss Hardy was an object of adoration to many male stars of 60s pop including the Rolling Stones and David Bowie. Bob Dylan wrote a poem about her for the liner notes of his 1964 album Another Side of Bob Dylan, beginning: “For Françoise Hardy, at the Seine’s edge, a giant shadow of Notre Dame seeks t’ grab my foot …”

She was also courted by directors, appearing in films by Jean-Luc Godard, Roger Vadim, John Frankenheimer and more.

Miss Hardy signed a three-year deal with Sonopresse in 1970. This creatively rich period saw her record with Brazilian musician Tuca on 1971’s highly acclaimed La Question, and continue her multi-lingual releases.

She spent the mid-1970s chiefly focused on raising her son Thomas with her partner, musician and actor Jacques Dutronc. Releases restarted with 1977’s Star, and Hardy embraced the sounds of funk, disco and electronic pop. A longer hiatus in the 1980s was punctuated by 1988’s Décalages, billed as her final album, though she returned in 1996 with Le Danger, switching her palette to moody contemporary rock.

She released six further albums, ending with Personne D’Autre in 2018.

Miss Hardy also developed a career as an astrologer, having written extensively on the subject from the 1970s onwards. In addition, she worked as a writer of both fiction and non-fiction books from the 2000s. Her autobiography Le désespoir des singes... et autres bagatelles was a best-seller in France.

She remains one of the best-selling singers in French history, and continues to be regarded as an iconic and influential figure in both French pop and fashion. In 2006, she was awarded the Grande médaille de la chanson française, an honorary award given by the Académie française, in recognition of her career in music.

Miss Hardy had lymphatic cancer since 2004, and had undergone years of radiotherapy and other treatments for the illness. In 2021, she had argued in favour of euthanasia, saying that France was “inhuman” for not allowing the procedure.

Rest in Power !

[longliveblackness]

In the 1960s, if you had a medical emergency, a police van would respond, not the paramedics.

There weren't any government-run emergency services in the U.S. at the time. In Pittsburgh, the police and firemen who answered these calls didn't have proper medical training and "had little, no, or outdated equipment," according to the University of Pittsburgh.

These police emergency vehicles refused to go to some poor Black areas, like the Hill District in Pittsburgh. It was there that the precursor of modern EMT service was born-partly as an employment-generating initiative, partly as a way to provide emergency health care to an underserved minority neighborhood.

Black men organized and founded the country's first emergency medical service (EMS). The Pittsburgh-based group, called Freedom House, wrote a training book that still serves as the basis for EMS training even to this day and pioneered life-saving practices in the field. By the mid-1970s, the success made the city government take notice, and it soon took over the program.

•••

En la década de los 60, si había una emergencia médica, una camioneta de la policía respondía, no los paramédicos.

En ese momento, en Estados Unidos no había ningún servicio de emergencia administrado por el gobierno. En Pittsburgh, la policía y los bomberos que respondían a las llamados no tenían la formación médica adecuada y "tenían poco, ningún equipo o equipo obsoleto", según la Universidad de Pittsburgh.

Estos vehículos policiales de emergencia se negaban a ir a algunas zonas negras pobres, como Distrito Hill en Pittsburgh. Fue allí donde nació el precursor del servicio moderno de Paramédicos Técnicos de Emergencias Médicas, en parte como una iniciativa generadora de empleo y en parte como una forma de brindar atención médica de emergencia a los vecindarios desatendidos.

Un grupo de hombres negros organizaron y fundaron el primer servicio médico de emergencia del país. El grupo con sede en Pittsburgh, llamado Freedom House (Casa de la Libertad), escribió un libro de capacitación que, incluso hoy en día, sirve como base para la capacitación de servicios médicos de emergencia y fue pionero en prácticas que salvan vidas en el campo. A mediados de la década de los 70, el éxito hizo que el gobierno de la ciudad se diera cuenta y pronto se hizo cargo del programa.

[kemetic-dreams]

Go-go is a subgenre of funk music with an emphasis on specific rhythmic patterns, and live audience call and response.

Go-go was originated by African-American musicians in Washington, D.C., during the mid-60s to late-70s. Go-go has limited popularity in other areas, but maintains a devoted audience in the Washington metropolitan area as a uniquely regional music style and was named the official music of Washington, D.C., in February 2020.

Performers associated with the development of the style include Rare Essence, EU, Trouble Funk, and singer-guitarist Chuck Brown. Modern artists like Charles "Shorty Corleone" Garris continue the go-go tradition in D.C.

Origins

Although Chuck Brown is known as "the Godfather of Go-Go", go-go is a musical movement that cannot be traced back to one single person, as there were so many bands that flourished during the beginning of this era that they collectively created the sound that is recognized as go-go of today. Artists such as Marvin Gaye, Van McCoy, Billy Stewart, Peaches & Herb, Black Heat,Experience Unlimited (E.U.), Vernon Burch, Sir Joe Quarterman & the Free Soul, the Moments, Ray, Goodman & Brown, True Reflection, the Unifics, Terry Huff & Special Delivery, Act 1, the Dynamic Superiors, Skip Mahoney & the Casuals, the Choice Four, and the Fuzz that played soul music during pre-go-go era.

The term "gogo" (as it applies to a music venue) originated in France in the early 1960s, at the Whiskyagogo nightclub, named after the French title for the British comedy "Whisky Galore!".The club also featured go-go dancers. In January 1964, capitalizing on the emerging popularity of "go-go dancers", the name was licensed to a Los Angeles club, the Whisky a Go Go, and from there the term "go-go" spread nationwideThe Cafe Au Go Go in NYC was also in business during that time, gaining notoriety when Lenny Bruce was arrested there in April 1964. By 1965, "go-go" was a recognized word for a music club, as evidenced by the TV show Hollywood A Go-Go (march 1965-1966), or the song title of that year's hit Going to a Go-Go by Smokey Robinson & the Miracles (released November 1965). At a go-go club, dancers could expect to hear the latest top 40 hits, performed by local bands and DJ's. (The French Whiskyagogo had been one of the first venues in the world to replace live music with records selected by a disc jockey.)

In Washington D.C., minor group Wornell Jones and the Young Senators were formed in 1965, beginning a fierce competition with Chuck Brown and Black Heat on the local club circuit. The Young Senators later became known for their song "Jungle" released in 1970 by Innovation Records. Guitarist and bandleader Chuck Brown is widely regarded as "the Godfather of Go-Go".

Chuck Brown was a fixture on Washington and Maryland music scene with his band Los Lotinos as far back as 1966. By the mid-1970s, he had changed the group's name to The Soul Searchers, and developed a laid-back, rhythm-heavy style of funk performed with one song blending into the next (in order to keep people on the dance floor). The beat was based on Grover Washington Jr.'s song "Mr. Magic," though Brown has said in interviews that both he and Washington had adapted the beat from a gospel music beat found in African churches.

Washington, D.C., funk's early national chart action came when Black Heat (the first D.C. go-go band to be signed by a major record label) released their Billboard top 100 hit "No Time To Burn" from their second album on Atlantic Records in 1974. They then toured with such national acts as Earth Wind & Fire, Parliament Funkadelic, Ohio Players, The Commodores, and others. In 1976, James Funk, a young DJ who spun at clubs in between Soul Searchers sets, was inspired (and encouraged by Brown himself) to start a band—called Rare Essence (originally the Young Dynamos)—that played the same kind of music.

[hotvintagepoll]

Propaganda

Rita Moreno (Singin' in the Rain, West Side Story)—She’s an EGOT, an absolute legend for how she navigated her career as a woman of color in the fifties and sixties. Her performance as Anita in West Side Story is why I go back to that movie so many times. She is an icon and she is the moment.

Angela Lansbury (The Harvey Girls, The Court Jester, The Manchurian Candidate)—The babe, the myth, the legend. In her own words her early hollywood roles were "a series of venal bitches" and they were all glorious. Half of them wanted to kill you and you probably would have thanked them. She even goes toe to toe with Judy Garland in The Harvey Girls! That said, she was chronically underused and misused during this era - she was just 36 when she was cast as Elvis Presley's mother in Blue Hawaii and a few years later commented that she'd played so many 'old hags' that most people thought she was in her 60s. She thought she was "all talent, no looks" but she was the full package! Post-1970 I hope we all know what an incredibly talented and compassionate badass she was, but I feel like not enough people know her early roles as a hot (often villainous) young thing.

This is round 4 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.]

Rita Moreno propaganda:

"Amazing showstopping actress in her one big memorable role as Anita in West Side Story. She sings and dances with unmatched joy and energy, and then breaks your heart with her acting. Rita took a role that felt as a stereotype to latina women and made it compelling and multifaceted. Her subsequent career was filled with mostly side roles, but she still managed to excel in whatever Hollywood threw at her."

"It’s Rita!! The EGOT herself! She can act, she can sing, she can dance, a triple threat. Obviously absolutely iconic as Anita in West Side Story (her part of the Tonight Quintet is the sexiest part of the film, fight me). But before that she was the amazing Zelda in Singin’ In the Rain!?! Thanks Zelda, you’re a real pal."

"She continues to be amazing but also she's got legs for days."

"THEE iconic rita moreno, EGOT winner, civil rights activist, theatre legend. watch her documentary "Rita Moreno: Just a Girl Who Decided to Go for It". also her rendition of "fever" on the muppet show"

Angela Lansbury:

"Angela Lansbury might not be where your mind goes first when you think of hot leading women, because she had a later career revival. But she began acting in the early 1940s after leaving London due to the Blitz. In the first couple decades of her film career she has an openness about her. She said she never really fit in with the Hollywood crowd and to me she gives off a friendly, untarnished vibe."

64.media.tumblr.com

64.media.tumblr.com

"Most of us know Angela Lansbury as old lady sleuth Jessica Fletcher, but it's important to know that she was smoking hot in her younger days as well as a damned fine actress. Although she didn't get lead roles until her early 40s, at 17 she was a supporting actress in films such as Gaslight (1944), National Velvet (1944), and The Picture of Dorian Grey, for which she won the Golden Globe for best supporting actress and was nominated for the Oscar. Even in her memorable performance as the manipulative mother in The Manchurian Candidate, she is listed as a supporting actress as she does not play the love interest. She was successful both on stage and screen, and won the Tony for her lead role in the musical Mame on Broadway in 1966. TL;DR While Angela Lansbury mostly played supporting roles in films before 1970, she had what it takes to be a leading actress, which we know from her success on stage and tv from the mid 60s onward"

"She looked like a princess but bit like a viper"

"Is there anything this woman couldn't do? Act in comedy and drama, sing, dance, be a wonderful human being - quite simply a true and wonderful lady."

"she is the fairytale princess of my dreams in court jester"

"god she had such an incredible career all throughout her life really but as a young lady she was just as incredible as she was in her later years. enchanting voice, amazing personality, and absolutely GORGEOUS. she lamented not having the looks to play leads in romance but that idea is so batshit because look at her??? she's one of the most terrific women of all time. also she's my grandmother's favorite actress and i truly get it"

[rjzimmerman]

Excerpt from this story from The Revelator:

The first time I visited Peehee Mu’huh, mining for lithium had already begun.

I was there in the fall of 2023 as part of my work with People of Red Mountain, descendants of the Fort McDermitt Paiute-Shoshone Tribe who lead the movement against extraction on this sacred landscape. We gathered at the valley in northern Nevada, known as Thacker Pass, to commemorate the massacre of 31 Paiute-Shoshone people there by the U.S. Cavalry on Sept. 12, 1865.

To dig up every pound of lithium, the mine will remove thousands of pounds of rock, soil, and other minerals, most of which will not be used and are considered waste.

That’s the secret of mining: It requires significant space to dump its byproducts.

Mine waste is no longer in the forefront for the environmental movement as it was when coal and nuclear power had their heyday, but it remains a key issue activists and scholars should be following. At Thacker Pass the 1,300 acres of wasteland will occupy the space indefinitely. Arsenic, antimony, and other hazards from the refining process to get lithium from the clay will pile up in this backfill pit and leach into the soils, watersheds, and air.

Historically miners have faced minimal oversight. Any individual could venture onto public lands and stake a claim to the minerals they contained — rights to occupy the land were established merely by proving a mineral’s presence and getting there first. Unlike loggers on public land, miners don’t pay any royalties; mine leases on public lands cost as little as $3 dollars per acre.

You might be forgiven for thinking this scenario sounds like something out of the 1800s prospector and ‘49ers era — and in fact, it is. Mining law was last meaningfully legislated under the 1872 General Mining Act.

Just as with the Black Hills gold rush in the Dakota Territory and those in Oregon and California, mine fervor during the gold and silver rushes that white settlers led on the red-colored mountains of Paiute-Shoshone lands in the 1850s-60s was violent and met by Indigenous resistance.

That resistance was crushed. Many noncombatants were killed and others forcibly displaced to Washington; the destruction continued for decades and hasn’t stopped yet.

Today the land base of the Paiute, Shoshone, and Bannock peoples of the area — collectively known as Atsawkoodakuh wyh Nuwu or Red Mountain Dwellers — is permeated by both abandoned and active mines. Gold and tungsten mining waned in the early to mid-1900s, but then companies started extracting uranium and mercury at the McDermitt and Cordero mines across the road from Fort McDermitt. According to Department of the Interior archives, this was the nation’s largest mercury mine from the 1930s to the 1970s. After the Cordero mine closed, crews spread arsenic-contaminated waste from the mine around the town and reservation as a fill dirt. The region was later declared a Superfund site, and the contaminants were removed between 2009 and 2013.

But the toxic waste caused decades of harm in the community before that removal. In a brazen environmental injustice, many Tribal members who worked there perished of cancer. Sunoco and Barrick Gold, the companies that exploited the quicksilver lode, simply “declined” the EPA’s order to clean up the area and escaped culpability.

Now the sacred landscape of Peehee Mu’huh will become the country’s largest lithium bounty.

A new bill before Congress aims to strip away even the baby-steps reform of Rosemont. The Mining Regulatory Clarity Act (HR2925) passed the House in May and awaits Senate approval (S1281). One would assume a bipartisan effort with such a name would offer progress, but the bill guts Rosemont by removing the requirement of claimants to prove minerals before using and dumping waste on public land.

A competing bill, the Green Energy Minerals Reform Act, would introduce requirements such as paying mineral royalties and funding cleanup — basic protections that should have already been in force. Congress held hearings about this proposed legislation in late 2023, but it has not moved forward since.

[hooked-on-elvis]

"Early Mornin' Rain" (1971-1972) + "Aloha From Hawaii" bonus performance (1973)

Recorded by Elvis Presley on March 15, 1971 at RCA's Studio B in Nashville, Tennessee · First released on the album Elvis Now on February 20, 1972.

RECORDING SESSION Studio Session for RCA March 15, 1971: RCA’s Studio B, Nashville. With a three-album agenda before him, Elvis arrived on the first day of the sessions with a runny nose and aching eyes. Yet he was determined to go ahead, and his enthusiasm seemed inspired by an unlikely source: contemporary folk music. The spate of home taping he’d done during the soundtrack years reveals that Elvis had been tuned in to the folk boom since the mid-’60s, and it was through the sweet harmonies of Peter, Paul and Mary that he was introduced to songwriters like Bob Dylan and Gordon Lightfoot. With Charlie and Red he’d harmonized for hours on songs like “Blowin’ In The Wind” and “500 Miles”; now Elvis had been listening to Peter, Paul and Mary’s interpretations of songs like “The First Time Ever I Saw Your Face,” “Early Morning Rain,” “(That’s What You Get) For Lovin’ Me,” and Dylan’s “Don’t Think Twice, It’s All Right” and “I Shall Be Released.” Eager to work with similar textures himself, Elvis picked up on a suggestion from Charlie Hodge and brought in a male-female quartet, the Nashville Edition, to help on the sessions. The rest of the evening was devoted to Peter, Paul and Mary’s two Gordon Lightfoot numbers, “Early Morning Rain” and “For Lovin’ Me,” both grounded in the same sound: Restrained brushes from Jerry Carrigan’s drums, blended with a simple, effective bass line from Norbert Putnam. “Are you gonna play something with me?” James Burton prodded Chip Young, initiating a friendly duel between the two on acoustic guitar licks. Charlie McCoy (“the fastest harp in the West,” as one of his later solo albums dubbed him) took the solos. Each of the songs was true to its genre, but they lacked the feel the singer brought to any song when he was at his best. Elvis was having trouble. “Give me a Kleenex or something,” he asked Charlie, snorting in every pause, struggling to keep his nose clear and his voice open. After the evening sessions he checked into a Nashville hospital for treatment of what turned out to be secondary glaucoma. Elvis had been having problems with his eyes for the last few years, and no one who watched him record that night was surprised at his hospitalization.

Excerpt: "Elvis Presley, A Life in Music: The Complete Recording Sessions" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

--

"Early Mornin' Rain" PRIOR RECORDINGS AND RELEASES Gordon Lightfoot wrote “Early Morning Rain” in 1964 but only recorded the song himself later, releasing his recording on the 1966 album "Lightfoot."

Before Lightfoot released his own recording, the song was recorded and released in 1965 by Ian and Sylvia, a Canadian songwriting and performing duo. Source: thesongbook.org

Peter, Paul and Mary, also folk revival stars, had a hit with Lightfoot’s song that year, as it reached No. 91 on the Billboard Top 100. Source: thesongbook.org

Peter, Paul & Mary - Live on the "Tonight In Person" Show (1966)

HONORABLE MENTIONS Going to more experimental recordings, more Rock and Roll was put into the tune by the groups The Grateful Dead and We Five. The Grateful Dead recorded the song in 1965 but their recording was only released in 2001 on the album The Golden Road (1965-1973) and again on the album The Birth Of The Dead in 2003. Here's their version:

We Five released their cover still in the 70's on the album Catch The Wind (1970).

ELVIS' VERSION (1972) With Elvis’ version, Gordon Lightfoot’s most famous song features the male-female quartet The Nashville Edition. The studio version was recorded in March 1971 and released almost a year later in February 1972 on the album Elvis Now.

ALOHA FROM HAWAII (1973 — U.S. AIRING) "Early Mornin' Rain" is one of the inserted songs on the Aloha From Hawaii TV special. A live performance of Elvis' 1972 release was specially taped onstage at the H.I.C Arena, Honolulu, Hawaii, following the January 14, 1973 concert, with no audience at the venue anymore. The footage - along with 4 more bonus tracks - was requested for the US airing by NBC (April 4, 1973). In total 5 songs were live performed by Elvis in January 14, 1973 in addition to the concert setlist itself. They were almost all Hawaiian-themed songs taken from the soundtrack album "Blue Hawaii" released in 1961 ("KU-U-I-PO", "Hawaiian Wedding Song", "Blue Hawaii" and "No More") with the exception of one, "Early Mornin' Rain". However when the concert aired in the U.S. on April 4, 1973 (NBC), the live performance of "No More" was left unused while "Early Mornin' Rain" apparently was a definitive track for the American airing of the 1973 Elvis special, for some reason. Director Marty Pasetta used split screens to show Elvis singing (he is alone on screen, no musician was shown behind him as usual for his live performances) while the rest of the screen was completed with scenes filmed in Hawaii - from staged romantic scenes to Hula dancers - showing the peaceful beauty of the island. Below we have the raw footage and then the final edit that aired in the U.S. television post concert.

MUSICIANS: Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra.

AUTHOR'S NOTE: Since "No More" was the only other non-Hawaiian-themed song to be taped for the Aloha From Hawaii airing in the U.S., I wonder what made Marty Pasetta decide to chose "Early Mornin' Rain" to complete the final cut of the Aloha special for the U.S. audience. Considering "No More" has the Hawaiian feeling present in its sound, which would make the song fit very well on that TV special and the vibe of the 3 other songs selected as - per say - bonus material, why it was left out? Perhaps it was a request from Elvis? Or either a request from the Colonel Parker and RCA Records, in a try to boost the sales of Elvis' last contemporary album released previously, in 1972, in which that song was released? I haven't read any books specifically about the Aloha From Hawaii yet, so if you happen to know something about the selection of the songs for this extra portion of the Aloha From Hawaii special, please, share it in the comments.

All I know it that I was really happy to see "Early Mornin' Rain" performed live on the Aloha From Hawaii special because I absolutely LOVE Elvis' recording of this song. I think Elvis' cover of that classic Gordon Lightfoot penned-tune remains oddly underrated.