#march 1970

[basicallyanotherwitchesthing]

Black Oracle, Vol. 1 No. 3, George Stover, March 1970 (staff artist Ken Lodge)

[stellastarr7]

[chicinsilk]

Givenchy Haute Couture Collection Spring/Summer 1970 Mrs Dolores Guiness (Vve of Mr Patrick Guiness) in a black mid-calf length evening dress. Pumps by René Mancini, hairstyle by Carita. US Vogue March 15, 1970.

Givenchy Collection Haute Couture Printemps/Été 1970 Mme Dolores Guiness (Vve de Mr Patrick Guiness) en robe de soirée noire longeur mi-mollet. Escarpins de René Mancini, coiffure de Carita. Vogue US 15 mars 1970. Photo Henry Clarke

[internatlvelvet]

Susan Bottomly wearing Christian Dior.

[20th-century-man]

Avril Lund / Penthouse Pet of the Month, March 1973 / photo by Bob Guccione.

[theamericanpin-up]

Fritz Willis - Jan/Feb 1970 - Harolds Casino, Reno, NV Calendar Illustration - American Pin-up Calendar Collectionfri

[oldschoolfrp]

Within the Spinward Marches, the Sword Worlds subsector includes the worlds of Orcrist, Narsil, Anduril, Sting, and other reminders that canonically the galaxy was colonized by nerds (From Traveller Supplement 3: The Spinward Marches, GDW, 1979.) Previously

[podslastitel]

Ilse Hasek - Penthouse - Pet of the Month - March (1970)

[70ssmut4]

[lonestarflight]

PRELAUNCH - APOLLO 13 (ROLLOUT) - KSC

"Nighttime, ground level view of Pad A, Launch Complex 39, Kennedy Space Center (KSC), showing the Apollo 13 (Spacecraft 109/Lunar Module 7/Saturn 508) space vehicle during Countdown Demonstration Test (CDDT). The crew of NASA's third lunar landing mission includes astronauts James A. Lovell Jr., commander; John L. Swigert Jr., command module pilot; and Fred W. Haise Jr., lunar module pilot. The Apollo 13 launch has been scheduled for 2:13 p.m. (EST), April 11, 1970."

Date: March 24, 1970

NASA ID: S70-32990

[vintagef1]

"drivers (including wilson fittipaldi, jacky ickx, james hunt, and jackie stewart) and team members prepare for a track run, with the start flag being waved by emerson fittipaldi." - september 9, 1973 📷 motorsport images

[chicinsilk]

US Vogue March 1, 1970

Marisa Berenson in bottle green pantsuit - the jacket is a beautiful tailoring piece with shirt cuffed sleeves and large patch pockets, accented with brass buttons, white shank and belt. on good straight pants. By Originala. Véra scarf. Belt by Elegant. Grandoe gloves. Gucci bag. Shoes with black patent buckles: Henri Bendel.

Marisa Berenson en tailleur-pantalon vert bouteille - la veste est une belle pièce de couture avec des manches à revers de chemise et de grandes poches plaquées, agrémentée de boutons en laiton, d'une tige blanche et d'une ceinture. sur un bon pantalon droit. Par Originala. Foulard Véra. Ceinture par Elegant. Gants Grandoe. Sac Gucci. Chaussures à boucles vernis noires : Henri Bendel.

Photo Bert Stern vogue archive

[commiepinkofag]

[joandfriedrich]

Ranking Portrayals of Amy x Laurie from Worst to Best

History- The best way to describe the couple is by alluding to another real-life story. David Bowie shared that when he met Iman, she was not at all interested in him, and if wanted to prove to her that he was serious, he had to work hard to win her; in his own words he described winning her as “it was as if she was a top a medieval tower, and in the process of reaching her, I became a better man, and never looked back.” This vibe is very much what makes Amy and Laurie a great couple, he the dreamer and emotional one, while she is the grounded and logical one. They balance each other out, and because they had known each other for so long, their love comes naturally and at ease that it makes sense they could love each other. They have known each other since they were young, and after much growth on their own characters, they find that they are meant to be.

2019- This is just bottom of the barrel when it comes to showing this couple. It’s funny, and while I am glad that people started to like Amy and the couple more because of this film, but let me tell you, they are not the best version. One issue that is had here is Amy’s character is so displaced. From the moment she meets Laurie, she is practically obsessed with him, plastering her foot so he may “remember what pretty feet I have” and running after him in a carriage screaming for him, when it is incredibly undignified for her to do. Amy plastered her foot because she wanted to try and explore other means of creating art, and it’s Laurie who sees her in Paris, chasing after her. This version really plays up the myth of Laurie “settling for Amy”, as he seems to not be that interested in her until she confesses her own feelings, and once again, Amy making a choice with the hope that Laurie is going to be waiting for her. I just didn’t see Laurie loving Amy as much as she loved him, and I didn’t find there to be much chemistry between the two actors as much as everyone said, not when he is so distant from her until the last moment.

1949- The problem with this film is that there is so little of them. I know that this was the same complaint of Meg and John in the 2019 film, so why aren’t I applying the same criteria to this listing? Because I would rather see so few of their interactions than see it played out incorrectly. The only real interaction they seem to have is during the party scene when Jo and Laurie get Amy and Beth food as they sit on the stairs. The only other hint of a relationship happening before the return from Europe is when Amy asks Jo, before leaving for Europe, if Jo would be alright if Laurie fell in love with another girl, hinting possibly something had happened while Jo went to New York. I think it’s a shame that we don’t see much of them, given that I think Elizabeth Taylor and Peter Lawford could have made a nice Amy x Laurie.

2018- This too suffers not having enough scenes with them, especially as adults, but I give this a pass given that the film follows Jo’s perspective more than the others. What I do like about this version is that we do see some sweet moments between them, both as children and adults, that it makes sense just how it could be possible that they fall for each other. Laurie was always so good to Amy as a child, so you understand why she, as a kid, would have a crush on him, which oddly bumps this over the 49’ film, but it allows me a better understanding why and how they fell in love. They are both creatives who are interested in what the other is doing, while Jo is focused on her own work, not necessarily caring what anyone else’s dream is, just what she thinks they ought to be.

1933- This one fare better than the 49’ film by showing more interactions between the characters that you can understand better here how they end up together. Notably, they share an interaction when Beth gets scarlet fever, and Laurie promises to take Amy out for a ride every day while at Aunt March’s, and then scene with Amy and Laurie in Europe after finding out Beth has died. I love their reunion in Europe, because it shows not only how Amy had matured from the start of the film, but also the incredibly tender look Laurie gives Amy as he comforts her, it’s so sweet and you can see the beginning of a romance blossoming between them.

1970- This is another one that really stayed true to text, and having that helps to get the audience on board with the pair. The first time they interact is when Laurie saves her from drowning, jumping in himself to save her and Amy clearly has a crush on him after this. When Laurie promises to take her out for a ride while she is at Aunt March’s there is a pretty adorable interaction where they make plans. At Meg’s wedding they already have hits of acting like a couple, when he spoke in French, “to you I surrender”, then taking her in his arms, and when dancing begins, Amy is the first person he goes to. Where they shine is when they meet again in Europe. This is incredibly faithful to the novel where Amy lays it out for him and Laurie chastises her for marrying only for money. I love the way Amy defends Laurie and is proud of him going away to London to do better things for himself. When he goes to comfort Amy, he promises to not go back to Paris as long as Amy wants him and promises to take care of her. This is the only version that shows them alone after being married, and the casual intimacy they share with each other is just precious. For book faithful, you are best to go with this one.

2017- This one was a surprise how much I liked it. I liked seeing scenes of them together, especially prior their trip in Europe, because it shows how much their relationship grows, especially the scene at Aunt March where they both talk about their faults and wishing to improve themselves. It shows their vulnerable side, which through the series, we hadn’t seen either of them show to anyone else. While we don’t get much of Amy reprimanding Laurie for his behavior, it still has them being honest with one another about their faults, encouraging the other to pursue their passions, and Kathryn Newton and Jonah Hauer-King have a wonderful chemistry together that I would very happily see them in another film where they are a couple. It’s in the looks they give each other, the simple gestures that help to show that, whether they know it or not, they are falling in love with each other, until it’s unavoidable. The scene where they admit their love, at the bank is an intimate moment, and has dialogue quite true to the book, as Laurie asks if Amy thinks they might be on the same journey that could last forever.

1978- Something I always like to see between Amy and Laurie is moments shared before going to Europe, and there is a great conversation between them about their desire to be skilled in art and music, and encouraging each other to chase their dreams. They are always so honest with each other, even if it is blunt and hurtful, in the end, they know they can take it. The scenes in Europe are so true to text that it made me so happy. I feel like so many versions do not play that out, and watching how their love went from being friends to how Laurie could realize that he never loved Jo, that his heroine of his opera stopped looking like Jo and was more like Amy, was adorable, you can really hear the sincerity in his voice when he says this. You can see how good of an influence Amy has on him, particularly when they see Jo after getting married, and she convinces him to speak to Jo about being married. I put this one higher than the 70’ miniseries, mainly because I felt the actors had a better chemistry together than the earlier version, and if you want something that overall shows the essence of Amy x Laurie, this one does the trick.

1994- I wasn’t expecting this one to be as high as it is, but I think the reason why is all the nuances that are in this version rather than just what we see. I always love seeing Amy and Laurie interactions before Europe, as it’s meant to be a softer version of friends to lovers, so to have a scene where Laurie and Amy are in the carriage, him comforting her as she worries over Beth and staying with Aunt March, and the precious moment where he promises to kisses her before she dies, and to have it come back later on was wonderful. His touching her nose, hinting at her little habit of the clothes pin on her nose, is the cutest little signs of affection between them, a sort of them thing. After their rather frank conversation of how they both are acting against their nature is very well done, showing that they can be honest with each other, and when Laurie goes to London to improve his behavior, it inspires Amy to do the same. What gets me hardest is when he receives the letter from Jo about Beth’s death and Aunt March in confinement, he doesn’t even finish the letter, just drops everything to rush to Amy’s side, proving that she was first on his mind, not Jo, and that he loved Amy more than her. This is the version to really get into Amy and Laurie, as it encapsulates everything that makes their relationship great.

[kitsunetsuki]

Charlotte March - Photo Magazine (June 1970)

[swiftviolets]

julie 🧸