#showgirl rooster

[ctbridges]

Splash Silkies Chickens Nest and Eggs

Two days of nest watching on my splash silkie pair. I have a showgirl rooster and a splash hen. ⏱️⏱️Chapters⏱️⏱️00:00 Welcome to Chickens For Chicks and homesteading00:15 She’s got 8 eggs00:38 We’re now up to 10 eggs01:04 Follow us 🙏 Subscribe, 👍, it helps a lot!!➤❓/ 💬: chris@chickensforchicks.com ➤➤I get a little for the channel-no charge for you if you use the links:➤➤Shop Amazon…

[chickpics]

Relatable reaction to seeing a frizzle

[chefboyar-zeee]

Idlewild - Roundtable Jukebox

Idlewild is a musical drama film released in 2006, directed by Bryan Barber and starring the hip-hop duo OutKast, which consists of André 3000 (André Benjamin) and Big Boi (Antwan Patton). The film is set in the Prohibition-era South and blends elements of music, drama, and crime with a jazz and hip-hop-infused soundtrack.

This was a beautiful film and very aesthetic. I have not seen another musical quite like this one and it’s for a reason. Here's why...

What are the social aspects within the film’s narrative that align with the film’s songs? 

The characters in "Idlewild" demonstrate resilience in the face of adversity, a theme echoed in the film's music.  Many songs highlight the characters' determination to overcome obstacles and fight for their dreams, reflecting the broader struggle for justice and equality.

The film's love songs align with these themes, expressing the joy, passion, and challenges of love.

Rooster's involvement in the criminal underworld is depicted through intense and energetic musical numbers that convey the danger and excitement of his lifestyle.

The film's songs reflect their desires for a better life and their struggles to achieve their dreams. Percival's introspective ballads, for instance, convey his longing to break free from his small-town life and pursue his passion for music.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

Most of the songs in Idlewild had already been featured on the OutKast albums Big Boi and Dre Present...OutKast and Speakerboxxx/The Love Below, essentially making it a jukebox musical. Seven of the songs from the film, along with several unreleased songs, were released by LaFace Records as an OutKast album entitled Idlewild at the time of the film's release.

This is such an interesting question for my film considering all the film’s score was performed and produced by the lead actors, Andre 300 and Big Boi, with a few credited features in the film. Obviously it isn’t just circumstance that the leads were a famous Hip-Hop duo, so it isn’t hard to assume that the actors/artists were chosen specifically to star in this film for their transformative and notable music style and sound. Without their unique sound and talent for performing, the film could not, and would not be what it is. 

The historiography of this film is unique in the way that the character actors are also the creators of the featured soundtrack. On one hand, the audiences may feel more compelled to the characters and their narrative because they are in support of their music exclusive to the film, as well as some of their originals. In general though, I think historiographies definitely inform the audience’s relationship to a narrative. It can make you more engaged with the characters and their conflicts if you personally feel the music is fitting, or on the other hand, it can make you understand and better comprehend the narrative you're following because you may be familiar with the meaning and significance of the music. I also think about people’s ability to see artists they like and songs they love being performed in a different medium. In a way, your brain might see the visuals from the first time they heard it; or maybe the song originally had a music video. It’s up to directors to build the narrative strongly around the music.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The hip-hop, funk, and soul stylings of the song score are intentionally anachronistic, a choice made to complement the film being set in 1935. Elements of 1930s-era blues and jazz music are, however, featured prominently in many of the musical numbers. The film's dance numbers, choreographed by Hinton Battle, also feature many period dances, primarily the jitterbug and showgirl moves, like featured in the above video.

The film does a lot of blending hip-hop with jazz, blues, and gospel influences.

Idlewild is known for its visually stylized and innovative approach to storytelling, incorporating musical numbers, fantasy sequences, and animation. 

The film defines itself by taking place in the 1930s, in addition to casting vetted performers and songwriters as your leads. The musical simply wouldn't have the same storytelling element had anyone else written the soundtrack, whether prior to the film or not.

#oxyfilmmusical #disguisedmusical @theuncannyprofessoro

[earlyblackparade]

MY CHEMICAL ROMANCE & THE OUTLINE: HIGHLIGHTS & SET LIST!

December 12, 2006

Words can't really describe what The Outline & My Chemical Romance did to over 2,000 screaming fans on Monday night at the House of Blues in Vegas. 

But since that's my job - here goes....

MCR fans started showing up about 36 hours before the show!  They waited oh-so-patiently (if a little obsessively) in the casino for the big moment.  15 minutes before doors opened, the excitement in the air was palpable as the crowd, packed in like cattle, prepared for the stampede. 

Meanwhile, I won $6.75 playing the slots.

The Outline took the stage first, and totally wowed everyone with their brand of rough, aggressive rock 'n roll.  Their set up is the classic 2 guitars, bass, keys, drums - sometimes they're primal; sometimes they're straight-ahead, but always they rokk. 

Lead singer Graham Fink strutted around the stage, slinging his hair like hash, and the crowd ate it all up.  He's an excellent frontman - good witty banter, he introduced songs & he plugged the band's name often.  At the end of their set, drummer Ryan Rabin threw his sticks into the ocean of people, and they were snapped up like a Barry Bonds' homerun ball.

Then the HOB crew set up the Black Parade banner in front of the stage.  As it rose higher & higher, so too did the ferocity of teenage screams - building into a "We want My Chem" - clap-clap-clapclapclap mantra.  Normally I wear earplugs at shows for the band - this time I had to protect my fragile ears from the rabid fans!

Finally - THE moment arrived and MCR took the stage.  GWay revealed, "I always wanted to be a Vegas showgirl - this will have to do!"

Of course, the packed house of 2k+ was singing along.  And when I say singing along, I mean they sang every word of every verse and every chorus of every song.  I'm completely serious. 

The waltz-time "Mama" reminded me of jangling skeletons as Gerard pranced around like an underworld dandy, pale cheeks sucked in.  Meanwhile, security was lifting smooshed fans to safety, including a mother and her young son. 

Gerard is truly a gifted and astonishing front man.  He's just got so much damn energy - like a band leader on PCP.  This was especially true on "Black Parade" as he orchestrated 2,000 hand thrusts en masse.  In fact, I think that guy has a hand gesture for every lyric.  Before launching into the chorus, he yelled, "Vegas - I wanna hear you sing every @#$%ing word!"  Mosh pockets and crowd surfing ensued, while Ray Toro shredded triumphantly ala Queen.

This was a perfect example of the amazingly seamless give-and-take of energy between MCR and their raving fans.  Its a chicken & egg thing, so its impossible to say whose energy is feeding whom, but the crowd was able to respond immediately to whatever vocal or rhythmic demands Gerard placed on them.  Its a good thing he didn't tell them to drink red koolaid.   

I also noticed that he seems to have studied from the great front-men who came before him.  There was Jagger's Rooster Strut, Hendrix's Finger Worshipping on Bended Knees, Axl Rose's Mic Slither, among others.

BTW - I think there should be a Black Parade Workout Video.  You'd definitely get in shape, if you could keep up.  Plus, since you'd be wearing black - you'd sweat A WHOLE LOT.

Oh yeah - I need to give a shout-out to the really stellar lighting job at this show.  I don't know your name, but you do your job VERY WELL. 

I'd also like to give my commendations to all the parents who came to the show with their younguns.  Many of you seemed just as fanatic about MCR as your kids!  If my parents had been that cool when I was a kid, my teen angst would've been severely mitigated. 

MCR dedicated "I Don't Love You" to "our very special friend," Rob Cavallo.  Hopefully that wasn't a secret message.

Frank, Ray & Mikey were using wireless instruments.  This allowed for unprecedented stage thrashability.

Between the show and the encore, the fans sounded like the primate house at the zoo just before feeding time.  When MCR took the stage again, Gerard was feeling gracious:  "Thank you all so much for coming out and @#$%ing believing in this.  We've been doing this for 5 years and it doesn't get harder - it gets a whole lot more fun!"

The lighters were broken out for "Cancer", the first encore.  Its just so MEANINGFUL, man! 

The show was definitely a black mass presided over by MCR, with the congregation reaching a feverish, ecstatic state.  I almost expected people to start babbling in tongues.

Afterwards, the Meet & Greet was like a well-oiled machine.  Maybe they've done this a few times?

1.  The End 2.  Dead! 3.  Disappear 4.  Not Okay 5.  Cemetery 6.  Mama 7.  The Black Parade 8.  I Don't Love You 9.  Venom 10.  Teenagers 11.  Give Em Hell 12.  House Of Wolves 13.  Famous 14.  Prison --> ENCORE 1.  Cancer 2.  Helena

OH - And dude that gave me the CD for his band THE SCIENCE......I handed it directly to Gerard Way.  He says he listens to every album he gets.  Good luck!

What'd y'all think of the show?!

[borknugget]

If you have never seen a showgirl chicken, about a decade ago I had these two. Voodoo was the big one, Pixie was the smaller one.

Showgirls are a cross between a naked neck rooster and a silkie hen. Enjoy as I eventually dump old chicken photos here.

[punkbawkchicken]

BOKitivity Series 1

[omgshooze-blog]

Frizzled Showgirl Roo. #showgirl #chickensofinstagram #chickens #poultry #backyardchickens #silkies #rooster #backyardpoultry #bantam (at Walker County, Texas) https://www.instagram.com/p/CIMSGd-Br7O/?igshid=ygfvevrgy0l0

[queenoftheroost]

When tumblrbot thinks your video of baby chickens eating is adult content. 😑

[0bscureusername-blog]

This is my baby boy, Spleen, a partridge Silkie showgirl.

[justfandomwritings]

Breakfast Club AU

Word Count: 800ish

Warnings: None

Summary: Breakfast Club... but make it Top Gun

Inspiration: @thislovewillsetyoufree

“We are in detention… The best pilots the U.S. Navy has to offer, and they gave us detention,” Hangman declares unnecessarily loudly.

None of them particularly want to be there, except maybe Bob; but Hangman is being particularly vocal about making his distaste known. His copy of the handbook is strewn across the chair he’s supposed to be occupying, and his feet are dangerously close to kicking Bob’s copy off the end of their shared table at any moment.

“It’s not really detention.” Bob clarifies trying to put on a brave face. “They just want us to read the updated guidelines for the F-18s after…”

Hangman cuts him off, “We just flew one of the most badass missions in the history of TopGun, and they want us to waste our first Saturday back reading a handbook about the plane we all just proved we can fly better than anyone else in the world.”

“You know,” Rooster purses his lips, trying to keep his exasperation at bay. “Maybe the time would pass a little faster for the rest of us if you just shut up for a few minutes.”

Phoenix rolls her eyes and extracts herself from beside Rooster, making a show of reaching down in her bag for the protein bar she brought with her to put some distance between her chair and his. She really doesn’t want to be in the middle of whatever this is.

“Maybe,” Hangman jumps to his feet, stalking slowly across the room towards Rooster’s table, “Time would pass faster for the rest of us if you weren’t wearing that awful shirt. Why is it so shiny? Does Barry Manilow know you raided his closet?”

Rooster’s hands are balling into fists on top of the desk. He isn’t actually going to take a swing at Hangman, not over this, but that man has a way of crawling under his skin. It’s like an annoying itch he just can’t scratch.

Hangman puts his palms on the front of Rooster’s table and leans over. “You look like a showgirl. Gonna put some lipstick on and give us all a nice little dance?”

“Back in your seat, Hangman,” Phoenix is only half-heartedly paying attention to the conversation. She means it when she says she doesn’t want to be in the middle of it, but this is really not the time or place. Her eyes are trained on the protein bar in her hand. It’s a new brand of protein bar, and she can’t decide if she likes it or not. “Or there’ll be two hits. Me hitting you. You hitting the floor.”

“Oh wouldn’t that be a sight. Defending your pretty little princess over here?”

Rooster lurches to his feet. His chair goes flying back and clatters loudly as the metal hits the linoleum floor.

Hangman pulls back, not completely, but just enough so he isn’t hunched over the table anymore. Rooster is angry, looks like he’s working himself up to shout at Hangman. But before he can, there’s a loud sound of one of the heavy metal doors in the hall swinging shut with a bang.

Someone’s coming.

By the time Cyclone enters the room, Hangman’s face is buried in Chapter 7 of the handbook. Phoenix’s protein bar wrapper is tucked away in the bottom of her bag. Rooster’s chair is back up, and he appears to be pouring over the details of the altimeter in the index at the back of the book. Bob is exactly the same as he was before Cyclone walked in, studiously reading his way through the section on emergency protocols.

They all hop to their feet and salute the Admiral as he enters the room.

Cyclone eyes them all suspiciously, glancing from Lieutenant to Lieutenant. “Everything all right in here.”

A chorus of “Yes, Sirs” greet his ears.

His eyes narrow in on Bob’s. There’s a Lieutenant who doesn’t know how to lie to him, “I thought I heard a ruckus.”

Bob gulps, “Could you describe the ruckus, Sir?”

Cyclone snorts derisively and turns to leave the room.

They all stay, standing at attention, until they hear the metal door of his office clang shut once more. Everyone sighs and relaxes back into their seats.

“Well,” At the back of the room, Maverick gets to his feet, speaking for the first time since they’d all got there, han“that was fun. Let me know how you kids find the rest of it.”

“Wait what?” Phoenix does a double take, “You finished already.”

“Oh!” Maverick laughs, “No, this thing?” He waves the handbook around before he tosses it back on the table, “They can’t make me read this; I basically wrote it. I was just hear to keep y’all company. But I think I’m gonna head out to meet Penny for lunch now.”

[papermoonloveslucy]

ZIEGFELD FOLLIES

April 8, 1946

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

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

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

PRINCIPAL CAST

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

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

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

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

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

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

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

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

James Melton (Alfredo in 'La Traviata')

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

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

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

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

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

Marion Bell (Violetta in 'La Traviata')

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

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

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

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

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

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

SUPPORTING CAST

Ziegfeld Girls

Karin Booth  

Lucille Casey  

Aina Constant  

Elizabeth Dailey  

Frances Donelan  

Natalie Draper  

Karen X. Gaylord  

Aileen Haley  

Carol Haney  

Shirlee Howard  

Margaret Laurence  

Helen O'Hara  

Noreen Roth  

Elaine Shepard  

Kay Thompson  

Dorothy Tuttle  

Dorothy Van Nuys  

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

Dancers

Gloria Joy Arden

Jean Ashton  

Irene Austin  

Judi Blacque  

Bonnie Barlowe  

Norman Borine  

Hazel Brooks  

Ed Brown  

Kathleen Cartmill  

Jack Cavan  

Marilyn Christine  

Laura Corbay  

Rita Dunn  

Meredyth Durrell  

Shawn Ferguson  

Jeanne Francis  

Jean French  

Mary Jane French  

David Gray  

Bill Hawley  

Doreen Hayward  

Charlotte Hunter  

Virginia Hunter  

Patricia Jackson

Margaret Kays  

Laura Knight  

Laura Lane  

Dale Lefler  

Melvin Martin  

Diane Meredith  

Lorraine Miller  

Joyce Murray  

Janet Nevis  

Ray Nyles  

Billy O'Shay  

Jane Ray  

Dorothy Raye  

Beth Renner

Melba Snowden  

Walter Stane  

Ivon Starr  

Robert Trout  

Chorus Boys

Rod Alexander

Milton Chisholm  

Dick D'Arcy  

Dante DiPaolo  

Don Hulbert  

Herb Lurie  

Matt Mattox  

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

Jack Purcell  

Tommy Rall  

Ricky Ricardi (!)

Alex Romero

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

Robert Ames (Masked Man)  

James Barron (Couple with Banners)  

Eleanor Bayley (Couple with Branches)  

Mary Jo Ellis (Couple with Banners)  

Sean Francis (Ensemble)  

James King (Rooster)  

Harriet Lee (Bar Singer) 

Eugene Loring (Costermonger)  

Charles Lunard (Masked Man)  

Patricia Lynn (Ensemble)  

Ruth Merman (Ensemble)  

Garry Owen (1st Subway Policeman)  

Ellen Ray (Couple with Parasols)  

Jack Regas (Masked Man)  

Billy Shead (Couple with Parasols)  

Ronald Stanton (Couple with Branches)  

Wanda Stevenson (Ensemble)  

Ray Teal (2nd Subway Policeman)  

“LOVE” starring Lena Horne

Juliette Ball (Club Patron)   

Lennie Bluett (Dancer)   

Suzette Harbin (Flirt)   

Avanelle Harris (Club Patron)  

Maggie Hathaway (Dancer)  

Charles Hawkins (Club Patron)  

Marie Bryant (Woman Getting Her Man Taken)   

Cleo Herndon (Dancer)   

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

Helen Boyce (Countess)   

Feodor Chaliapin Jr. (Lieutenant)

Naomi Childers (Duchess)

Charles Coleman (Majordomo)   

Sam Flint (Majordomo's Assistant)

Sidney Gordon (Masked Man)   

Count Stefenelli (Count)   

Robert Wayne (Dyseptic)   

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

William Bailey (Subway Passenger)

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

William B. Davidson (2nd Judge)

Eddie Dunn (3rd Subway Policeman)   

Harry Hayden (Warden)   

George Hill (2nd Subway Policeman)   

Wilbur Mack (Subway Passenger)   

Larry Steers (Magistrate)

“NUMBER PLEASE” starring Keenan Wynn

Peter Lawford (Voice of Porky)

Grady Sutton (Texan)

Audrey Totter (Phone Operator Voice)

Kay Williams (Girl)

OTHERS

Bunin's Puppets

Elise Cavanna (Tall Woman)

Jack Deery (Man)

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

Sam Garrett (Roping / Twirling Act)

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

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

‘FOLLIES’ TRIVIA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lucille Ball ~ Wildcat (1960)

Carol Haney ~ The Pajama Game (1954)

Tommy Rall ~ Call Me Madame (1950)

Fanny Brice ~ The Ziegfeld Follies 

Marion Bell ~ Brigadoon (1947)

Victor Moore ~ Anything Goes (1934)

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

[ctbridges]

Silkies And Frizzles Chickens, Oh My

My first time at the poultry auction…And lesson learned: Don’t believe what they tell you. They said I had 2 Red Cochin Bantam Frizzle pullets. By the time I got home I was pretty aware, nope, pullet and cockerel. Live and learn. ⏱️⏱️Chapters⏱️⏱️00:00 Welcome to Chickens For Chicks and homesteading00:15 Update on my splash silkie pair, and how many eggs she has.00:56 Snowball the silkie, and my…

[chickpics]

CJ tried to wipe the bag balm off...

[hettiesworld]

Anywhere masterlist

Pairing: Orlando the Magician/Emil x OFC (Charlotte)

Based on: The Immigrant (2013)

Summary: After surviving an “accidental” stabbing from his cousin, Bruno, Emil quits his career as a magician and is recovering in a nearby hospital. Meanwhile Ewe get filled with anger and jealousy (as well as Bruno for stabbing Emil) but for Charlotte, a local showgirl at the Bandits’ Rooster theatre, who is also romantically interested in Emil. What will happen between them all?

Faceclaim for Charlotte: Lea Seydoux

Warnings: Angst, mentions of abuse, murder, rape and suicide, bits of fluff.

Author’s note: I finally watched The Immigrant (thanks Amazon Prime!) and I found it quite interested to watch as it was a Renner movie, I had to watch it! So, if you haven’t seen the movie, don’t worry, it won’t spoil anything (cause this series doesn’t actually follow the plot). So enjoy this!

Chapter 1 Chapter 2 Chapter 3 More to come!

@jeremyrennerfanxxxx123 @yavanna80 @optimistic-dinosaur-nacho @donutloverxo @captain-a-rogers @archerybitch68 @dreamlesswonder86 @swaggysposts @fan-maddson @sarabeth72 @carissime72

[despazito]

My favorite chicken type are Naked neck Turkens. I used to have a black one.

i had a showgirl silkie rooster his name was goofball

[queenoftheroost]

Rosey, my Easter Egger, is just a little suspicious of this new fangled contraption. 😂 I love how she looks at everything with such a scrutinizing gaze! 😍😍