#ziegfield girl

[thegloriousolivethomas]

1915, Sarony Studio: Olive Thomas photographed for the Ziegfeld Follies

[silentdivasblog]

Lady of The Day 🌹 Harriet Hoctor ❤️

[photos-black-white]

[fashionbooksmilano]

Vargas

Alberto Vargas and Reid Austin

Foreword by Hugh Hefner

Bell Publ., New York 1978, 128 pages, 23x31cm, ISBN 0-517-3365X Edges of boards are faded and slightly soiled.

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

Joaquin Alberto Vargas y Chávez (9 February 1896 – 30 December 1982) was a Peruvian-American painter of pin-up girls. He is often considered one of the most famous of the pin-up artists. Numerous Vargas paintings have sold and continue to sell for tens of thousands around the world.

For more than sixty years, Alberto Vargas has been celebrating the American woman in all her beauty and sensuousness. Now, accompanied by his remarkable life story, 160 of Vargas's most lushly alluring paintings have been gathered together in one exquisite volume. Voluptuous beauties from every period ahead: the Ziegfelde Follies girls, the glamorous Hollywood sex goddesses, and, of course, the inimitable Vargas Girls - those sensational creatures hwo have been gracing the pages of Esquire and Playboy magazines for nearly forty years. Vargas is a spectacular showcase of the art of the pin-up

20/12/23

[thespliffbunker]

Caryl Bergman

[hotvintagepoll]

Jimmy Stewart and Hedy Lamarr (Come Live With Me, Ziegfield Girl)—i will be honest they do not have such good chemistry. however i DO think its very funny to have jimothy "always sounds like hes swallowing some vanilla ice cream" stewmeister across from hedy "literally most gorgeous woman ever maybe?" lamarr. like thats some casting decision for sure.

Errol Flynn and Basil Rathbone (Captain Blood, The Adventures of Robin Hood)—they wanna fuck so bad it makes them look stupid.

This is round 3 of a mini tournament. Each poll lasts for three days. If you'd like to send additional propaganda supporting your favorite hot couple, you can reblog this post with your propaganda added, send it to my asks, or tag me in it. To vote in all the polls, click here. Happy holidays!

[additional propaganda submitted under the cut]

No additional propaganda was submitted for Stewart and Lamarr.

Flynn and Rathbone:

[gacougnol]

Alfred Cheney Johnston

Ziegfield Girl in Studio 1920s-30s

[eretzyisrael]

by Michael Feldberg

In 1908, dropping out of school after the eighth grade, the gangly, strong-voiced Fanny Borach worked as a chorus girl in a burlesque revue. By the end of that year, she changed her last name to Brice. Grossman speculates that Fanny probably changed her name to escape limited Jewish stage roles. Ironically, a year later, she would make her first Broadway mark in a musical comedy, The College Girls, singing Irving Berlin‘s “Sadie Salome, Go Home” with a put-on Yiddish accent while dancing a parody of the seductive veil dance in Richard Strauss’ opera Salome. Her act brought down the house. Despite her desire for universality, Brice found her niche as a “Jewish” entertainer.

When Brice stuck to broad farce and Yiddish-accented parodies of other female stars, the critics loved her. When she tried playing non-ethnic roles in Broadway plays, they panned her. Brice starred in the Ziegfield Follies in the 1920s and ’30s and became known for her beautiful voice and limber grace, which she always used in the service of humor. She tried dramatic Broadway roles, but the critics thought her plays unsuccessful.

As Brice’s fame increased, so did her notoriety. In 1918, she married Jules “Nicky” Arnstein, a handsome, urbane, but somewhat inept con man and thief she had lived with for six years. Despite Arnstein’s infidelity and a stretch in Sing Sing Prison for illegal wiretapping, the devoted Brice stayed married to him, had two children and supported him by working on stage almost constantly, almost to the very end of each pregnancy. Brice’s tumultuous relationship with the ne’er-do-well Arnstein gave her material for a rare non-ethnic success: appearing the Ziegfield Follies of 1921 the usually manic comedienne stood nearly motionless on the stage and, singing in a beautiful, unaccented voice, moved audiences to tears with her rendition of “My Man,” with its now-classic lyrics, “But whatever my man is, I am his forever.”

[touteslefemmesdumonde]

Promotional poster for "The Great Ziegfield" (1936)

The '30s to the early '50s were truly a wonderful time for Hollywood musicals. Amazing artists, directors, musicians, scenographers and dance directors came together to create the routines, wich are still to this day some of the most breathtaking display of female beauty in cinema.

All these gorgeous chorus girls, brunettes on the left, blondes to the right, all sitting so pretty and composed. Their smiles to the viewer feel welcoming and warm, as if they were inviting you to join them.

Everything in the picture is made to achieve the famous "MGM look": bright, luxurious, massive. From the detail of the champaigne bottles in the foreground, as well as the scenography in the background, with beautiful baroque designs and the silk curtains. Everything looks very soft and cozy.

I must admit, I usually don't enjoy watching these kind of musicals, I find the plot and characters are usually pretty shallow and boring. But when i see the dance routines, I'm immediately captured by the staggering beauty of the sequences. A triumph of femininity and human creativity.

Sometimes I imagine what it was like for people living in rural parts of the States in the 30s, where most people were still working in farms, to then go the movies and seeing stuff like this. It must've looked from another planet!

[kvetchlandia]

Poet Delmore Schwartz, New York City Uncredited and Undated Photograph

Twenty-eight naked young women bathed by the shore Or near the bank of a woodland lake Twenty-eight girls and all of them comely Worthy of Mack Sennett's camera and Florenz Ziegfield's Foolish Follies.

They splashed and swam with the wondrous unconsciousness Of their youth and beauty In the full spontaneity and summer of the fieshes of awareness Heightened, intensified and softened By the soft and the silk of the waters Blooded made ready by the energy set afire by the nakedness of the body,

Electrified: deified: undenied.

A young man of thirty years beholds them from a distance. He lives in the dungeon of ten million dollars. He is rich, handsome and empty standing behind the linen curtains Beholding them. Which girl does he think most desirable, most beautiful? They are all equally beautiful and desirable from the gold distance. For if poverty darkens discrimination and makes perception too vivid, The gold of wealth is also a form of blindness. For has not a Frenchman said, Although this is America…

What he has said is not entirely relevant, That a naked woman is a proof of the existence of God.

Where is he going? Is he going to be among them to splash and to laugh with them? They did not see him although he saw them and was there among them. He saw them as he would not have seen them had they been conscious Of him or conscious of men in complete depravation: This is his enchantment and impoverishment As he possesses them in gaze only.

. . .He felt the wood secrecy, he knew the June softness The warmth surrounding him crackled Held in by the mansard roof mansion He glimpsed the shadowy light on last year's brittle leaves fallen, Looked over and overlooked, glimpsed by the fall of death, Winter's mourning and the May's renewal.

-- Delmore Schwartz, "A Dream Of Whitman Paraphrased, Recognized And Made More Vivid By Renoir" 1962

[sealedintime]

Louise Browne was a dancer and musical comedy star, who went on to encourage many young dancers in Britain. American-Born, Browne's career began in the Ziegfield Follies. She starred in many musicals at the Gaiety Theatre, London, including The Girl Friend in 1927. In the 1930s she held the world record for pirouettes (over 80 consecutive spins). Browne married an English diplomat, and began a long association with the Royal Academy of Dancing, initiating scholarships and directing the prestigious summer school.

[thegloriousolivethomas]

1916,  Campbell Studios: Olive Thomas photographed for the Follies in a more candid pose.

[silentdivasblog]

Lady of The Day 🌹 Gilda Gray ❤️

[photos-black-white]

[merverb]

Judy Garland for Ziegfield Girl https://www.thejudyroom.com/ziegfeldgirl/gallery.html

[vindieselsfacebook-blog]

Meaning/references behind every Gilmore Girls episode title - Season 2, Part 1

A new note on my Season 1 post reminded me I never shared S2 here! I enjoy a neurotic deep-dive project and have been working on a clear, concise list of the meanings and references behind each episode title.

Some titles are quite obvious and literal, but many are clever references that emphasize themes and symbolism happening in the plot or character relationships. I like trying to figure them all out and wanted to share in case I have some wrong or people have caught references I've missed or didn't know writers may have spoken about, etc. ASP has such a deep well of pop culture knowledge, I enjoy mining it.

Masterlist: Season 1 Season 2, Part 1 Season 2, Part 2 Season 3, Part 1 Season 3, Part 2

My notes: - As always, please correct anything I've gotten wrong and share your own insight! - Many of these notes are pulled from and/or learned via annotatedgilmoregirls.com - an absolute icon! - Now in S2, we get many more references and more symbolism in the titles than we did in S1. I especially enjoy when there's a song reference and you can get all nerdy about how the lyrics tie into our characters' feelings. - I love the subtle symbolism of Lorelai trying to out-run her commitment issues and getting stopped at a red light (literally) in front of an open door at Luke's. - I knew the reference, but didn't realize how much Luke and Lorelai's dynamic directly related to Nick and Nora until researching.

Season 2, Part 1

Sadie, Sadie Sadie, Sadie is a song from the 1968 musical film Funny Girl, starring Barbra Streisand. The song is sung when Fanny Brice, the comedienne and Ziegfield Follies star, marries her husband Nick Arnstein (Omar Sharif), but the marriage is doomed: Nick is a gambler and criminal, and they separate after he’s sent to prison. The song references Sadie Strakosh, the married daughter of one of Fanny's mother's friends. She gets mentioned early in the show as a kind of success story to be jealous of because she's a nice young girl who landed a dentist. Throughout the film, Fanny deals with feeling unattractive and less than her peers and considers it a huge personal victory that she snagged a handsome man who wants to marry her. This is why she ignores all warning signs and happily and blindly celebrates the affair, echoing Lorelai’s own excited feelings about her doomed engagement to Max. It’s endearing and classic Sookie that she tells Lorelai “You’re gonna be a Sadie!” She’s wrapped up in the romance of it all without realizing how dooming an analogy that is. Although Sadie's dentist is good on paper the way Max is. Possibly an interesting fun fact: when Nick asks Fanny out backstage after her first show in the Ziegfield Follies, he brings her yellow roses.

Hammers and Veils “Hammers and veils” is a pun on “hammers and nails”. Rory uses the pink fluffy hammer from Lorelai to help build a house for charity, while Lorelai is concentrating on her upcoming wedding – including buying her wedding dress and veil.

Red Light on the Wedding Night A “red light” signifies a big signal to stop. Lorelai has received many symbolic “red lights” in her engagement and on her way out of town with Rory, she faces a literal one newly installed in Stars Hollow (ironically right in front of Luke’s Diner where the door is already open for the day - perhaps a metaphorical green light in the direction she should be going, but of course will continue to ignore for years to come). Technically this happens several days before the wedding, not the day-of as the title might imply.

The Road Trip to Harvard Lorelai’s impulsive road trip symbolizing her feelings of being lost, confused, and unable to commit ends up in a trip to visit Harvard for the first time, where she can take comfort in Rory’s more confident, safe, smart plan to make it to Harvard.

Nick & Nora, Sid & Nancy Nick and Nora Charles (William Powell and Myrna Loy) are the protagonists of the 1934 comedy-mystery film, The Thin Man, based on the 1934 novel of the same name by Dashiell Hammett. They’re a wealthy married couple who enjoy drinking and flirtatious banter, with plenty of free time to solve mysteries. It was the first time in a Hollywood film a married couple were shown still able to enjoy sex, romance, and adventure together. The film was such a success, it spawned five sequels, and in the 1950s was made into a television series starring Peter Lawford and Phyllis Kirk. Sid and Nancy is a 1986 British biographical film, starring Gary Oldman and Chloe Webb in the title roles. The film examines the destructive drug-fuelled relationship between Sid Vicious, the bassist for British punk band The Sex Pistols, and his American girlfriend, Nancy Spungen, which ended in tragedy when Sid stabbed Nancy, either accidentally or deliberately. Lorelai is saying that she and Luke weren’t just having their usual comic flirting, but actually fought with each other with a genuine intention to hurt each other emotionally.

Presenting Lorelai Gilmore Rory participates in a traditional debutante ball and “comes out” to society, therefore being “presented”. Using the full name she shares with her mother hammers home the way in which Emily often uses Rory to fulfill the dreams and expectations she had for Lorelai. This is especially clear when Emily tells Lorelai quite literally: “that should’ve been you up there.”

Like Mother, Like Daughter A common proverb claiming that a daughter will have traits similar to her mother upon reaching adulthood.

The Ins and Outs of Inns “The ins and outs” is a common way of mentioning the details about how something works or is done. This episode involves a lot of preliminary research, learning and planning for Lorelai and Sookie looking to start the process of running their own Inn.

Run Away, Little Boy “Run away, little boy” is a common taunt likely originating from the book Still - William (1925), the fifth in the Just William series by Richmal Crompton. The series chronicles the adventures of the unruly schoolboy William Brown. The series has spawned various television, film, theater and radio adaptations and a large fan following. This is appropriate as this episode marks the last appearance of unruly schoolboy Tristan Dugray.

The Bracebridge Dinner Wealthy clients pay the Independence Inn to recreate the Bracebridge Dinner for them at the Independence Inn. The Bracebridge Dinner is a unique Christmas tradition at The Ahwahnee Hotel in Yosemite National Park, California, on the floor of Yosemite Valley. Held annually since 1927, the event transforms The Ahwahnee into a 17th century English manor for a feast of food, song, and mirth with classic carols, Renaissance rituals, Middle Age music, and sumptuous food. Over 100 players create the roles of the Squire and his family, their servants, the Lord of Misrule, minstrels and other performers. The inspiration for this ceremony was Washington Irving's Sketch Book that described Squire Bracebridge and English Christmas traditions of that period.