The Sunday Comic – First Meetings

This Week’s Girlymag Articel – Sexy Steno

Sexy Steno

Eleanore Bradley a beauty from Chicago is not only an accomplished model, she’s also a vetran stenographer.

America long been sung of as the land of outrageously beautiful working girls. But even in America, stenographers seldom come along with the radiant allure of Chicago-born Eleanor Bradley.
Read the whole article and see
the naughty pictures HERE

Warning: Nudity do occur in this article. If you are under age or live in a country where watching images of nude women for some reason  is against the law  I take no responsibility if you click the link above. In other words you’re flying solo from here on – Ted 😉

 

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Pig Having Fun

So maybe pigs can’t fly, but it doesn’t prevent them from having fun in a lot of other ways. And honestly, this pig looks to have a lot more fun than the flying pig I posted a few days ago –Ted

Image found at discoerotique

Dot Smith – Stunt Rider

This is Dot Smith, the famous female stunt rider from the 1930s and 40s, she was a member of the San Francisco Motorcycle Club and a founding member of the iconic “Motor Maids” with Dot Robinson and Linda Degeau.

In this photograph she’s sitting on her 1937 EL Knucklehead and looking damn near perfect with that little ribbon in her hair. They just don’t make ‘em like they used too.

Image and text found at silodrome

In Context:
The knucklehead is a retronym used by enthusiasts to refer to a Harley-Davidson motorcycle engine, so named because of the distinct shape of the rocker boxes. The engine is a two cylinder, 45 degree, pushrod actuated overhead valve V-twin engine with two valves per cylinder. It was the third basic type of V-Twin engine used by Harley-Davidson, replacing the Flathead-engined VL model in 1936 as HD’s top-of-the-line model. The engine was manufactured until 1947 and was replaced by the Panhead engine in 1948. The Knucklehead-engined models were originally referred to as "OHVs" by enthusiasts of the time and in Harley’s official literature; the nickname arose from the California chopper culture of the late 1960s.

As the design of Harley-Davidson engines has evolved through the years, the distinctive shape of the valve covers has allowed Harley enthusiasts to classify an engine simply by looking at the shape of the cover. The knucklehead engine valve covers have contours resembling knuckles on a person’s fist that give the knucklehead its name.

Text from Wikipedia, the free encyclopedia

Popular Music History 1945 – 1980 – Part 5 – Country

Even the most music interested among us can sometimes get lost in all the different labels music journalists and record companies choose to put on recordings.

The 11 thorough well written articles in “The Rock Primer” takes us through the most important of the different categories in popular music in the period 1945 – 1980.

The categories are:
Rock & Roll, Folk & Blues, Rhythm & Blues, Soul, Country, British Beat, California Sun, Dylan and after, Reggae, Punk and The seventies.

The Country article is HERE

Grand-daddy’s Sauce – Part 14

All posts material: “Sauce” and “Gentleman’s Relish” by Ronnie Barker – Hodder & Stoughton in 1977

The Fancy Ball

Midnight air is shattered, scattered
Shrieks of laughter over all
Pink champagne is flowing; glowing
Lanterns light the Fancy Ball.

Dancing limbs cavorting, sporting
Garments that entrance, enthral
Garter, boot, and stocking, shocking
Emblems of the Fancy Ball.

Summer stars are twinkling, tinkling
Music makes its waterfall
Whispered words glances, chances
Taken at the Fancy Ball

Costumeless, I’m lying, sighing,
Wondering what might befall
If I went sedately, stately,
In my bear skin, to the Ball.

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Catching Up On The Social Networking

Pictured in 1919, in a world before smart phones, this lady with a pile of luggage and a dog used time waiting at Waterloo Station to catch up on her social networking – by writing a letter.

Text and image found at The Telegraph

Pissing On Napoleon

Chamber Pot Featuring Napoleon, c. 1800s. Can be seen at the  Royal Pavilion and Museums. The idea was brought to life again during WWII when you could buy toilets in Britain with portraits of Hitler printed at the bottom.

Image found at LostSplendor

This Week’s Favourite Female Singer – Lucille Hegamin

Lucille Nelson Hegamin (November 29, 1894 – March 1, 1970) was an American singer and entertainer, and a pioneer African-American blues recording artist.

Life and career
Lucille Nelson was born in Macon, Georgia, United States, the daughter of John and Minnie Nelson. From an early age she sang in local church choirs and theatre programs. By the age of 15 she was touring the US South with the Leonard Harper Minstrel Stock Company. In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist-composer Bill Hegamin. She later told a biographer: "I was a cabaret artist in those days, and never had to play theatres, and I sang everything from blues to popular songs, in a jazz style. I think I can say without bragging that I made the "St. Louis Blues" popular in Chicago; this was one of my feature numbers."

The Hegamins moved to Los Angeles, California in 1918, then to New York City the following year. Bill Hegamin led his wife’s accompanying band, called the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.

In November 1920, Hegamin became the second African-American blues singer to record, after Mamie Smith. Hegamin made a series of recordings for the Arto record label through 1922, and then a few sides for Paramount in 1922. One of her biggest hits was "Arkansas Blues", recorded for Arto and soon released on no fewer than nine other labels, including Black Swan. Lucille Hegamin subsequently played theatre dates but did not tour extensively.

On January 20, 1922, she competed in a blues singing contest against Daisy Martin, Alice Leslie Carter and Trixie Smith at the Fifteenth Infantry’s First Band Concert and Dance in New York City. Hegamin placed second to Smith in the contest, which was held at the Manhattan Casino.

From 1922 through late 1926 she recorded over forty sides for Cameo Records; from this association she was billed as "The Cameo Girl". After her marrriage to Bill Hegamin ended in 1923, her most frequent accompanist was pianist J. Cyrill Fullerton. In 1926, Hegamin recorded with Clarence Williams’ band for the Columbia label. She performed in Clarence Williams’ Revue at the Lincoln Theater in New York, then in various revues in New York and Atlantic City, New Jersey through 1934. In 1929 she appeared on the radio show "Negro Achievement Hour" on WABC, New York. In 1932 she recorded two sides for Okeh Records.

About 1934 she retired from music as a profession, and worked as a nurse. She came out of retirement in 1961 to record four songs, accompanied by a band led by Willie "The Lion" Smith, on the album Songs We Taught Your Mother for the Bluesville Records label. In 1962 she recorded an album, Basket of Blues for the Spivey label. She performed at a Mamie Smith Benefit concert at the Celebrity Club in New York City in 1964.

Lucille Hegamin died in Harlem Hospital in New York on March 1, 1970, and was interred in the Cemetery of the Evergreens in Brooklyn, New York.

Style
Lucille Hegamin’s stylistic influences included Annette Hanshaw and Ruth Etting. According to Derrick Stewart-Baxter, "Lucille’s clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide." Like Mamie Smith, Hegamin sang classic female blues in a lighter, more pop-tune influenced style than the rougher rural-style blues singers such as Ma Rainey and Bessie Smith who became more popular a few years later.

Uploaded in the Music Player at the top of the right column:
“Hot Tamale Molly” – Lucille Hegamin &  the Dixie Daisies (1925)
”My Sugar” – Lucille Hegamin &  the Dixie Daisies (1925)
”Every Time I Pick A Sweetie” Lucille Hegamin & the Dixie Daisies (1925)

Text from Wikipedia, the free encyclopedia

Pre-War Classics Of The Road – Part 14

1912 Fiat

Italian sporting torpedo par excellence, the 1912 Fiat Tipo 54 had a 5.7-litre, monobloc four-cylinder engine and shaft drive; it sold in Britain at £650 in chassis form, to which coachwork such as that shown here would add another £200 or so. The wire wheels fitted to this car are not standard, for the original specification called for the wooden-spoked artillery type.

 

1912 Hispano-Suiza

Although the Hispano-Suiza company was founded in Barcelona in 1904, seven years later they were building cars in Paris as well. Most famous of all the Edwardian Hispanos was the sporting Alfonso XIII (named after the marque’s most prestigious customer), which in its most common form had a longstroke 3.6-litre engine. The 1912 Alfonso illustrated here  still bears a bullet mark on its steering wheel, where its owner was killed in the Irish troubles of that time.

 

1912 Nazzaro

Racing driver Felice ‘Lucky’ Nazzaro enjoyed less than his usual good fortune when he became a car manufacturer in 1912. Unlike his erstwhile team-mate Vincenzo Lancia, Nazzaro found that his sporting reputation was not sufficient to sell cars, and sales remained disappointing during the marque’s decade of existence. Most Nazzaro cars were distinctly staid in appearance, and it is likely that this 1912 model once bore far more sober raiment than it does today.

 

1912 Opel

It was a blessing in disguise when the Opel factory at Russelsheim, Germany, burned down in 1911, for the holocaust enabled the Opel brothers to rebuild in the most modern fashion. By 1912, they were back in production with a bewildering range which started with the basic 1-littre 5/12hp and went up through another seven distinct types-6/16hp, 8/20hp, 10/2Shp, 14/30hp, 18/40hp, 24/50hp and 34/65hp, to the massive 10.2-litre 40/100hp, priced at £800 in chassis form.

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Gloria Dawn Is Now On Facebook

Shannon Moeser, who all lover of old softcore magazines know as Gloria Dawn has just started a Facebook page showing pictures from her all to short career as a glamour model. You’ll find her page HERE (if you are on Facebook show your appreciation by liking her page). You can also read about her glamour career on her WordPress pages HERE and HERE.

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Gabrielle Ray – English Stage Actress, Dancer And Singer

Gabrielle Ray (28 April 1883 – 21 May 1973), was an English stage actress, dancer and singer, best known for her roles in Edwardian musical comedies.

Ray was considered one of the most beautiful actresses on the London stage and became one of the most photographed women in the world. In the first decade of the 20th century, she had a good career in musical theatre. After an unsuccessful marriage, however, she never recovered the fame that she had enjoyed. She spent many of her later years in mental hospitals.

Biography
Ray was born Gabrielle Elizabeth Clifford Cook in Cheadle, Stockport, England. She was the fifth child of William Austin Cook, a prosperous iron merchant and a Justice of the Peace for Cheshire, and his wife Anne Maria Elizabeth née Holden.

Early career
Ray first appeared in London’s West End at the age of ten in the role of Eveleen in John Hollingshead’s production of a musical play called Miami at the Royal Princess’s Theatre. This was followed by juvenile roles in a series of plays in London and on tour. The next year, she played a role in A Celebrated Case. She was also a dancer in the Blackpool ballet. At the Richmond Theatre from 1893, she played Cupid in Little Red Riding Hood, Adrienne in Proof, and Cissie in The Silver King, among other plays and pantomimes. In 1899, she appeared in Sinbad the Sailor at the Hammersmith Lyric Opera House. Manager Ben Greet noticed her dancing skills and engaged her to tour with his company. With Greet, she toured for three years in the roles of Mamie Clancy in The Belle of New York and Dolly Twinkle in The Casino Girl (1901). Ray was back at the Lyric in 1902 to play the title character in the pantomime Little Red Riding Hood.

During the first decade of the 20th century, Ray’s career had progressed to the point where she was performing at leading West End venues and gaining attention as a beautiful young dancer and actress. Her photograph was much sought after by the various trade publications and leading photographers such of the day. Known across Europe for her looks, she was admired by such gentlemen as Alfred Vanderbilt and the King Manuel of Portugal.

George Edwardes hired Ray to understudy Gertie Millar in The Toreador at the Gaiety Theatre, London in 1902, where she had the chance to play the role on many occasions. She then took over for Letty Lind in The Girl from Kays at the Apollo Theatre, earning good notices for her graceful, acrobatic dancing in particular. Next, she earned considerable fame playing Thisbe in the hit musical The Orchid (1903), where she danced in pink pyjamas while singing “The Pink Pyjama Girl”. She continued to appear in Edwardes’ productions in 1905 and 1906, including three successes at the Prince of Wales’s Theatre: Lady Madcap (1905, in which she performed a popular Parisian dance, “La Maxixe”), Lady Dorothy Congress in The Little Cherub (1906) and So-Hie in See See (1906). The same year she also played Eglé in Les merveilleuses.

In 1907, Ray played Frou Frou in Edwardes’ adaptation of The Merry Widow, which ran for 778 performances at Daly’s Theatre. Ray’s dance number, complete with handstands and high kicks, all performed on a table at Maxim’s held head high by four men, was a show stopper. Next she was Daisy in The Dollar Princess (1909) at Daly’s and Polly Polino in Peggy (1911) at the Gaiety.

Text from Wikipedia, the free encyclopedia

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All In A Day’s Work

 

An assistant cleans June Palmer’s foot during a George Harrison Marks photo session.

I can think of worse things to fill the days working hours with – Ted

Image found at the bone orchard

This Week’s Retro Recipe – Drinks & Cocktails Part 2

You’ll find the recipes HERE

The Retro DIY Project – Ice Scooter

If you got kids and live at a place where the lakes and other bodies of water freezes in the winter this would be a great thing to build for those kids. On the other hand if you have managed to keep as much of the kid in you as I have, why not build one for yourself 😉 – Ted

Description and plans in
jpg and pdf format HERE

Player’s Cigarette Cards

Cigarette cards are trade cards issued by tobacco manufacturers to stiffen cigarette packaging and advertise cigarette brands.

History
Beginning in 1875, cards depicting actresses, baseball players, Indian chiefs, and boxers were issued by the US-based Allen and Ginter tobacco company. These are considered to be some of the first cigarette cards. Other tobacco companies such as Goodwin & Co. soon followed suit. They first emerged in the US, then the UK, then, eventually, in many other countries.

In the UK, W.D. & H.O. Wills in 1887 were one of the first companies to include advertising cards with their cigarettes, but it was John Player & Sons in 1893 that produced one of the first general; interest sets ‘Castles and Abbeys’. Thomas Ogden soon followed in 1894 and in 1895, Wills produced their first set ‘Ships and Sailors’, followed by ‘Cricketers’ in 1896. In 1906, Ogden’s produced a set of football cards depicting footballers in their club colours, in one of the first full-colour sets.

Each set of cards typically consisted of 25 or 50 related subjects, but series of over 100 cards per issue are known. Popular themes were ‘beauties’ (famous actresses, film stars and models), sporters (in the US mainly baseball, in the rest of the world mainly football and cricket), nature, military heroes and uniforms, heraldry and city views.

Today, for example, sports and military historians study these cards for details on uniform design.

Some very early cigarette cards were printed on silk which was then attached to a paper backing. They were discontinued in order to save paper during World War II, and never fully reintroduced thereafter.

Text from Wikipedia, the free encyclopedia
Images found at MoikaPalace

Jacques Henri Lartigue – French Photographer And Painter

Jacques Henri Lartigue (June 13, 1894 – September 12, 1986) was a French photographer and painter, known for his photographs of automobile races, planes and Parisian fashion female models.

Biography
Born in Courbevoie, France to a wealthy family, Jacques Henri Lartigue started taking photographs when he was seven. He photographed his friends and family at play – running and jumping; racing home-built race cars; making kites, gliders as well as aeroplanes; and climbing the Eiffel Tower. He also photographed sport events, such as the Coupe Gordon Bennett and the French Grand Prix, early flights of aviation pioneers such as Gabriel Voisin, Louis Blériot, Louis Paulhan and Roland Garros. He also captured in his camera, tennis players such as Suzanne Lenglen at the French Open tennis championships. Many of his initial, famous photographs were originally captured through stereo, but he also produced a vast number of images in all formats and media including glass plates in various sizes, autochromes, and film.

While he sold a few photographs to sporting magazines such as La Vie au Grand Air, during his middle-ages he concentrated on painting which also was his source of income and living. However, he continued taking photographs and maintained written journals about them throughout his life. At age of 69 his boyhood photographs were ‘discovered’ by Charles Rado of the Rapho agency who introduced Lartigue to John Szarkowski, curator of the Museum of Modern Art, who arranged an exhibition of his work at the museum. Life magazine published the photos in 1963.

This exhibition gained him fame and exposure to the industry. He then got opportunities to work with several fashion magazines and became famous in other countries as well. In 1974 he was commissioned by the newly elected President of France Valéry Giscard d’Estaing to shoot his official portrait. The result was a simple photo, simple lit, using the national flag as a background. He was rewarded with his first French retrospective at the Musée des Arts Décoratifs the following year, which paved way for more commissions from fashion and decoration magazines.

Although best known as a photographer, Lartigue was also a good painter. He often showed-up in the official salons in Paris and in the south of France from 1922. He was friends with a wide selection of literary and artistic celebrities including the playwright Sacha Guitry, the singer Yvonne Printemps, the painters Kees van Dongen, Pablo Picasso and the artist-playwright-filmmaker Jean Cocteau. He also worked on the sets of the film-makers Jacques Feyder, Abel Gance, Robert Bresson, François Truffaut and Federico Fellini, and many of these celebrities became the subject of his photographs. Lartigue, however, photographed everyone he came in contact with. His most frequent muses were his three wives, and his mistress of the early 1930s, the Romanian model Renée Perle

His first book, Diary of a Century was published in collaboration with Richard Avedon. The book was mentioned at the Rencontres d’Arles Book Award in 1971. The next year he was elected as the festival’s guest of honor. He continued taking photographs throughout the last three decades of his life, finally achieving commercial success. An evening screening was presented by Michel Tournier " "Jacques-Henri Lartigue & Jeanloup Sieff".

In 1974, his work was included in the group exhibition " Filleuls et parrains". In 1984, the movie "Lartigue, année 90", by François Reichenbach was released. At the same time his work "Les 6 x 13 de Jacques-Henri Lartigue" was exhibited in the festival. One of the evenings screening was "J.-H. Lartigue, l’amateur de rêve" by Patrick Roegiers, in 1994, and a last exhibition was presented: "Lartigue a cent ans".

Text from Wikipedia, the free encyclopedia

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Round Britain By Railway Posters – Cornwall

Cornwall (British English pronunciation: /ˈkɔːnwɔːl/ or /ˈkɔːnwəl/; Cornish: Kernow [ˈkɛɹnɔʊ]) is a unitary authority and ceremonial county of England, within the United Kingdom. Cornwall is a peninsula bordered to the north and west by the Celtic Sea, to the south by the English Channel, and to the east by the county of Devon, over the River Tamar. Cornwall has a population of 536,000 and covers an area of 3,563 km2 (1,376 sq mi). The administrative centre, and only city in Cornwall, is Truro, although the town of St Austell has a larger population.

Cornwall forms the westernmost part of the south-west peninsula of the island of Great Britain, and a large part of the Cornubian batholith is within Cornwall. This area was first inhabited in the Palaeolithic and Mesolithic periods. It continued to be occupied by Neolithic and then Bronze Age peoples, and later (in the Iron Age) by Brythons with distinctive cultural relations to neighbouring Wales and Brittany. There is little evidence that Roman rule was effective west of Exeter and few Roman remains have been found. Cornwall was the home of a division of the Dumnonii tribe – whose tribal centre was in the modern county of Devon – known as the Cornovii, separated from the Brythons of Wales after the Battle of Deorham, often coming into conflict with the expanding English kingdom of Wessex before King Athelstan in AD 936 set the boundary between English and Cornish at the Tamar. From the early Middle Ages, British language and culture was apparently shared by Brythons trading across both sides of the Channel, evidenced by the corresponding high medieval Breton kingdoms of Domnonee and Cornouaille and the Celtic Christianity common to both territories.

Historically tin mining was important in the Cornish economy, becoming increasingly significant during the High Middle Ages and expanding greatly during the 19th century when rich copper mines were also in production. In the mid-19th century, however, the tin and copper mines entered a period of decline. Subsequently china clay extraction became more important and metal mining had virtually ended by the 1990s. Traditionally fishing (particularly of pilchards), and agriculture (particularly of dairy products and vegetables), were the other important sectors of the economy. The railways led to the growth of tourism during the 20th century, however, Cornwall’s economy struggled after the decline of the mining and fishing industries. The area is noted for its wild moorland landscapes, its long and varied coastline, its many place-names derived from the Cornish language, and its very mild climate. Extensive stretches of Cornwall’s coastline, and Bodmin Moor, are protected as an Area of Outstanding Natural Beauty.

Cornwall is the traditional homeland of the Cornish people and is recognised as one of the Celtic nations, retaining a distinct cultural identity that reflects its history. Some people question the present constitutional status of Cornwall, and a nationalist movement seeks greater autonomy within the United Kingdom in the form of a devolved legislative assembly, and greater recognition of the Cornish people as a national minority.

Text from Wikipedia, the free encyclopedia

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Pascale Petit – French Actress

Pascale Petit was born as Anne-Marie Petit in Paris, France in 1938. Before becoming an actress, she worked as a beautician. Her cinema debut was in Les Sorcières de Salem/The Crucible (Raymond Rouleau, 1957) starring Yves Montand and Simone Signoret. Famous author Jean-Paul Sartre wrote the screenplay, based on the play by Arthur Miller. The following year, Pascale Petit’s role as a rich, existentialist kid in Les tricheurs/The Cheaters (Marcel Carné, 1958) made her a star. A scene in which one of her breasts was shown caused a sensation. Hal Erickson notes at AllMovie: "Of the cast, Pascale Petit stands out as a trendy young girl whose willingness to follow the crowd leads to tragedy." She won the prestigious Prix Suzanne Bianchetti in 1958 as the most promising French actress, and soon more roles as a seductive femme fatale followed.

Pascale Petit played in such comedies as Faibles femmes/Three Murderesses (Michel Boisrond, 1959) with Alain Delon and Mylène Demongeot, and Une fille pour l’été/A girl for the Summer (Edouard Molinaro, 1960) opposite Micheline Presle. For a while the media compared her to Brigitte Bardot. In 1959 PP married poet and actor Giani Esposito and followed him to Italy. In the 1960s she was mainly seen in German and Italian B pictures, such as the Spaghetti Western Joe… cercati un posto per morire!/Find a Place to Die (Giuliano Carnimeo, 1968) with Jeffrey Hunter. In 1969 she divorced Esposito and married actor Ray Denton, her co-star of the spy thriller Corrida pour un espion/Code Name: Jaguar (Maurice Labro, 1965).

In the early 1970s Pascale Petit tried to make a comeback in France, as well in the cinema with Chronique d’un Couple…/Chronicle of a Couple (Roger Coggio, 1971) as in the music scene with Il ne reste que moi…/What’s Left is Me (1973). The success was lukewarm and in the following decades she worked as a character actress in unremarkable international films and TV productions. Interesting were a small, delicious Dutch gem, A Strange Love Affair (Eric De Kuyper, Paul Verstraten, 1984), and two TV films by Brigitte Bardot’s Svengali – Roger Vadim, the mini-series La nouvelle tribu/The new tribe (1996), and Un coup de baguette magique/A magic wand (1997), both featuring Marie-Christine Barrault. Pascale Petit has a daughter, Douchka, from her marriage with Giani Esposito. Douchka has been a very successful singer in the 1980s. She was specialized in songs for children, inspired by Walt Disney cartoon heroes.

Text from EuropeanFilmStarPostcards

Oh, I Almost Forgot ;-)

Just for the record: I wont be answering any mails or other messages for the next two days. Posts will turn up as usual of course – Ted