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streda · 3 months

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Buster Keaton

Born Joseph Francis Keaton on October 4, 1895, was an American director and actor who became famous for various comedy scenes that are still repeated in films today. You may recognize him from the nickname "the man with the stone face". He is known as a director, screenwriter and actor in famous silent comedies such as "The General" and "The Navigator".

Keaton was born into a vaudeville family in Piqua, Kansas. His name Joseph didn't come out of nowhere, it was a family tradition from his father's side. The nickname Buster was invented by Harry Houdini (a friend of his parents) when little Buster fell down the stairs and instead of crying or reacting in any way, he got up and moved on (The nickname was also a reference to the fact that he often caused trouble as a child). At the age of three, Keaton began performing with his parents in The Three Keatons. He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Despite his run-ins with the law, Keaton was a rising and relatively well-paid theater star. He stated that he learned to read and write late and was taught by his mother. When he was 21, his father's alcoholism threatened the reputation of the family actor, 20, so Keaton and his mother Myra went to New York, where Keaton's career quickly moved from vaudeville to film. Keaton served with the American Expeditionary Forces in France in the United States Army's 40th Infantry Division during World War I. His unit remained intact and was not broken up to provide replacements, as had been the case with some other late-arriving divisions. While in uniform, he contracted an ear infection that permanently damaged his hearing. Keaton was such a natural in his first film, "Butcher Boy," that he was hired on the spot. Finally, he asked to borrow one of the cameras to see how it worked. He took the camera back to his hotel room, where he disassembled and reassembled it by morning. He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular, and contrary to Keaton's later reputation as "The Great Stone Face", he often smiled and even laughed in them. In 1920, The Saphead was released, marking Keaton's first starring role in a feature-length feature film. After Keaton's successful collaboration with Arbuckle, Schenck gave him his own production unit, Buster Keaton Productions. He made a series of 19 two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922).

The more adventurous ideas called for dangerous stunts, performed by Keaton at great physical risk. During the railroad water-tank scene in Sherlock Jr. (gags written by Clyde Bruckman), Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterwards. A scene from Steamboat Bill, Jr. required Keaton to stand still on a particular spot. Then, the facade of a two-story building toppled forward on top of Keaton. Keaton's character emerged unscathed, due to a single open window. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of clearance around Keaton's body. The sequence furnished one of the most memorable images of his career. Aside from Steamboat Bill, Jr. (1928), Keaton's most enduring feature-length films include Three Ages (1923), Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1926). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton's judgment in making a comedic film about the Civil War, even while noting it had a "few laughs." it was an expensive dud, His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, and his career in the early sound era was hurt as a result.

I guess that's it for Buster's success.

Keaton died of lung cancer on February 1, 1966, aged 70, in Woodland Hills, Los Angeles. Despite being diagnosed with cancer in January 1966, he was never told he was terminally ill. Keaton thought that he was recovering from a severe case of bronchitis. Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home. In a British television documentary about his career, his widow Eleanor told producers from Thames Television that Keaton was up out of bed and moving around, and even played cards with friends who came to visit the day before he died. He was buried at Forest Lawn Memorial Park Cemetery in Hollywood Hills, California.

Keaton was presented with a 1959 Academy Honorary Award at the 32nd Academy Awards, held in April 1960. Keaton has two stars on the Hollywood Walk of Fame: 6619 Hollywood Boulevard (for motion pictures); and 6225 Hollywood Boulevard (for television).

Three Ages (1923)

Our Hospitality (1923)

Sherlock Jr. (1924)

The Navigator (1924)

Seven Chances (1925)

The Cameraman (1928)

Go West (1925)

Battling Butler (1926)

The General (1926)

College (1927)

Steamboat Bill, Jr. (1928)

Spite Marriage (1929)

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#actor #movie #movies #old movies #old cinema #comedy #buster keaton

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dresshistorynerd · 7 months

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Hi, while looking through extant garments in a museum collection for reference for a school project, I found several garments of different designs that were all labelled as "binder" without any other context or explanation. Obviously my first thought was the kind of binder I use, especially for the first one that looks elasticated, but I have to assume they're for something else like gynecomastia or compression..? Do you know happen to know anything about them?

This is interesting!

They could actually be the types of binders you use. I immediately thought of 19th century male impersonators - female (?) actors who specialized in male roles in Vaudeville and other similar forms of theater, in which drag was integral part of, and would also have their own one man impersonation comedy and music shows and male stage personas. Basically they were drag kings. (Similarly female impersonators, basically drag queens, were also quite popular.) They were known to bind their chest, and other actors, who didn't necessarily do the impersonation shows, but played male roles on stage, would also often bind their chest for their performance. Here's for example two successful male impersonators, British Vesta Tilley (first picture) and American Ella Westner (second picture).

Queer women and trans masc people, who dressed in masculine clothing, (which was pretty common) also sometimes bound their chests, but unsurprisingly that was not exactly celebrated like drag performances were, so there weren't binders made for queer people specifically. I'm guessing they either made their own binders or used binders made for actors. Often those actors were the same people as those queer people, since drag performance was one of the few socially acceptable ways to fuck around with gender. Not all of them were queer, Vesta Tilley looks excellently queer in her drag, but outside stage she was respectable member of high society and very supportive of her husband who became conservative member of parliament (after she had retired). And I think we can easily imagine what kind of political opinions about queer people she was supporting when he was conservative in the context of 1923 Britain. But many of them were known to be queer, like Ella Westner, who eloped to Paris with a very interesting woman, Josie Mansfield (pictured in the last photo above), who was mistress to an infamous scammer and the man who murdered him. Westner was also buried in men's clothing by their own request.

I couldn't find pictures though what did the binders used for chest binding looked like, so I decided to look into what kind of other binders were used in the era. I think the first binder or perhaps both of them could be baby/infant binders (first two pictures below). Apparently people in Victorian era (and in 18th century) believed that chilled abdomen could cause cholera and I guess other bowel issues, so they treated cholera and tried to prevent it by wearing binders and belts (last picture), which could be also made from flannel or wool knit for extra warmth. And babies are quite vulnerable to bowel issues and cholera, so they made binders for babies too. I've seen many different types for these (for both baby and adult use) with some of them like cloth wraps, and some of them kinda corset looking though not corset shaped. If the binders you found were indeed for abdomen warming purposes, I'm sure they are for babies, since those for adults would be so low there definitely wouldn't be shoulder straps like that. The proportions on the first binder especially seem to me fitting for a baby, like the straps feel a bit too wide for adult scale. The second one is harder to guess, it could be a baby binder, but it seems to have boning in the middle, which would make maybe more sense in a chest binder?

But yeah Victorian medicine continues to be... interesting.

#extant garment #historical fashion #fashion history #history #victorian fashion #queer history #undergarments #historical clothing #dress history #historical binder #photography #answers

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shewhoworshipscarlin · 8 months

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Evelyn Preer

Evelyn Preer (née Jarvis; July 26, 1896 – November 17, 1932), was an African American pioneering screen and stage actress, and jazz and blues singer in Hollywood during the late-1910s through the early 1930s. Preer was known within the Black community as "The First Lady of the Screen."

She was the first Black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York–style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's Rain.

Evelyn Jarvis was born in Vicksburg, Mississippi, on July 26, 1896. After her father, Frank, died prematurely, she moved with her mother, Blanche, and her three other siblings to Chicago, Illinois. She completed grammar school and high school in Chicago. Her early experiences in vaudeville and "street preaching" with her mother are what jump-started her acting career. Preer married Frank Preer on January 16, 1915, in Chicago.

At the age of 23, Preer's first film role was in Oscar Micheaux's 1919 debut film The Homesteader, in which she played Orlean. Preer was promoted by Micheaux as his leading actress with a steady tour of personal appearances and a publicity campaign, she was one of the first African American women to become a star to the black community. She also acted in Micheaux's Within Our Gates (1920), in which she plays Sylvia Landry, a teacher who needs to raise money to save her school. Still from the 1919 Oscar Micheaux film Within Our Gates.

In 1920, Preer joined The Lafayette Players a theatrical stock company in Chicago that was founded in 1915 by Anita Bush, a pioneering stage and film actress known as “The Little Mother of Black Drama". Bush and her troupe toured the US to bring legitimate theatre to black audiences at a time when theaters were racially segregated by law in the South, and often by custom in the North and the interest of vaudeville was fading. The Lafayette Players brought drama to black audiences, which caused it to flourish until its end during the Great Depression.

She continued her career by starring in 19 films. Micheaux developed many of his subsequent films to showcase Preer's versatility. These included The Brute (1920), The Gunsaulus Mystery (1921), Deceit (1923), Birthright (1924), The Devil’s Disciple (1926), The Conjure Woman (1926) and The Spider's Web (1926). Preer had her talkie debut in the race musical Georgia Rose (1930). In 1931, she performed with Sylvia Sidney in the film Ladies of the Big House. Her final film performance was as Lola, a prostitute, in Josef von Sternberg's 1932 film Blonde Venus, with Cary Grant and Marlene Dietrich. Preer was lauded by both the black and white press for her ability to continually succeed in ever more challenging roles, "...her roles ran the gamut from villain to heroine an attribute that many black actresses who worked in Hollywood cinema history did not have the privilege or luxury to enjoy." Only her film by Micheaux and three shorts survive. She was known for refusing to play roles that she believed demeaned African Americans.

By the mid-1920s, Preer began garnering attention from the white press, and she began to appear in crossover films and stage parts. In 1923, she acted in the Ethiopian Art Theatre's production of The Chip Woman's Fortune by Willis Richardson. This was the first dramatic play by an African-American playwright to be produced on Broadway, and it lasted two weeks. She met her second husband, Edward Thompson, when they were both acting with the Lafayette Players in Chicago. They married February 4, 1924, in Williamson County, Tennessee. In 1926, Preer appeared on Broadway in David Belasco’s production of Lulu Belle. Preer supported and understudied Lenore Ulric in the leading role of Edward Sheldon's drama of a Harlem prostitute. She garnered acclaim in Sadie Thompson in a West Coast revival of Somerset Maugham’s play about a fallen woman.

She rejoined the Lafayette Players for that production in their first show in Los Angeles at the Lincoln Center. Under the leadership of Robert Levy, Preer and her colleagues performed in the first New York–style play featuring black players to be produced in California. That year, she also appeared in Rain, a play adapted from Maugham's short story by the same name.

Preer also sang in cabaret and musical theater where she was occasionally backed by such diverse musicians as Duke Ellington and Red Nichols early in their careers. Preer was regarded by many as the greatest actress of her time.

Developing post-childbirth complications, Preer died of pneumonia on November 17, 1932, in Los Angeles at the age of 36. Her husband continued as a popular leading man and "heavy" in numerous race films throughout the 1930s and 1940s, and died in 1960.

Their daughter Edeve Thompson converted to Catholicism as a teenager. She later entered the Sisters of St. Francis of Oldenburg, Indiana, where she became known as Sister Francesca Thompson, O.S.F., and became an academic, teaching at both Marian University in Indiana and Fordham University in New York City.

Still from the 1919 Oscar Micheaux film Within Our Gates.

#historical #black history #actress #evelyn preer

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mimi-0007 · 6 months

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Edna Mae Harris (September 29, 1914 – September 15, 1997), sometimes credited as Edna May Harris was an American actress and singer. Harris was one of the first African–American film actress of the late 1930s and early 1940s, appearing in films featuring mostly African–American casts.

Born in Harlem, Harris parents were Sam, a boxer and customs inspector; Her mother Mary Harris (née Walker) worked as a maid. Harris' family is noted as one of the first families to have migrated to Harlem. Settling near the Lafayette Theater, Harris was convinced into pursuing a career in show business by Ethel Waters and Maud Russell who were frequent visitors to her family home. After being coached on her singing and dancing by Waters and Russell, Harris began performing in the Theater Owners Booking Association (TOBA). An African-American vaudeville circuit, Harris performed with TOBA from 1929 until 1933.

Harris attended Wadleigh High School (later known as Wadleigh High School for Girls) in Manhattan. During the summer after her sophomore year of high school, Harris worked at the Alhambra Theater doing dramatic sketches with a stock company. During this period, Harris received excellent training in diction and stage delivery through her association with veteran performers. Harris was also an excellent swimmer in high school, and in 1928 she entered the New York Daily News' Swimming Meet and won a championship.

Harris first real Hollywood break came when she landed a part in The Green Pastures (1936), portraying Zeba, starring with Eddie 'Rochester' Anderson. Harris was a leading lady in Spirit of Youth (1938), the story of the rise of boxer Joe Thomas, which paralleled the life of Joe Louis. Harris also had leading roles in Oscar Micheaux films, Lying Lips (1939), and The Notorious Elinor Lee (1940). Her film credits also include such Hollywood films as Bullets or Ballots (1936), Private Number (1936), and Garden of Allah (1936), and the independent film Paradise in Harlem in 1939. Between picture commitments she toured with Noble Sissle's Orchestra as a featured vocalist along with Lena Horne and Billy Banks. In 1942, she played fourteen weeks at the old Elks' Rendezvous as the mistress of ceremonies and announced a weekly radio show over station WMCA in New York City. She also did character dialect parts on many broadcasts for the Columbia Workshop Program. Edna Mae Harris got to tell her story in her later years in the documentary, Midnight Ramble (1994), about independently produced black films.

Harris was married twice and had no children. Her first marriage was to Edward Randolph from 1933 until 1938, then to Harlem nightclub owner Walter Anderson from 1951 until his death in 1983. Harris dated boxer Joe Louis sometime during 1939 and 1940. Harris dated Robert Paquin, who co-starred with her in the Lying Lips from 1941 until 1942. Harris died of a heart attack on September 15, 1997 at the age of 82.

#black literature #black tumblr #black excellence #black community #civil rights #black girl magic #blackexcellence365 #beautiful #strong black woman

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queenie435 · 7 months

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FIRST SUCCESSFUL FEMALE STANDUP COMEDIAN

Loretta Mary Aiken (March 19, 1897 – May 23, 1975), known by her stage name Jackie "Moms" Mabley, was the first successful female standup comedian and had a career that spanned over 50 years. Moms bridged the gap between vaudeville and modern stand up comedy. She was also the first woman comic to be feature at the Apollo theater and Carnegie Hall in 1962.

Moms Mabley was born Loretta Mary Aiken in Brevard, North Carolina, to a large family. She experienced a horrifying, traumatic childhood. Her firefighter father was killed in an explosion when she was 11 and her mother was later hit and killed by a truck on Christmas Day. By the time she was fifteen she had borne two children resulting from sexual assaults: the first by a neighbour when she was twelve, and the second, two years later by a local sheriff. Her stepfather, who had remained her guardian, gave both children up for adoption and then forced Moms to marry a much older man who she despised.

Aiken left home at the age of 14 and pursued a show business career, joining the African-American vaudeville circuit(aka Chitlin' Circuit)as a comedian under the Theatre Owners Booking Association, Fellow performer Jack Mabley became her boyfriend for a short time, and she took on his name, becoming Jackie Mabley, with "Moms" coming from her eventual reputation as a mentoring, mothering spirit.

Moms saw an opportunity to try out her own voice, and discovered that she was a natural at singing, dancing and telling a joke. Especially telling a joke. She realized she had something that many of her contemporaries didn’t - original material. Since her sheltered life had hampered any introduction to current comedy routines, Moms inevitably began to craft authentic pieces based on her own experiences, much of it based on Granny’s pearls of wisdom.

Moms talked to her audience as if they were her children. She delivered superbly solemn routines, original in their time yet amazingly, never bettered. As soon as Moms delivered her opening line “I 'gots' something to tell you...” she immediately captured the attention of everyone in the room - and those rooms were full for over fifty years.

By the early 1920s she had begun to work with the duo Butterbeans & Susie, and eventually became an attraction at the Cotton Club. Mabley entered the world of film and stage as well, working with writer Zora Neale Hurston on the 1931 Broadway show "Fast and Furious: A Colored Revue in 37 Scenes" and taking on a featured role in Paul Robeson's "Emperor Jones" (1933).

Starting in the late 1930s, Mabley became the first woman comedian to be featured at the Apollo, going on to appear on the theater's stage more times than any other performer. She returned to the big screen as well with "The Big Timers" (1945), "Boarding House Blues" (1948), and the musical revue "Killer Diller" (1948), which featured Nat King Cole and Butterfly McQueen.

By the late 1950s Moms Mabley was one of the highest-paid comics in the US, making $10,000 a week. Mabley's standup routines were riotous affairs augmented by the aesthetic she presented as being an older, housedress-clad figure who provided sly commentary on racial bigotry to African-American audiences. Her jokes also pointed towards a lusty zest for younger men.

Mabley began a recording career with her Chess Records debut album "The Funniest Woman Alive," which became gold-certified. Subsequent albums like "Moms Mabley at the Playboy Club," "Moms Mabley at the UN" and "Young Men, Si - Old Men, No" continued to broaden Mabley's reach (she ultimately recorded many albums). She landed spots on some of the top variety shows of the day, including "The Ed Sullivan Show," and graced the stage of Carnegie Hall.

Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.

Mobley had a starring role in the 1974 picture "Amazing Grace," which she was able to complete despite having a heart attack during filming.

Over the course of her life, Mabley had six children: Bonnie, Christine, Charles, and Yvonne Ailey, and two placed for adoption when she was a teenager. She died from heart failure on May 23, 1975, in White Plains, New York.

Actress Clarice Taylor, who portrayed Bill Cosby's mother on "The Cosby Show" and was a major fan of Mabley's work, staged the 1987 play "Moms at the Astor Place Theater, in which she portrayed the trailblazing icon.

Fellow comedian Whoopi Goldberg made her directorial debut with the documentary "Moms Mabley: I Got Somethin' to Tell You, which was presented at the Tribeca Film Festival and aired on HBO in 2013.

#black history month #black history #comdey #comedian #Loretta Mary Aiken #carnegie hall #vaudeville #Jackie Moms Mabley

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olympic-paris · 1 month

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

August 17

1893 – On this date Mae West, the American actress, sex-positive, gender-blurry icon, was born (d.1980). West was born Mary Jane West in Bushwick, Brooklyn, delivered at home by an aunt who was a midwife. She was eldest surviving child of John Patrick West and Matilda "Tillie" Doelger, who had emigrated with her family from Bavaria.At five years old, West first entertained a crowd, at a church social, and she started appearing in amateur shows at the age of seven. She often won prizes at local talent contests. She began performing professionally in vaudeville in the Hal Clarendon Stock Company in 1907 at the age of fourteen. West first performed under the stage name Baby Mae, and tried various personas including a male impersonator, Sis Hopkins, and a blackface coon shouter. She was was said to have been inspired or influenced by female impersonators Bert Savoy and Julian Eltinge, who were famous during the Pansy Craze. Her first appearance in a legitimate Broadway show was in a 1911 revue A La Broadway put on by her former dancing teacher, Ned Wayburn. The show folded after just eight performances. She then appeared in a show called Vera Violetta, whose cast featured Al Jolson.

Her famous walk was said to have originated in her early years as a stage actress. West had special eight-inch platforms attached to her shoes to increase her height and enhance her stage presence. Though she had not yet matured, the slinky, dark-haired Mae was already performing a lascivious "shimmy" dance in 1913 and was photographed for a song-sheet for the song "Everybody Shimmies Now." She was encouraged as a performer by her mother, who, according to West, always thought that whatever her daughter did was fantastic.

She began writing her own risqué plays using the pen name "Jane Mast." Her first starring role on Broadway was in a play she titled Sex, which she also wrote, produced and directed. Though critics hated the show, ticket sales were good. The notorious production did not go over well with city officials and the theater was raided with West arrested along with the cast. She was prosecuted on morals charges and, on April 19, 1927, was sentenced to 10 days in jail for public obscenity. While incarcerated on Welfare Island (now Roosevelt Island), she was allowed to wear her silk panties instead of the scratchy prison issue and the warden reportedly took her to dinner every night. She served eight days with two days off for good behavior. Media attention to the case enhanced her career.

Her next play, The Drag, was about homosexuality and alluded to the work of Karl Heinrich Ulrichs. It was a box office success but it played in New Jersey because it was banned from Broadway. West regarded talking about sex as a basic human rights issue and was also an early advocate of homosexual rights. She famously told policemen who were raiding a Gay bar, "Don't you know you're hitting a woman in a man's body?" — a daring statement at a time when homosexuality was not accepted. During her entire lifetime she surrounded herself with Gay men and stood up for Gay rights at any and every opportunity.

In 1932, West was offered a motion picture contract by Paramount Pictures, when she was 38 years old (although she kept her age ambiguous for several more years). She made her film debut in Night After Night starring George Raft. At first, she did not like her small role in Night After Night, but was appeased when she was allowed to rewrite her scenes. In West's first scene, a hat check girl exclaims, "Goodness, what beautiful diamonds." West replies, "Goodness had nothing to do with it, dearie." Reflecting on the overall result of her rewritten scenes, Raft is said to have remarked, "She stole everything but the cameras."

She brought her Diamond Lil character, now renamed Lady Lou, to the screen in She Done Him Wrong (1933). The film is also notable as one of Cary Grant's first major roles, which boosted his career. West claimed she spotted Grant at the studio and insisted that he be cast as the male lead. The film was a box office hit and earned an Academy Award nomination for Best Picture. The success of the film most likely saved Paramount from bankruptcy.

She appeared in a series of hits, many of which caused controversy because of their risque nature. They included I'm No Angel, Klondike Annie, and Go West Young Man. In 1939, Universal Pictures approached West to star in a film opposite W. C. Fields. Having left Paramount eighteen months earlier and looking for a comeback film, West accepted the role of Flower Belle Lee in the film My Little Chickadee (1940). Despite their intense mutual dislike, and fights over the screenplay, My Little Chickadee was a box office success, outgrossing Fields' previous films.

West appeared in her last movie during the studio age with The Heat's On (1943) for Columbia. She remained active during the ensuing years. Among her stage performances was the title role in Catherine Was Great (1944) on Broadway, in which she spoofed the story of Catherine the Great of Russia, surrounding herself with an "imperial guard" of muscular young actors, all over six feet tall. The play was produced by Mike Todd and went on a long national tour in 1945. She also starred in her own Las Vegas stage show, singing while surrounded by bodybuilders.

When Billy Wilder offered West the role of Norma Desmond in Sunset Boulevard, she refused and pronounced herself offended at being asked to play a "has-been," similar to the responses he received from Mary Pickford, Greta Garbo, and Pola Negri. Ultimately the more amenable Gloria Swanson was cast in the role. In 1958, West appeared at the Academy Awards and performed the song "Baby, It's Cold Outside" with Rock Hudson. Her autobiography, titled Goodness Had Nothing To Do With It, was published by Prentice-Hall in 1959.

The famous West quip "Is that a gun in your pocket, or are you just happy to see me?" is accurately attributed to her. She made it in February 1936, at the train station in Los Angeles upon her return from Chicago, when a Los Angeles police officer was assigned to escort her home. She first delivered the line on film in My Little Chickadee, and again to George Hamilton in her last movie, Sextette. It is one of the most quoted lines in movie history. Another favorite, said to Ezra Pound, no less, "An ounce of erection is worth a pound of allure."

After a 26-year absence from motion pictures, she appeared in the role of Leticia Van Allen in Gore Vidal's Myra Breckinridge (1970) with John Huston, Raquel Welch, Rex Reed, Farrah Fawcett, and Tom Selleck in a small part. This movie failed at the box office, despite popular excitement. It became a camp classic, however, due to its sex change theme. It has since been re-released several times doing much better than originally and has also had successful multiple releases on DVD and VHS. Near the end of her life, she was known for maintaining a surprisingly youthful appearance. She stated in her autobiography that she spent two hours every day massaging cold cream into her breasts to keep them youthful. West continued to surround herself with virile men for the rest of her life, employing hunky companions, bodyguards and chauffeurs. Mae West is buried, with her family, in Cypress Hills Cemetery, Brooklyn, New York.

1907 – Roger Peyrefitte (d.2000) was born in Castres in south western France and educated in Catholic boarding schools in the region. The most lasting effect of this religious education was his life-long hostility to the Roman Catholic Church. He went on to study at the University of Toulouse and in Paris.

He had his first homosexual experience at eighteen and thereafter led an active sex life, hunting for teenage boys across Europe. He also had occasional affairs with women, whom (by his own account) he introduced to the delights of anal sex.

Peyrefitte entered the French diplomatic service in 1931 and served as secretary at the French embassy in Athens from 1933 to 1938. Forced to resign in October 1940 because of his relations with a fourteen-year-old boy, he was recalled to duty three years later to serve the collaborationist Vichy government in German-occupied Paris.

After the Liberation, France's provisional government dismissed him on suspicion of collaborationism in February 1945. Peyrefitte later appealed his dismissal and the Council of State finally ruled in his favour in 1962, but the Foreign Ministry refused to reintegrate him. He was by then, in any case, a professional writer with no desire to return to state service.

Peyrefitte's first, best, and best-known novel, Les Amitiés Particulières (Special Friendships), tells the story of love between two teenage boys in a Catholic boarding school. The book may have been based on his own experience. Peyrefitte later explained, 'I was a young diplomat, and I wanted to show the origin of those things: [i.e. homosexuality] that it was not simply under the influence of a disgusting adult that young boys could feel that sort of attraction.'

Critically well-received, the novel won the Prix Renaudot. It caused a first scandal when it appeared in 1944 and a second when made into a movie in 1964. During the making of the film, Peyrefitte befriended a fourteen-year-old extra, Alain-Philippe Malagnac, who eventually became the great love of his life as well as his secretary and business partner.

In the course of his long life (he died at 93), Peyrefitte published dozens of books, including numerous novels, a three-volume fictionalised biography of Alexander the Great, and two volumes on Voltaire (whom he claimed to have been homosexual). He also wrote about Baron Jacques d'Adelsward-Fersen's exile in Capri (L'Exilé de Capri, 1959) and translated Greek pederastic love poetry.

Much of his work provoked scandal for his wide-ranging accusations and implications that various people (and popes) were homosexuals, Nazi-collaborators, or both.

In his memoirs Propos Secrets, he wrote extensively about his youth, his sex life (homosexual mainly and a few affairs with women), his years as a diplomat, his travels to Greece and Italy,] and his troubles with the police for sexually harassing male teenagers.

In two volumes of oral memoirs (1977 and 1980), he divulged the secrets (especially sexual) of numerous celebrities, including himself. Among those he portrayed in a negative light were Alain Delon, André Gide, and Marcel Proust.

Peyrefitte appeared to value the commercial success of his books far more than he cared about their quality.

Peyrefitte was certainly no radical gay liberationist, but he did support gay businesses - he financed a gay nightclub, Le Colony, and Paris's first gay sex bar, Le Bronx, both of which opened on the Rue Sainte-Anne in late 1973.

His political views were deeply conservative: 'I have a profound respect for order. . . . I hate all revolutionary movements. . . . I am too bourgeois . . . to approve of . . . the enemies of the bourgeoisie.' In his last years, he came out in open support of the extreme right-wing politician Jean-Marie Le Pen and his xenophobic and homophobic party, the National Front.

Peyrefitte died on November 5, 2000, in Paris, after a long battle with Parkinson's disease.

Wesley Eure, Then and Now

1951 – Wesley Eure is an American actor, singer, author, producer, director, charity fundraiser, and lecturer. He is best known for appearing as Michael Horton on the American soap opera Days of Our Lives from 1974 to 1981, during which he also starred on the popular children's television series Land of the Lost. He later hosted the popular children's game show Finders Keepers in 1987 and 1988, and co-created the children's educational television show Dragon Tales in 1999. He subsequently published several books (for children and adult), and has produced plays and raised funds for HIV/AIDS and other causes.

Eure wanted to be an actor since the age of five. While the family lived in Illinois, he enrolled in a summer program at Northwestern University, where he took acting lessons. His first break came when he was 17 years old and working part-time at the New Frontier Hotel and Casino in Las Vegas selling artwork. He was hired as a driver for Robert Goulet and Carol Lawrence during their summer tour. He spent most of 1968 and 1969 as their driver.

Eure moved to Los Angeles in 1973 after discovering it was cheaper to live there but offered just as much opportunity to become an actor. He was hired to star in a pilot for a Kaye Ballard TV series, The Organic Vegetables, created and produced by the team behind The Monkees. When that series was not picked up due to the 1973 writers' strike, Eure answered an ad in an industry trade publication to audition for a television show. He learned that David Cassidy was threatening to leave The Partridge Family, and that the audition was for a role as a "neighbor boy" who would take over the lead in the family band from Cassidy. Eure won the audition, but never joined the show. Why is not clear, as Eure has said that Cassidy agreed to stay on the show but also that the show was canceled before the next season started.

Although his acting career seemed stalled, Eure continued to sing. He became friends with Shaun Cassidy and Leif Garrett, and some of his music was produced by Bobby Sherman. Motown Records placed him under contract, and he was in a boy band whose music was produced by Mike Curb. He also sang a few times with the Jackson Five.

In 1974, Eure tried out for and won a role on NBC's Days of Our Lives. Eure had previously met producer Sid Krofft and committed to do an audition for a new children's show he was working on. Eure flew to New York City at the request of Broadway producer David Merrick to try out for a role in a theatrical production of Candide, and didn't want to audition for Krofft due to his commitment to Days and because he'd be playing a 16-year-old boy. But Eure auditioned and won the role of Will Marshall on Land of the Lost. He kept his commitment to both shows after the Kroffts repeatedly asked him to star on Land of the Lost.

Although Eure had sexual relationships with women, he knew he was homosexual. He met movie star Richard Chamberlain in the early 1970s, and they entered into a serious relationship in 1975. According to Eure, the two men lived together until their breakup in 1976, after which Chamberlain met his long-term partner Martin Rabbett. During this time, Eure says, he lived a fairly open life with Chamberlain, with many of his co-stars, producers, and crew aware of their relationship and Eure's homosexuality. Eure says of the relationship, "It broke my heart. I was destroyed. I was a kid, and he was a much older guy. ... I remember we broke up and I was on Days of Our Lives, I couldn’t stop shaking. I was crying so hard. I was a kid, comparatively. I went to the studio that day, and I was sobbing in the dressing room."

Eure was fired from Days of Our Lives in 1981. According to Eure, he was given many reasons for the cancellation of his contract after nine years on the show. But Eure says he believes the real reason was his homosexuality, which attracted attention and threatened more deeply closeted producers and actors. Years later, Eure says he met Earl Greenburg, the head of NBC's daytime programming division at the time he was fired. Greenburg confirmed that Eure was fired because of rumors about his homosexuality. Eure also says one of the stars of Days of Our Lives confirmed that Eure's sexuality was the cause of his dimissal.

When Chamberlain was outed by a French magazine in 1989, Eure (who had already been named in one book as a closeted homosexual) feared he would be exposed as well. But with the assistance of a friend at the National Enquirer, Eure's name was kept out of the American tabloid press

Eure did not act in film or television for six years after leaving Days of Our Lives, and attributes this difficulty to Hollywood gossip about his sexual orientation. He continued to sing, however, and had a Las Vegas act at Harrah's casino. During this time, some of his recording was produced by singer Bobby Sherman, but a full album was never completed

It was during the premiere of the Land of the Lost film in 2009 that Eure decided to come out of the closet. He attended the premiere with a friend, Days of Our Lives production assistant Deanne Anders. While on the red carpet, Eure decided he would never again hide his sexuality. Already scheduled to do an interview with the LGBT news and lifestyle Web site AfterElton.com about his HIV/AIDS charity work, Eure decided to come out of the closet in the interview.

During the 1980s, Eure lost most of his gay friends to AIDS—including one of his best friends, the director John Allison. Subsequently, Eure became a fund-raiser for a number of HIV/AIDS causes. He has helped to organize and host the LalaPOOLooza HIV/AIDS fund-raiser in Palm Springs, California, for many years. He has also raised funds for and assisted with Project Angel Food, a nonprofit organization that feeds homebound AIDS patients.

1951 – Richard Hunt (d.1992) was an American puppeteer, best known as a Muppet performer on Sesame Street, The Muppet Show, Fraggle Rock, and other projects for The Jim Henson Company. His roles on The Muppet Show included Scooter, Statler, Janice, Beaker and Sweetums.

Hunt was born in The Bronx, New York City. The family eventually moved to Closter, New Jersey some years later. Hunt came from a family of performers. As a student in middle school and high school, he put on puppet shows for local children, and was a fan of the then-fledgling Muppets. After high school graduation, and a four-month stint of doing weather reports at a local radio station, Hunt pursued a meeting with Jim Henson. He cold-called from a payphone and was invited to audition.

After being hired to work on Sesame Street, Hunt mostly performed background characters. One of his first major performances was as Taminella Grinderfall in The Frog Prince, physically performing the character while Jerry Juhl portrayed the voice. Hunt performed Scooter and shared Miss Piggy with Frank Oz until the final quarter of the first season of The Muppet Show.

His characters on Sesame Street included Forgetful Jones, Placido Flamingo, Don Music, Gladys the Cow, and Sully; Hunt also briefly performed Elmo before Kevin Clash was cast in that role. On Fraggle Rock, Hunt's main role was the performing the facial expressions and voice of Junior Gorg; he also performed Gunge (one of the Trash Heap's barkers) as well as several one-shot or minor characters.

Hunt also worked as a director of several home video releases such as Sing-Along, Dance-Along, Do-Along and Elmo's Sing-Along Guessing Game, as well as an episode of Fraggle Rock. Hunt was close friends with fellow puppeteer Jerry Nelson. Several of their characters were paired, such as Nelson's Floyd Pepper with Hunt's Janice; the Two-Headed Monster; and Nelson's Pa Gorg to Hunt's Junior Gorg on Fraggle Rock.

Hunt was openly gay. When Rudolf Nureyev, also openly gay, made a guest appearance on The Muppet Show, Nureyev bluntly flirted with Hunt. Hunt was in a relationship with Nelson Bird, a painter from Alabama, until his death in 1985.

On January 7, 1992, Hunt died of HIV/AIDS related complications at Cabrini Hospice in Manhattan, aged 40. He was cremated, and some of his ashes were sprinkled over the flower beds at the Hunt Family home in Closter, New Jersey. The Muppet Christmas Carol was dedicated to his memory.

1960 – Sean Penn is an American actor, screenwriter and film director, also known for his left-wing political and social activism (including humanitarian work). He is a two-time Academy Award winner for his roles in Mystic River (2003) and Milk (2008), as well as the recipient of a Golden Globe Award for the former and a Screen Actors Guild Award for the latter.

On February 22, 2009, Penn, a heterosexual, received the Academy Award for Best Actor for the film Milk. In his acceptance speech, Penn said

" ... I think that it is a good time for those who voted for the ban against gay marriage to sit and reflect and anticipate their great shame and the shame in their grandchildren's eyes if they continue that way of support. We've got to have equal rights for everyone!"

1969 – An Atlanta art theatre was raided during a showing of Andy Warhol’s film Lonesome Cowboys saying it was a hotbed of homosexuality. Police photographed everyone in attendance as reference material for the vice squad. Written by Paul Morrissey, the film is a satire of Hollywood westerns. It won the Best Film Award at the San Francisco International Film Festival.

1982 – Ryan Driller, aka Jeremy Bilding, is an American pornographic actor, director, and model who has appeared in both straight and gay pornography. In 2016, he received the XBIZ Award for Male Performer of the Year. Men's Health has described him as "one of the biggest names in the industry".

Driller was born and raised in Littleton, Colorado. Driller was a member of the Boy Scouts. At 18, he moved to Key West, Florida, where he lived for seven years. Before entering the adult film industry, he worked as a radio promotions coordinator.

Driller entered the adult film industry after reaching out to agents about performing and receiving replies. He has performed in straight pornography under the name Ryan Driller and in gay pornography under the name Jeremy Bilding. He appeared in an episode of The Burn with Jeff Ross, in which Ross did a comedy skit during one of Driller's porn shoots.

1982 – Jon Lovett is an American screenwriter, speechwriter, television producer, and podcaster. After working as a speech and joke writer for President Barack Obama and Hillary Clinton, Lovett co-created the NBC White House sitcom 1600 Penn, and served as a writer and producer on the third season of HBO's The Newsroom. He is a founder of Crooked Media and currently hosts the podcasts Pod Save America and Lovett or Leave It.

Lovett was born to a Reform Jewish family in Woodbury, Long Island that operated a box factory started by his grandfather. He attended Syosset High School. Lovett graduated from Williams College in 2004 with a degree in math. His senior thesis, Rotating Linkages in a Normed Plane, led to a publication in American Mathematical Monthly. Lovett was also the 2004 Williams College Class Speaker at his commencement. After graduation, Lovett spent a year working as a stand-up comic in New York.

In 2004, Lovett volunteered for John Kerry's presidential campaign. He was asked to write a statement for the candidate, and his work led to an offer of a writing internship. He then briefly worked in Jon Corzine's Senate office. He was hired in 2005 to assist Sarah Hurwitz as a speechwriter for then-Senator Hillary Clinton, and he continued to write speeches for her through her 2008 presidential campaign.

When Clinton lost the 2008 Democratic primary contest, Lovett won an anonymous contest to write speeches for President Barack Obama in the White House. Lovett wrote speeches in the Obama administration for three years, working closely with Jon Favreau and David Axelrod. Prominent speeches that he wrote include policy speeches on financial reform and don't ask, don't tell, as well as remarks at the White House Correspondents' Dinner.

Lovett officiated the first same-sex marriage in the White House, secretly and counter to the policy of the Obama administration.

Before Barack Obama ran for re-election, Lovett moved to California to become a screenwriter. Lovett collaborated with Josh Gad and Jason Winer on 1600 Penn, of which Lovett was a co-creator, executive producer, and writer from 2012 until 2013. Lovett then worked as a writer, producer and advisor on season three of HBO's The Newsroom.

Starting in March 2016, Lovett co-hosted The Ringer's political podcast Keepin' it 1600 with former fellow Obama staffers Jon Favreau, Dan Pfeiffer, and Tommy Vietor.

Shortly after the November 2016 election, Lovett, Favreau and Vietor founded their own company, Crooked Media, and launched a new podcast, Pod Save America. In March 2017, Lovett began hosting Lovett or Leave It, a panel show podcast from Crooked Media, recorded in front of a live audience in Los Angeles. Lovett and Crooked Media have embarked on national and international tours featuring live versions of Pod Save America and Lovett or Leave It.

Lovett's partner is Pulitzer Prize-winning journalist Ronan Farrow, son of Mia Farrow and Woody Allen.

Today's Gay Wisdom: Mae West

Goodness had nothing to do with it, dearie. - in response to an exclamation, "Goodness! What lovely diamonds!"

I only like two kinds of men, domestic and imported. - I'm No Angel (1933)

When I'm good, I'm very good. When I'm bad, I'm better. - I'm No Angel (1933)

I used to be Snow White, but I drifted. - I'm No Angel (1933)

Between two evils, I generally like to pick the one I never tried before. - Klondike Annie (1936)

A man in the house is worth two in the street. - Belle of the Nineties

It's not the men in your life that matters, it's the life in your men. - I'm No Angel (1933)

When women go wrong, men go right after them. - She Done Him Wrong

One and one is two; two and two is four; and "five will get you ten" if you work it right! - My Little Chickadee

I feel like a million tonight. But one at a time. - Myra Breckinridge

To a young actor: How tall are you without your horse? Six foot, seven inches. Never mind the six feet. Let's talk about the seven inches! - Myra Breckinridge

An orgasm a day keeps the doctor away.

On handling men: Tell the pretty ones they're smart and tell the smart ones they're pretty.

Give a man a free hand and he'll run it all over you.

He who hesitates is a damned fool.

His mother should have thrown him away and kept the stork.

I believe in censorship. I made a fortune out of it.

I consider sex a misdemeanor; the more I miss, de meaner I get.

I do all my best work in bed.

It is better to be looked over than be overlooked.

Love conquers all things except poverty and a toothache.

Marriage is a fine institution, but I'm not ready for an institution.

Men are like Cigars, If you don't attend to them, they go out.

Sex is an emotion in motion.

Sex is like bridge; if you don't have a good partner, you better have a good hand.

Sex with love is the greatest thing in life. But sex without love — that's not so bad either.

She's the kind of girl who climbed the ladder of success wrong by wrong.

Too much of a good thing can be simply wonderful.

You can say what you like about long dresses, but they cover a multitude of shins.

You only live once, but if you do it right, once is enough.

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lboogie1906 · 4 months

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Mamie Smith (Robinson; May 26, 1891 – September 16, 1946) made music history in 1920 when she stepped into a studio to lay down “Crazy Blues,” considered by industry scholars to be the very first blues recording. She was a glamorous and multi-talented entertainer, performing on stage and in film. Her pioneering musical career paved the way for more successful female blues and jazz artists like “Ma” Rainey, Bessie Smith, and Billie Holiday.

Scholars believe that she was born in Cincinnati. By the age of 10, she was working as a vaudeville entertainer and touring with the Four Dancing Mitchells. She continued to tour with various acts throughout her teens. By 1913 she was living and working in Harlem and soon after married William “Smithy” Smith. She remarried twice after her career took off.

In 1918 she starred at the Lincoln Theater in Made in Harlem, a musical revue produced by Perry Bradford who also composed the legendary “Crazy Blues” song. Wishing to have some of his songs recorded, Bradford contacted and was rejected by several studios until signing an agreement with General Phonograph. In February of 1920, Bradford brought her to the company’s Okeh Studios in New York to record “That Thing Called Love” and “You Can’t Keep a Good Man Down.” On August 20, she and Bradford returned to the studio with a group of African American musicians known as the Jazz Hounds to record “It’s Right Here for You” and “Crazy Blues.” It purportedly sold 75,000 copies within the first months of its release.

She found herself wealthy, and she spent much of her earnings on clothes, jewelry, real estate, and servants. She toured with the Jazz Hounds, recorded several follow-up records, and performed in New York theaters. She appeared in a series of low-budget African American films during the early 1940s. #africanhistory365 #africanexcellence

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broadcastarchive-umd · 3 months

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#QSLfriday A radio buff in Baltimore, MD, received this postcard from Syracuse, NY, with the message: "We are pleased to verify your reception of our station WSYU (formerly WMAC) on 11/6/33 at 5:15 AM, at which time we were broadcasting a frequency test."

The front of the card featured a picture of Kenneth Sparrnon and his Orchestra. Sparnon, an experienced entertainer, musician, and arranger, came to Syracuse in 1930 to join the staff of RKO Keith's, a local vaudeville and movie theater. He led a group of musicians known as "Ken Sparnon and his merry gang of RKOlians."

Sparnon also performed on radio station WSYR with his orchestra from Keith's. In May 1930, he became the Master of Ceremonies for the "Little Theater of the Air" on Monday and Wednesday nights.

(The National Museum of American History in Washington, DC, holds the Kenneth H. Sparnon Collection, which includes newspaper clippings, photographs, advertising, programs, and broadcast transcriptions.)

Committee to Preserve Radio Verifications | Tumblr Archive

#otr #old time radio #1930s #live music #syracuse

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hollywoods-angel · 1 year

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josephine <3

josephine baker was an american dancer, singer, actress and also a spy during ww2! her iconic style was groundbreaking for the 1920s. additionally, she was the first black woman to star in a major motion picture, a silent film in 1927 called siren of the tropics. her glamour and smile have captivated people since the 20s and her story is nothign short of mindblowing. also she had a pet cheetah named chiquita :)

josephine grew up in poverty and struggled with hunger which led to her becoming a live-in domestic for white families at age 8. she dropped out of school at 12 and at 13 she was working as a waitress, doing street corner dancing and living in cardboard shelters. she got married the same year. at 15 she got remarried, but left her husband when her vaudeville troupe was booked in nyc.

at 19 josephine went to paris and danced in multiple theaters. she was an instant success in france, and was critical to the 'art deco' movement. her style was iconic and her artificial banana skirt and gelled hair has become an iconic look. she continued to tour throughout the 20s and 30s, and was the first african american star to visit yugoslavia. in 1931 she released her most popular song about her love for france, and when ww2 began she joined the french resistance and was a spy. after the war she was granted the 'resistance medal,' the 'croix de guerre' and was named the chevailer of 'the legion d'honneur'

josephine's legacy is more than her iconic style and stunning beauty. she was a fearless person who built her own success and hoped to help others less fortunate. during the 50s she played an important part of the civil rights movement and in 1963 she walked at the side of martin luther king jr on the march of washington. she refused to play for segregated audiences, worked with the naacp and adopted 12 children from all sorts of backgrounds to show that children from various part of the world could be happy together. her life was filled with so many triumphs- from dancing in paris to being a spy- there was nothing she couldn't do!

#josephine baker #20s #vintage coquette #girlblogger-interrupted

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lotus-flower-writes-history · 1 year

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The Unofficial Black History Book

Janet Collins (1917-2003)

The history of ballet began around the 1500s in Italy. The term "ballet" stems from the Italian word "Ballare," meaning to dance. When ballet was introduced to America in the early twentieth century, it was a new form of art. Unfortunately, African Americans couldn't be part of ballet culture for many years, saying that our bodies were wrong for ballet.

Until one woman broke one of the last major color barriers in classical ballet,

This is her story.

Janet Faye Collins became the first African American prima ballerina and one of the very few prominent black women in American classical ballet. And the first black prima ballerina to perform with the Metropolitan Opera Ballet in New York City, New York.

She broke one of the last major color barriers in Classical Ballet.

Janet Collins was born on March 2, 1917, in New Orleans, Louisiana. Her mother was a seamstress, and her father was a tailor. They moved to Los Angeles, California, in 1921, when she was four years old.

She started taking private dancing lessons at a Catholic community center, and ironically, Collin's parents urged her to study painting rather than dance. Because at that time, art seemed to offer more opportunities to gifted African Americans than classical dance.

Collins studied art on a scholarship at Los Angeles City College and later at the Los Angeles Art Center School.

But she continued her dance training and attracted the attention of Adolph Bohm, Carmelita Maracci, and Mia Slavenska. All prominent dance instructors agreed to work with her. She continued her dance training with Carmelita Maracci, who was one of the few dance teachers at the time to accept black students.

At the age of 15, Janet prepared to audition for Leonide Massine and the De Basil Ballet Russe Company. The company was performing in Los Angeles during its American tour and advertised for an aspiring young dancer to audition for the company.

When it was Janet's turn, she was one of the best to audition. She moved with such beauty and grace that all the other ballerinas applauded her.

Massine saw her talent and accepted her into the company. But only under one condition...

He told her she would have to paint her face white for performances.

Going further into my notes, she was told that she would either need "special roles" created for her or dance with a white face to disguise the fact that she was black.

Collins left the audition in tears and vowed to perfect her art so that race would not be an issue.

In an exchange quoted in U.S. News & World Report, she responded, "I thought talent mattered, not color."

Collins found a cold reception in professional ballet, despite her training. However, she didn't let that set her back, and she continued to perform.

In the 1930s, when she was still in her teenage years, she performed as an adagio dancer in vaudeville productions.

In 1940, she became the principal dancer for the Los Angeles musical productions of "Run Little Chillun" and "The Mikado in Swing". At this time, she worked with the Katherine Dunham Dance Company.

In 1943, she performed in the musical film "Stormy Weather," and in 1946, she appeared in the film, "Thrill of Brazil."

In 1949, Collins made her New York debut after performing her own choreography on a shared program at the 92nd Street NY. In the same year, and after two more performances, Dance Magazine named her "The most outstanding debutante of the season."

Collins made her debut as a prima ballerina on November 3rd, 1948, at the Las Palmas Theater in Los Angeles, and critics praised her as a one-of-a-kind performer.

Zachary Solov, the Metropolitan Opera House's ballet master, noticed her in a Broadway production of Cole Porter's "Out of this World" in 1951. Solov then invited Collins to join the Metropolitan Company when she was 34.

November 13th, 1951: Collins broke a color barrier after her performance of ‘Aida'. She was the first African American prima ballerina with the Metropolitan Opera after a year of joining the Corps de Ballet. It marked the first time a black artist had joined the permanent company.

Unfortunately, Collins faced racism on the road as the company toured southern cities, despite her success in New York.

She was kept off stage due to Race laws, and sometimes her parts were performed by understudies who were white.

She remained at the Met until 1954. She would then go on to tour across the United States and Canada. She then began teaching ballet, which included using dance in the rehabilitation of the handicapped.

She also taught at the School of American Ballet, the San Francisco Ballet School, and the Harkness House.

Janet retired from performing and teaching in 1974. She spent the last years of her life painting religious subjects in her studio in Seattle.

Janet Collins died on May 28th, 2003, in Fort Worth, Texas, at 86 years old.

Despite all that was thrown at her, Janet Collins made a legacy for herself by becoming the first African-American Prima ballerina with the Metropolitan Opera and breaking its color line.

The 16th Street Baptist Church Bombing

Juneteenth

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My Resources

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kwebtv · 5 months

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Character Actor

Tom Fadden (January 6, 1895 – April 14, 1980) was an American actor. He performed on the legitimate stage, vaudeville, in films and on television during his long career.

Fadden was an early arrival on television. One of his first TV roles was that of Eben Kent, the earthman who adopts Kal-El on the inaugural episode of The Adventures of Superman. He appeared in other television shows during the decade, including recurring roles on Broken Arrow (1956–58) and Cimarron City (1958–59). Although he appeared in few films in the 1960s, he worked regularly on television during the decade, including Gunsmoke (in 1961 as “Enoch” in “A Man and A Day”, and a recurring role on Petticoat Junction. (Wikipedia)

His television credits include:

General Electric Theater

The Twentieth Century-Fox Hour

Four Star Playhouse

Hey, Jeannie!

State Trooper

Studio 57

Cavalcade of America

Schlitz Playhouse

Jayne Wyman Presents the Fireside Theatre

Code 3

Fury

Casey Jones

The Thin Man

The Californians

Trackdown

Lux Playhouse

Peter Gunn

Lawman

Maverick

Cheyenne

The Texan

Sugarfoot

Rawhide

Bourbon Street Beat

77 Sunset Strip

Riverboat

Westinghouse Playhouse

The Untouchables

Bronco

Mr. Ed

Laramie

87th Precinct

Death Valley Days

The Tall Man

Temple Houston

Perry Mason

The Legend of Jesse James

Green Acres

The Big Valley

Laredo

The Virginian

Run For Your Life

Bonanza

Daniel Boone

The Guns of Will Sonnett

Lancer

The Outcasts

#Character Actor #TV #Tom Fadden #The Adventures of Superman #Broken Arrow #Cimarron City

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handeaux · 1 year

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He Fought At Little Big Horn And A Cincinnati Artist Made His Face Famous

In Cincinnati, everybody called him Joe, mostly. Or Indian Joe if they needed to distinguish him from all the other Joes wandering around the Queen City. He wasn’t young when he arrived in town, at least 70 years old, though he stood straight and tall. He was muscular enough to wrestle a bear onstage at the Kohl & Middleton Dime Museum on Vine Street.

That’s where Henry Farny found him. Farny was a famous artist, renowned for his paintings depicting life among the Native American tribes of the Old West. He sold canvases as fast as he could turn them out and might have been wealthy if he hadn’t been so focused on giving away his money. A memorial after Farny’s death [Enquirer 31 December 1916] summed up the artist’s well-known generosity:

“Anybody down and out had a friend in Farny. It was always the under dog, the one whose strength and fortune were less happy than others, that Farny’s broad mind and heart would give assistance to.”

Farny had made several trips out west, capturing the last fading echoes of the life surrendered by Native Americans under the onslaught of European expansion. His friends claimed Farny was fluent in the Sioux language, but he was at least proficient enough to understand simple conversations. One evening, Farny and fellow artist Martin Rettig attended a show at a local theater. On stage, a family of Sioux performed traditional dances and demonstrated their skill at various crafts. When the father of the family stood to give a speech, Farny leaped out of his seat in outrage. Farny gathered that the Sioux family had a complaint against the government and the unscrupulous manager assured them he would see that they got an audience with the U.S. President. In preparation for the presidential visit, the manager told the family they needed to attend several “receptions” at a series of vaudeville theaters along the way. Farny heard the Father say he was tired of these receptions and would he ever see the President? On Farny’s insistence, the family was given passage home and their “manager” split town.

When Farny saw Indian Joe wrestling that bear for another shady impresario, he got Joe out of that contract and into a job as janitor at the Cincinnati Art Club on Fourth Street. In those days, a janitor was not only a custodian and cleaner, but also what we would call a building superintendent today. The Art Club offered generous flextime and Joe could take off for weeks at a time if a decent vaudeville gig came around.

Farny also learned Joe’s real name, or at least the English translation of it. He was Chief Ogallala Fire, and there hangs a tale. Ogallala Fire was born sometime around 1826 and spent most of his life fighting white settlers encroaching on Sioux lands. According to the Chicago Tribune [3 January 1916]:

“In the days of Indian warfare, Chief Ogallala Fire was known as one of the bravest warriors of the Sioux. History relates that he led his warriors in many raids on white settlements in Wyoming and once defied a detachment of United States soldiers who trapped him in the mountains for two months [until he] finally escaped.”

Ogallala Fire was almost 50 when General George Armstrong Custer led an army against the Sioux in 1876. The expedition ended with Custer and his entire battalion slaughtered at Little Big Horn. Ogallala Fire spent the rest of his life not only claiming participation in that battle, but that he himself had killed Custer in hand-to-hand combat. He certainly had battle scars consistent with a life as a warrior. According to the Chicago Tribune:

“In ‘Custer’s Last Fight’ Chief Ogallala Fire received two bullets, was slashed across the head with a saber in the hands of an officer, and was pinned to the ground from a bayonet thrust through his shoulder by a soldier.”

After that battle, Chief Ogallala Fire resigned himself to life on a reservation and might have stayed there the rest of his life had not show business come calling. Charles A. Eastman, an American Indian physician known as Ohiyesa among the Dakota Sioux, recalled meeting Ogallala Fire:

“In 1892, I scarcely believed that he would ever leave the reservation, but in his latter days he was caught by the white man's vices, the love of money and the desire for ‘fire-water,’ coupled with the old habit of wandering. He traveled in this country and abroad with Buffalo Bill.”

After a triumphal engagement at the Chicago World’s Fair, Ogallala Fire hit the road with Buffalo Bill and other Wild West shows, eventually settling into the bear-wrestling act that brought him to Cincinnati. Whether his thirst for liquor was any stronger than the average Cincinnatian is a matter of dispute, but Ogallala Fire was occasionally arrested for public drunkenness here. He was also arrested frequently just because the police were looking for someone who looked like an Indian and he fit the bill. This harassment repeated so often that Farny, weary of getting his innocent friend released, fired off a testy note to the mayor.

One day, when Ogallala Fire had been on the road with one of the Wild West shows, Farny hosted several friends in his studio. They heard some strange chanting rising from the nearby stairwell. According to the Enquirer [31 December 1916]:

“Farny, after listening for a few seconds, with sparkling eyes, grabbed a tom-tom, and, beckoning his friends to follow him, began to dance in true Sioux fashion around the large studio, all the time beating the tom-tom. The music outside grew stronger and stronger until the door was swung wide open and an Indian appeared beautifully garbed. He leaped into the room and dancing like mad with occasional shrieks of joy thus expressed his delight over his reception. It was Joe, as the tribe called him, ‘Ogallala Fire,’ the old favorite Sioux model of Farny’s whom he had not seen then for a long time. Farny was indeed glad to have him again, a fact accentuated by the gold piece he bestowed upon him immediately.”

Farny painted multiple portraits of Ogallala Fire and incorporated his likeness into dozens of other paintings. Other Cincinnati artists including John Hauser also employed him as a model. As the Wild West shows faded in popularity, Ogallala Fire found work in the nascent motion picture industry, appearing in several early silent films.

It was the Chicago Feature Film Company, shooting an “oater’ with b-list actress Lily Branscomb that brought Ogallala Fire to Chicago around 1914. He ended up staying there at the home of a granddaughter. One day, after a long illness, he asked for a razor and sliced his throat. Despite medical intervention Ogallala Fire died, aged 90, a week later. The old chief once told Charles A. Eastman/Ohiyesa:

“Friend, I have engaged in more than 100 battles, but never have I been bewildered except when I entered a city of the white man. There my spirit is lonesome, as it never was on the uninhabited prairie. The people seem to me more like bears and wolves.”

#ogallala fire #henry farny #little big horn #cincinnati art

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reasoningdaily · 1 year

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The First Self-Proclaimed Drag Queen Was a Formerly Enslaved Man

In the late 19th century, William Dorsey Swann’s private balls attracted unwelcome attention from authorities and the press

In the late 1880s, a formerly enslaved man named William Dorsey Swann started hosting private balls known as drags, a name possibly derived from “grand rag,” an antiquated term for masquerade balls. Held in secret in Washington, D.C., these parties soon caught authorities’ attention.

As the Washington Criticreported in January 1887, police officers who raided one such gathering were surprised to encounter six Black men “dressed in elegant female attire,” including “corsets, bustles, long hose and slippers.” The following April, the Evening Starreported on a raid that targeted men in “female attire of many colors,” as well as “gaudy costumes of silk and satin.” On both occasions, authorities arrested the party guests and charged them with “being suspicious characters.”

Joseph’s chance find marked the beginning of a yearslong quest to uncover Swann’s story—and, with it, the history of drag in the United States. He chronicles the results of this research in an upcoming book titled House of Swann: Where Slaves Became Queens—and Changed the World. Drawing on extensive archival research, Joseph presents a compelling portrait of the nation’s first self-proclaimed drag queen. The historian proudly positions Swann as the “first queer American hero.”

The identification of Swann as the first reported drag queen in the U.S. is a “major event,” says Jen Manion, a historian at Amherst College. “LGTBQ history is hampered by the lack of diaries and personal letters and family papers, because you just don’t put [those feelings] in writing.” For much of recorded history, Manion adds, being gay or bisexual was considered “a sin; it’s illegal.”

Joseph says his research resurfaces the “experiences of queer people, … historical experiences, not fictionalized experiences, documenting them rather than speculating.” These findings, in turn, helped him pinpoint the birth of “the drag queen.”

The concept of drag “existed for some period of time unknown,” says Joseph. But the term only came into use in 19th-century Great Britain, where Joseph says it referred to “a gathering of people, particularly men, who were dressing as women.” In 1871, two members of the British aristocracy were put on trial after they were caught dressing as women in public. Authorities charged Ernest “Stella” Boulton and Frederick “Fanny” Park with “conspiring and inciting persons to commit an unnatural offense.” A jury found the defendants not guilty but handed down a minor indictment to the men for wearing women’s clothing.

Cross-dressing, which is often a component of drag, has a lengthy history on both the stage and the screen, from Elizabethan-era performances in which men played women to Japanese Kabuki theater. In the early 20th century, performers like Julian Eltinge became stars by impersonating women during the vaudeville craze. In the 1950s, Milton Berle dressed as a woman on his variety TV show, as did comedian Flip Wilson in the early 1970s. In the early 1980s, the sitcom “Bosom Buddies” starred Tom Hanks and Peter Scolari as two young men who disguise themselves as women so they can live in an inexpensive, women-only apartment building.

Historian Kathleen Casey, author of The Prettiest Girl on Stage Is a Man: Race and Gender Benders in American Vaudeville, takes a much wider view of drag. While she includes all manner of cross-dressing performances in her definition, she doesn’t think there will ever be “a stable meaning of the term ‘drag.’” Casey adds, “Drag is about race, class and sexuality as much as it is about gender. If we focus exclusively on only one of these intersections, we fail to see how drag performances are layered across time and space and can have multiple meanings for different audiences.” Drag, she says, is really about a performer’s own perspective of their work, as well as audiences’ understanding of this work.

Many of the “contemporary categories and terms that we use in modern life to describe LGBTQ people or sexual and gender minorities” date to the late 19th century, says Manion. “Lesbian,” for instance, was first used in a medical journal in 1883. The historian adds, “We debate amongst ourselves as scholars when it seems appropriate to use contemporary terms to describe things [in] the past, but in this case, these were terms used by … the people at the time as well.”

Swann was born into slavery in Washington County, Maryland, around 1858. According to a 2021 entry by Joseph in the African American National Biography, Swann was the fifth of 13 children born to enslaved housekeeper Mary Jane Younker and enslaved wheat farmer and musician Andrew Jackson “Jack” Swann. (His biological father may have been a white man, but Joseph hasn’t found definitive evidence confirming this theory.) After the Civil War ended in 1865, Swann’s parents bought a plot of land and started a farm. Encouraged to work as soon as he was old enough, the young Swann found employment as a hotel waiter. In 1880, he relocated to Washington, where he worked as a janitor and sent money back home to his family.

Like Washington more broadly, the capital’s underground queer networks were divided into white and Black communities that rarely intersected. As a 2019 report prepared for the city’s Historic Preservation Office notes, “It was a hushed fact that Lafayette Square in D.C., which is adjacent to the White House, was a known cruising spot for gay men, both Black and white,” but the majority of these individuals were only interested in liaisons with partners of the same race. An exception to this trend was Washington’s drag scene, which often attracted mixed-race audiences.

Forging a place for himself in the city’s queer Black community, Swann held parties that Joseph deems the first documented “drag balls” in American history. Held in secret, they provided a safe space for gender expression but were risky to attend. “A large but undetermined number managed to flee during the police raids, but the names of those arrested and jailed were printed in the papers, where the men became targets of public scorn,” wrote Joseph for the Nation in 2020. “In post-Civil War America, there was very little patience for men who subverted gender norms.” Sentences for those charged with attending drag balls ranged from around three to ten months.

Around this same time, Swann became enthralled by the “queens of freedom” crowned at Washington’s Emancipation Day parades—annual celebrations first held in April 1866. Historically, each neighborhood was represented by a woman who “personified freedom for Black people,” according to Joseph. Inspired by these queens, Swann started crowning the winners of his dance competitions the “queen of the ball,” says Joseph.

Swann also adopted the title for himself. As the Washington Critic noted on April 13, 1888, “William Dorsey, who, by the way, was the ‘queen,’” was one of 13 people arrested during a raid on a “drag party” the previous night.

“There’s this concept of drag, which is separate, and there’s the concept of queens of freedom, and in D.C. in this particular time, post-slavery, post-Reconstruction, these two concepts collide,” says Joseph. “To identify as a drag queen, which is what William Dorsey Swann did, is combining these two strains, these two cultural traditions.”

The 1880s saw a “wave of laws passed in cities all across the country explicitly banning cross-dressing,” says Manion, who adds that the rules were “applied very selectively” and were riddled with inconsistencies and contradictions. The arrests of Swann and his friends were “even more sensationalized in the press and probably drew the attention of authorities because most of the participants were Black,” Manion explains. “And this is in Jim Crow America. For queer … Black Americans to just see so much joy and freedom in their gender expression at this time was definitely seen as a threat.”

The court sentenced Swann to 300 days in prison. After serving three months of his sentence, Swann, who had pled not guilty, filed a petition for a pardon from President Grover Cleveland, says Netisha Currie, an archives specialist at the National Archives, which houses a copy of the petition. In a show of support, 30 of Swann’s friends signed the document. But U.S. Attorney A.A. Birney argued vehemently against the pardon, stating,“The prisoner was in fact convicted of the most horrible and disgusting offenses known to the law; an offense so disgusting that it is unnamed. … His evil example in the community must have been most corrupting.”

Ultimately, Cleveland denied the petition. Still, wrote Joseph for the Nation, Swann’s unsuccessful attempt to clear his name represents the earliest documented example of an American activist taking “specific legal and political steps to defend the queer community’s right to gather without the threat of criminalization, suppression or police violence.”

As Manion says, “What’s unique about [Joseph’s] work is that it captures a collective community. When we have been able to identify queer and trans figures in this era and earlier, we find them in isolation. And we can seldom connect the dots to say, ‘Oh, these two couples were friends. They always hung out.’ … We have very little evidence of collective socializing.”

No known pictures of Swann survive. But his contributions to queer activism in Washington will soon be recognized with the redesignation of a stretch of Swann Street Northwest in his honor. The street was originally named for Thomas Swann, a former Maryland governor and Baltimore mayor who bore no relation to the drag queen.

“We have seen so much anti-trans and anti-drag legislation and rhetoric around the country in a very problematic way,” says Brooke Pinto, a D.C. Council member who introduced the bill. “In Washington, D.C., where we are proud to have so many trans residents, we [need to] speak up and recognize, sometimes through symbolism, sometimes through legislation, how important these issues are.”

The bill also calls for a historic plaque to be posted in Dupont Circle, a Washington neighborhood with a rich LGBTQ history. The plaque will sit at the corner of New Hampshire Avenue, Swann Street Northwest and 17th Street Northwest.

“One of the things that’s so exciting about this case is that it is an African American man who was formerly enslaved,” says Manion. Such individuals “just don’t get … recognition in our histories of LGBTQ people, in part because we usually can’t find them in the archives. But … Swann was hiding in plain sight.”

#swann #Drag Balls #Origins of Drag Balls #DC #LGBTQ+#The First Self-Proclaimed Drag Queen Was a Formerly Enslaved Man #William Dorsey Swann #Drag Queens #origins of drag ball culture in DC

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