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#Pathé News
mariocki · 3 months
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Alfred Burke puts on his best policing face as Parisian detective Inspector Maron, in Overseas Press Club - Exclusive!: The Billion Franc Mystery (1.6, ABPC, 1957)
#fave spotting#alfred burke#overseas press club exclusive!#the billion franc mystery#1957#classic tv#public eye#abpc#an obscure series‚ even by the standards of pre 1960s telly. OSPC was a coproduction between Ardleigh Films and Associated British Pathé#(they of the famous news reels‚ and themselves a subsidiary of Associated British Picture Corporation). a year or two later and this#would probably have been made in house by ABC themselves‚ but the franchise was only a year old at this point and still finding its feet#the concept is simple but promising: each week‚ a member of the Overseas Press Club of America (a real and still extant organisation) tells#a tale from their careers‚ an unusual instance or shocking event that makes for good tv. these tales are true! says the narrator in the#show's opening moments‚ and these ppl exist! frankly that's something i take with a large grain of salt; whilst some stories certainly have#direct factual origins (there's an episode about a catholic priest going undercover with a gang of street toughs which ends with footage of#the actual figure that inspired the ep) but others are highly questionable (the first‚ about a Norwegian resistance fighter who has plastic#surgery and takes the place of a relatively high ranking nazi officer; i feel like that's something that would be better known‚ yknow??)#this ep is about a nazi plot to destabilise the French franc just prior to ww2; quite believable and certainly the nazis did dabble in#producing counterfeit money‚ tho the examples i found online all relate to pound sterling or latterly the us dollar‚ not the franc)#our journalist of the week is played by Lee Patterson‚ a minor film star in british b movies at this point‚ with swooningly handsome Anton#Diffring (who had fled nazi persecution himself) as the villain. Alfie's part is pretty small‚ he's just the french cop keeping every one#in sight and letting events play out (cue some wonderful Alfie cheshire cat grins). Patterson (and maybe Diffring) got to fly out to actual#real Paris to film some location work and establishing shots (a benefit of making a series about the OSPC was that they arranged flights#for cast and crew). poor Alf didn't get a holiday tho; his scenes are conspicuously studio based‚ even when he's meant to be on the banks#of the Seine...#so yes‚ a fun little series‚ even if (so far) the wide scope of potential stories does seem to favour ww2 stuff. good luck finding a copy#tho; it took me months of trawling to find a reasonably priced 2nd hand copy (Amazon currently have a copy for £79.99 which.. for 2 discs#is kind of insane). a victim of the price gouging which seems to have affected some of the lesser known network titles since their#dissolution. sad times for the fan of painfully obscure old tv.. if I ever learn how to make things be on a computer‚ tho‚ I'll happily#share
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thecrownnet · 1 year
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I am delighted to join you in Clydebank today for the launch of this, the latest royal yacht. I hope that this brand-new vessel, like your brand-new queen, will prove to be dependable and constant. Capable of weathering any storm. I now take great pride in naming this ship "Britannia." I wish success to her. And to all who sail in her.  ♚
- The Crown 5.01 
On the left, Queen Launches New Royal Yacht "Britannia" (1953) by British Pathé, and on the right, The Crown Netflix (2022). 
*Prince Philip attended the ceremony on April 16, 1953.
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george-the-good · 5 days
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King George VI makes his first public speech since his accession as he unveils a memorial to his father at Windsor. The King’s speech therapist, Lionel Logue, was among the crowd. // British Pathé (1937)
To the happy relief of all concerned, the speech on April 23 was highly successful, though it was evident that the King spoke under the stress of strong personal emotion. Standing in the crowd, Mr. Logue had the supreme satisfaction of hearing a man say to his wife: ‘Didn’t the Archbishop say this man had a speech defect, my dear?’ and her reply: ‘You shouldn’t believe all you hear, dear, not even from an Archbishop.’ - George VI by J. W. Wheeler-Bennett (1958)
The mentions of the Archbishop of Canterbury relate to a broadcast the Archbishop made shortly after the Abdication, in which he mentioned the new King’s stammer.
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mzannthropy · 25 days
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First teaser for new The Count of Monte Cristo film with Pierre Niney! It's coming much sooner than I expected.
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hippography · 5 months
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Fastest Horse - U.S.A (1938) Item title reads - New champ. World's fastest harness horse. America (USA). M/S of the horse 'Billy Direct' stood with trainer and driver Vic Fleming. C/U of Vic and the horse. M/S of Fleming with his sons Billy and Jimmy. M/S of Vic in a gig attached to the horse. C/U of Vic talking about beating the record set by Dan Patch in 1905. Various shots as 'Billy Direct' races along and past the camera, pulling the gig. FILM ID:987.36
British Pathé
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lonestarbattleship · 1 year
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Newsreel of USS Washington (BB-56) and USS Enterprise (CV-6) transiting the Panama Canal, en route to New York City.
Filmed on October 12, 1945.
Excerpt from "US Fleet comes Home (1946)", British Pathé: link
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hauntedspooks · 1 year
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From the UCLA Film & Television Archive facebook page:
Terrific news for silent film fans! A long lost Harold Lloyd short, “Luke’s Double” (1916), has been recovered by the Harold Lloyd Estate and deposited at the UCLA Film & Television Archive for eventual preservation.
The short comedy, produced by Hal Roach’s Rolin Film Company for Pathé, features Harold as his earlier, more Chaplin-esque “Lonesome Luke” character before he became an icon worldwide as the bespectacled go-getter we remember today.
The 28mm print (a film format introduced by Pathé in 1912) was originally gifted to Harold Lloyd by the George Eastman Museum in the mid-1960s. The print disappeared in the subsequent decades, but Robert Simonton recently tracked down the film and Harold’s granddaughter, Suzanne Lloyd, brought it to the Archive to join the rest of the Harold Lloyd Collection. 🎞
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johndpg · 6 months
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SCHOOLBOYS' OWN EXHIBITION (1948)
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The National Schoolboys' Own Exhibition seems to have started in 1927 and ran for a few decades but there’s no record of when it ended, possibly some time in the mid-60s. The exhibition was a place where boys could showcase their skills and learn new ones. Many celebrities and sports personalities of the time also attended.
There are a few posts from various exhibitions coming up, but for now here’s a British Pathé clip from 1948. It’s in colour but unfortunately there’s no audio. The clip features a group of boys finding out about model boats/planes. All of them are wearing school uniform, with some in shorts. There are lots of school caps! It’s definitely a chilly day judging by the scarves but I guess they were more used to the cold than we are. Their poor knees on that concrete though!
The boys in the fancy uniform look to be 12/13 and their grey shorts are fully lined, which would come in handy if there were any cane-happy masters around. I'm sure that’s not the first time the older blond lad has assumed that position either...
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justforbooks · 1 year
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Eileen Sheridan, who has died aged 99, was a multiple cycling champion who became a household name in Britain in the late 1940s and early 50s thanks to a series of spectacular record attempts. However, she retired relatively young because she had exhausted the meagre opportunities that the sport offered to women at the time.
As a professional cyclist racing for the Hercules bicycle company from 1951 to 1954, Sheridan captured the public imagination, “defining cycling as Roger Bannister defined athletics or Dennis Compton cricket” according to the bike-racing historian Peter Whitfield. Records such as London-Holyhead or Edinburgh-London were easy for the man in the street to understand; Hercules marketed the diminutive Sheridan heavily as the “Pocket Rocket” – “no ordinary woman” said the Pathé newsreels, while she had an unerring ability to smile in every photograph.
Records such as London-Portsmouth-London and Land’s End-London were merely part of the build-up to the most prestigious one of all: Land’s End-John O’Groats, which Sheridan tackled in July 1954, accompanied by a large flatbed lorry carrying a caravan and a portable toilet. She went through a crisis after almost 48 hours in the saddle, suffering from sleep deprivation, debilitating cold and sore hands, but, wearing every stitch of clothing available, she smashed the previous record by almost 12 hours, with a time of 2 days, 11 hours and 45 minutes.
That was only the first part of the ordeal, as Sheridan’s manager Frank Southall was determined she would continue for the 1,000-mile record. She was permitted a couple of hours’ nap but the final 130 miles took 12 hours as she experienced hallucinatory visions of mermaids, giant glass tumblers and lines of people telling her to turn corners. Her End to End record would stand for 36 years, and the 1,000-mile time was not broken until 2002.
Sheridan was born in Coventry, to Percy Shaw, who worked at the Armstrong-Siddely engineering firm, and Jeannie Morton, who was a skilled milliner. Her grandfather, Frederick Shaw, had been a bike builder and keen racing man in the 1890s. Eileen wanted to go to art school, but her family vetoed the idea, and she eventually became a secretary in a car showroom. She had begun cycling at 15, and was also a keen swimmer; she met her future husband, Ken Sheridan, at the open-air pool in Coventry. They were married in 1942, began cycling together, and Ken noticed that his wife was stronger than he was; the men in their cycling groups would wilt late in their marathon rides, while Eileen found new strength.
She began racing in 1945, and immediately won the National 25-mile time trial championship that summer. By the winter, she was pregnant with her son Clive, who was born in April 1946. It was a difficult birth, by caesarean, and she returned to racing in 1947. By the end of 1949 she had won everything the sport could offer in the UK, including setting a 12-hour record of 237 miles, smashing the previous record by 17 miles and beating all but five of the men in the field. There was disbelief among the men present that she could go so far, and she was asked if she had cut a corner or two; in fact, she should have registered an even greater distance as she had gone off course.
By 1950 she had won the British Best All Rounder – an aggregate of a rider’s best times at 25, 50 and 100 miles – two years running, setting competition records at 50 and 100 miles. There were no world championships for women – these were not inaugurated until 1958 – and the Olympics would not be open to female cyclists until 1984. The only challenge left lay in setting place-to-place records and Sheridan began with Birmingham-London and Oxford-London-Oxford. In mid-1951, Hercules made her an offer of a retainer solely to break records for the next three years, with a £1-a-mile bonus for every record set.
When her contract with Hercules ended in 1954, Sheridan held all 21 records on the Road Records Association’s books. She retired to the house she and Ken had bought in Isleworth, west London, partly using her earnings from Hercules, and had her daughter Louise in 1955. She embarked briefly on a second sporting career in canoeing, and won the national 500m double kayak championship in 1956. After that she studied glass engraving, and spent 40 years producing commissions from her studio-cum-workshop in the Isleworth house, in which there were book after book of her beautifully intricate designs.
With the benefit of over 60 years’ hindsight, Sheridan’s view of her career was a nuanced one. In 2019, she told me that she had “never felt like a champion”, because she had never had the opportunity to wear the rainbow jersey of world champion. She closed her autobiography, Wonder Wheels (1956), with these words: “Where is a woman’s place? Is it … in the home? Is it in industry or in sport? If I have shown in my life that it can be – and successfully so – in all three, then I am happy.”
Sheridan remained a life member and president of the Coventry Cycling Club; she was also a vice-president of the Road Records Association. In 2016 she was inducted into British Cycling’s Hall of Fame; in 2022 she was celebrated with a commemorative “portrait bench” steel statue on the Lias Line greenway in Warwickshire.
She is survived by Clive and Louise; Ken died in 2012.
Eileen Sheridan, cyclist, born 18 October 1923; died 12 February 2023
Daily inspiration. Discover more photos at http://justforbooks.tumblr.com
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canmom · 9 months
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L'aventure de Canmom à Annecy - Vendredi 2: The Tunnel to Summer, the Exit of Goodbyes
It's almost a week since the day now but here's more Annecy writeups! I will be republishing this whole series in a very fancy filterable way on canmom.art soon, so look out for that!
Friday's second act was the new anime film The Tunnel to Summer, The Exit of Goodbyes (夏へのトンネル、さよならの出口 Natsu he Tonneru, Sayonara no Deguchi), a title which conveniently only uses kanji from the first ~10 levels of Wanikani so it's nice and easy to read. That said, this showing had both English and French subtitles, so I didn't need to lean on my Japanese knowledge this time. Here's a trailer...
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This film seems to have been out in Japan for long enough that it's already available on nyaa (GJM are working on a sub), but this was actually my first time hearing about it. It was originally a light novel by Mei Hachimoku, then a manga, and now an anime film by Tomohisa Taguchi.
Taguchi has a pretty good track record as a director, although mostly stuff I've not seen. In fact the only of his works I've seen before is the original series Akudama Drive (2020), which is a very stylish scifi heist anime. He also directed the recent Bleach film, and the 2017 Kino's Journey TV anime, as well as a number of adaptations of the Persona games.
As seems to be customary for screenings at the Bonlieu Grand Salle, he and one of the producers (I regret that I didn't make a note of which of the three) came on stage before the film to comment a little. [That guy on the left - I'm not sure his name but he seems to be one of the main people running Annecy, since he introduced most of the films and carried out interviews at most of the Grand Salle screenings I went to.]
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Taguchi remarked that most of his previous work has been action, so this more grounded romance film was a big change of pace. He spoke about wanting to capture the loneliness of the two main characters. The animation was carried out at Studio CLAP, a young studio whose previous work is Pompo the Cinephile, which we watched on Animation Night 123.
This film actually ended up winning the 'Paul Grimault Award', one of the three awards bestowed to feature films, which is named after a French animator who I presently mostly know from the bus stop by Cinema Pathé; at some point I gotta dig in more lmao.
So, with all that introduction... what sort of film was it? I went in expecting a solidly made summer movie in the Makoto Shinkai idiom... and that is indeed precisely what I got.
The story concerns two highschoolers, Kaoru (our main viewpoint character) and Anzu. Kaoru is a boy whose sister died when he was young, leading to his parents breaking up and his father falling into alcoholism. Since she was attempting to retrieve a beetle for him, he blames himself for the death - a sentiment shared by his father. Anzu meanwhile is a new transfer student who arrives at the school and immediately makes waves by acting standoffish towards the other students. She has aspirations to become a mangaka, following in the footsteps of her grandfather, but this has estranged her from the rest of her family who disapproved of his lack of success. So she severely doubts her own talent.
The pair meet on a rainy day waiting for a train that is delayed by hitting a deer, at which Kaoru lends Anzu his umbrella. This train stop becomes a recurring motif throughout the film, symbolising the evolution of their relationship. The other major element is a local legend of the 'Urashima Tunnel', which can grant wishes, at the price that time is drastically slowed down inside the tunnel, so that seconds inside the tunnel pass as hours outside. Kaoru discovers the tunnel is in fact real, and might give him a way to save his sister; Anzu follows him and the pair start researching the properties of the tunnel (e.g. its effect on phone communications), and draw up a plan to enter it and get what they want, even if it sends them thousands of years into the future.
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Naturally they grow closer together and start to form a romantic relationship. Kaoru learns about Anzu's manga, and comes to the conclusion that she doesn't lack talent at all - and he also knows (somehow) that the tunnel is not capable of bestowing talent, only restoring things that were lost. So in the end (spoilers!) Kaoru enters the tunnel in secret without Anzu knowing. Eight years pass on the outside during which Anzu becomes a successful mangaka, still eaten by her highschool relationship; inside over a matter of minutes Kaoru finds his sister, and spends a little time with her, before realising that actually what he really needs is to be with Anzu, so he texts her and starts running back. They reunite near the entrance of the tunnel, smooch, and live happily ever after (even though Kaoru is still a high schooler and there's an eight year age gap lmao, this just straight up isn't even mentioned as a potential issue).
Generally I enjoyed the buildup a lot more than the final act. That this kind of movie centres on a heterosexual relationship is inevitable, but Anzu and Kaoru's hesitant relationship is genuine and sweet - the scene where Kaoru is reading Anzu's manga as she anxiously waits for his opinion is especially well observed. The pair's efforts, led by Anzu, to analyse the properties of the tunnel through experimentation is fun, since that's precisely what I would do if confronted with a magical tunnel of time dilation. That said, the central fantastical conceit, the time dilation tunnel, doesn't feel like an especially interesting metaphor.
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Compared to the films of Makoto Shinkai, which visually and narratively it hews very close to (complete with the coloured highlights), the notable divergence is that the couple don't end up separated and do get their happy ending. Kaoru's decision to break their compact and leave Anzu alone outside the tunnel for eight years ultimately... just doesn't matter too much. He realises he needs to move on, says goodbye to his sister, and reunites with Anzu. I think it might be more interesting if Anzu actually ended up moving on and starting a different relationship and Kaoru had to face up to the fact that he has thrown away his one connection, but then I'm a miserable bitch who loves suffering lmao. Alternatively, I think it would be really cool if they actually did send themselves thousands of years into the future, although it would put this film into a very different genre.
In any case, the ending to this film ultimately left me a little cold. Yay, breeding pair got together.
Even so, it was absolutely an entertaining film; the environments are suitably beautiful, the animation is solid. Whether you'd enjoy it will probably depend how much you enjoy the "summer movie magical romance" subgenre. If you like Makoto Shinkai's movies, you'll probably like this one. If you hate Makoto Shinkai's movies, I expect you'd feel much the same about this one.
Speaking of Makoto Shinkai, I was a little surprised not to see Suzume in competition. But in general it seems pretty random which anime studios decide to submit their work to Annecy. Some studios like Science Saru have a pretty close relationship with the festival, others seem to ignore it entirely. (Perhaps it is a case of like, for smaller studios it's a valuable chance for promotion, but Makoto Shinkai is basically guaranteed a massive worldwide audience so he doesn't need to bother to come out to France?)
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thequilandpaperwriter · 2 months
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Footage from British Pathé, 1969. Prince Juan Carlos And Family. At the time of the footage Juan Carlos was heir to the throne, and the international press all wanted to get a news reel about the prince who would one day be king.
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psalm22-6 · 1 year
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Source: The Moving Picture World, 6 February 1926 I had to log into JSTOR to figure out what this mysterious little note meant but it seems that K. W. Linn worked for a film distribution company called the Eclectic Film Company, which was apparently an assumed name used by Pathé films to control the distribution of their films in America (Linn was a former manager of the Pathé Frères's American office, which opened first opened in Birmingham before relocating to New Orleans.) And indeed, Eclectic was the American distributor of Capellani's 1912 Les Miserables, which must have been what Linn was looking for in 1926 when Universal was preparing to distribute Fescourt's 1925 Les Miserables. So I guess he just wanted to watch both movies.
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george-the-good · 8 months
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ABOVE: The Daily Mirror - October 19, 1938
ROYAL VISIT TO CHILDREN'S HOSPITAL (British Pathé)
King George VI and Queen Elizabeth visit the new children’s hospital at Great Ormond Street, London. (Oct. 18, 1938)
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priestin · 1 year
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I was going to watch the new movie Harka (2022)حرقة today but then I saw the ticket's price at Pathé, and suddenly it was not a good idea anymore
the mindset of an unemployed girl is already settled
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beardedmrbean · 6 months
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1. How Brussels is seeking to balance modernisation and heritage
The Brussels Government has often been criticised for prioritising modernisation and urban development over protecting heritage. However, State Secretary for Urban Development Ans Persoons believes a balance can, and must, be found. Read more.
2. Belgium's lowest and highest paying sectors revealed
New figures from Belgium's statistics office Statbel reveal that the country's highest-paid employees work in the petrochemical industry while those in the hospitality industry are paid the least. Read more.
3. 'Cannot rule out more shootings' of innocent bystanders, Brussels police chief warns
Due to increasing drug violence, not just in Brussels, but across the country, a senior police chief is fearing a spike in shootings which could put innocent bystanders at risk. Read more.
4. 'Huge impact': Flanders urged to adapt nitrogen decree
The agri-food industry urged the Flemish parliament on Monday to amend the nitrogen decree that is currently on the table, as it would have a "huge impact" that could lead to the loss of one third of jobs in the industry. Read more.
5. Football hooligans clash on Parvis de Saint-Gilles ahead of Brussels derby
Around 50 masked football hooligans – believed to be supporters of RWD Molenbeek – descended onto the Parvis de Saint-Gilles on Wednesday night to attack Union Saint-Gilloise fans. Read more.
6. Calls grow for European tax on banks as profit margins swell
Since summer 2022, interest rates for banks have soared, with the European Central Bank (ECB) on 20 September raising its benchmark deposit facility rate to a record high of 4.00%. Read more.
7. Hidden Belgium: Cinema Palace
It was once the biggest cinema in Brussels. When it opened in 1913, the Pathé Palace could hold 2,500 people. Designed by the architect Paul Hamesse, it was modelled on old Italian music halls. As well as films, it featured concerts and cabarets. Read more.
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thesobsister · 4 months
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The great cabaret performer Hildegarde (born Hildegarde Loretta Sell in Adell, Wisconsin) never married, working and living with her partner Anna Sosenko for decades.
In 1955, after nearly a quarter century together, Hildegarde broke things off due to what she perceived as innuendo being printed in the paper about them after they appeared together on Edward R. Murrow's Person to Person TV show.
While that may have been the spark, the breakup had a long fuse, given that, reportedly, Sosenko was, for years, abusive, controlling and manipulative toward Hildegarde and pretty much everyone else around them. (See: Monica S. Gallamore, "Introducing the Incomparable Hildegarde: The Sexuality, Style, and Image of a Forgotten Cultural Icon." PhD diss. Marquette University 2012. pp. 253 ff.)
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In this 1935 performance for British Pathé's cameras, Hildegarde performs "Darling, Je Vous Aime Beaucoup," a charming Frenglish love song written by Sosenko, whose mix of languages echoes that used by Hildegarde and Sosenko in their personal correspondence. (ibid., pp. 261-2)
Hildegarde, along with Mabel Mercer and Bobby Short, is on the figurative Mount Rushmore of New York cabaret. Nominations are currently open for the fourth slot.
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A rare photo of Hildegarde and Anna Sosenko together.
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