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chicinsilk · 1 year
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US Vogue March 1, 1950
1 camel triangular handbag cowhide leather, with a unique bow handle. By Shur-Tite.
2 Handbag sheath in rust-coloured calfskin, lined with silk, with two handles. By Style Art.
3 Baby suitcase: oversized handbag for travelling. Tan beige calfskin. By Coblentz.
4 Long, flat handbag in natural pigskin. Locking clasp, extension handle. By Ronay.
5 Big and Blue: Afternoon Purse from navy blue suede, with a metal frame. By Bee Davis.
6 Light handbag, Havana bamboo lizard with long handles, padlock clasp. By Koret.
The perfumes :
1"Some Flowers" by Houbigant. 2“Supreme Moment” by Jean Patou. 3"Beau Belle" by Bourgeois. 4 D'Orsay's latest: "Divine". 5 Dana's "Voodoo" 6 "Fame" by Corday. 7 “Fabulous” by Charbert. 8 "Savoir Faire" by Dorothy Gray. 9 "Shocking" by Schiaparelli. Handbags & perfumes.
1 Sac à main triangulaire camel cuir de vachette, avec une poignée en arc unique. Par Shur-Tite.
2 Fourreau de sac à main en cuir de veau couleur rouille, doublé de soie, à deux anses. Par Style Art.
3 Valise bébé : sac à main surdimensionné pour voyager. En cuir de veau beige tan. Par Coblentz.
4 Sac à main long et plat en peau de porc naturelle. Fermoir de verrouillage, poignée d'extension. Par Ronay.
5 Grand et bleu : sac à main d'après-midi de suède bleu marine, avec une armature en métal. Par Bee Davis.
6 Sac à main léger, lézard bambou havane à longues anses, fermoir cadenas. Par Koret.
Les parfums :
1 "Quelques Fleurs" par Houbigant. 2 « Moment Suprême » de Jean Patou. 3 "Beau Belle" de Bourgeois. 4 Le dernier né de D'Orsay : "Divine". 5 "Voodoo" de Dana 6 "Fame" de Corday. 7 "Fabuleux" de Charbert . 8 "Savoir Faire" de Dorothy Gray. 9 "Shocking" de Schiaparelli. Photo Erwin Blumenfeld vogue archive
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possumsarenice · 6 months
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It’s nice to that The Sun and Moon Show has some cis representation with Moon. I mean, he’s the only one in the entire cast, but it’s still nice
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aliferousdreamer · 3 months
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here's a screencap dump of (some of) my favourite traitors uk season 2 moments part 2
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thislovintime · 5 months
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On the set of 33 1/3 Revolutions Per Monkee, November 1968. Peter leaving The Monkees, post 1 of 3.
Tom Snyder: “Why did it all break up?” Micky Dolenz: “Well, Peter Tork quit. That was the main reason.” Davy Jones: “Well, he withdrew, he actually withdrew. He didn’t just quit, there was, there was a reason for it. He was not being artistically satisfied in certain ways. And we were, as I said, Micky and I, had done other things before and so we were used to taking the directions. So when it come down to other people, forgetting that Carole King and Neil Diamond and Harry Nilsson, Neil Sedaka wrote all the tunes — and Mike and Peter also did, but they never got the chance really to put any down in the early days. They decided that they wanted to do more music and Peter was the first one. He withdrew, and said that he would prefer to try it on his own so he could do more of what he likes best, which is music.” MD: “They’d been promised, Mike and Peter had been promised that they would be able to express themselves musically because they were from a musical background. Peter had been in New York, in the Village, come through that scene with the Mamas and Papas and Lovin’ Spoonful. And he’s a genius, the man is a genius at music. As I said, Peter was — and is — a genius in music. And he got very frustrated because he wasn’t able to satisfy himself creatively. And Mike felt the same way." - Tomorrow with Tom Snyder, 1977
"We never thought of replacing him — there’s only one Peter Tork in the world. Who knows, maybe in two or three years’ time he’ll come back?” - Michael Nesmith, Melody Maker, March 1, 1969
"'Of all of us, I was the one who took the most pain,’ Tork said. 'But looking back, I think it was misplaced idealism that caused me that pain, not the actual phenomenon — the thing that Michael Nesmith calls "the artifact." 'As a musician, I feel extremely lucky that we got to make one album, Headquarters, that was exactly the album I hoped to make.’" - The Charlotte Observer, May 31, 1997
“I didn't have a band. I wanted this kind of connection and I didn't get it, so I felt it was up to me to leave." - Peter Tork, The Guardian, April 28, 2011
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acmeoop · 29 days
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Have A Light? “Bacall to Arms” (1946)
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thepowerofswayze · 4 months
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you know what's stupid? the amount of clapton fics sitting in my docs. i only have one finished fic so... whats all of this then
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i need to finish one before i get ... normal about him.
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retrocgads · 29 days
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UK 1987
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deliciousdietdrpepper · 8 months
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legitclaptondavis · 11 minutes
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sorry guys i’m literally stuck up in a tower ૮ ◞ ﻌ ◟ ა (still grounded) and I won’t be let out b4 it’s too late (till someone says smthn about ungrounding me)
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badmovieihave · 9 months
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Bad movie I have Monty Python and the Holy Grail 1975
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hotmonkeelove · 8 months
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Almost in Time...
I would've posted this yesterday, but I had a doctor's appointment and those always throw a wrench into my whole day. Ugh! Anyway, for Madonna's birthday yesterday, this is from my recent visit to Madame Tussauds Hollywood. Here I am, paling in comparison to her wax visage.
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Using my actual cane there. I'm starting to wonder if I need a hip replacement, too. There's a couple more pics I want to share, as well...
I hate how I look in this picture, but I was desperate for a chance to pose with Marlene Dietrich. As you all know, she is my favourite actress ever! Yes, I was singing along to the overhead speaker playing, "Falling in Love Again," in my Dietrich voice. I do a killer Dietrich impression! (What do you expect? I've been practicing it since high school!)
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Bette Davis and competing bitch faces, lol. I love her, though I have a slight preference for Miriam Hopkins.
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This one is from the Hollywood Museum/ Max Factor Building. This is the original set from Silence of the Lambs, reassembled in the basement! It includes original props, such as the shortened folding chair in front, so I could feel small and intimidated by Dr. Lecter, too. (Jokes on them, I always fancied him!)
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And the two stars I had to see, as they're my fav bands! The Monkees:
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and the Bee Gees!
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That's all with me in them I have. I think my mom may have accidentally deleted a few, as I had ones with Elizabeth Taylor as Cleopatra and Vivien Leigh as Scarlett O'Hara. And you know how much I love them!
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gotham-ruaidh · 1 year
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I am confused whether Bree and Roger's son from book 9 is unable to travel or not? It was not clear to me when i read the book. What you think of it?
Wee Davie MacKenzie isn't able to travel.
Meaning, that it's very unlikely that Brianna and Roger and Jem and Mandy will ever return to the 20th century
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dogmonkeedaily · 13 days
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April 15, 2024
Today's Dog: Norfolk Terrier! The smallest working terrier, Norfolks are distinguished from Norwich terriers by their ears! Norwichs have pointy, triangular ears, while the Norfolk's droop. They were developed in the late 1800s in Britain, and were popular housepets for students at Cambridge.
Today's Monkee: Zor and Zam! A Micky lead from The Birds, The Bees, and The Monkees. It was wrote by the Chadwicks and was one of the songs in The Frodis Caper. Zor and Zam exists partially out of anger for the Vietnam War, with a strong anti-war sentiment (literally no one coming to fight in a war)
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singeratlarge · 4 days
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Chris Andrews SONG OF THE WEEK: “Funky Heaven” https://timchrisandrews.bandcamp.com/track/funky-heaven —Some cosmic funk, with synthpop juice and fab guitars…”Funky Heaven” catches up with Bruno Mars and updates everything to love about the music in SATURDAY NIGHT FEVER. If this is your introduction to Chris Andrews, he’s a British singer-songwriter and recording artist whose songs have been covered by Roger Daltrey, David Essex, and Davy Jones (Monkees). Chris (under the name Tim Andrews) was also a champion of late 60s psychedelic pop and (in the 80s), as Kris Ryder, he released New Wave synthpop sides. Chris was also part of the seminal freakbeat band Fleur de Lys. Meanwhile, enjoy his current projects:
#funk #disco #heaven #dance #rnb #soul #Britpop #singersongwriter #beegees #donnasummer #chrisandrews #synthpop #saturdaynightfever #brunomars #uptownfunk #rogerdaltrey #davidessex #davyjones #monkees #fleurdelys #krisryder
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thislovintime · 9 months
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"Lady's Baby" (Tork) alternate vocal [More on YouTube.] Photo 1 in this video by Nurit Wilde, photo 2 by Bridgeman Images.
"[At the Troubadour, Peter] sang one of his new songs, ‘Lady’s Baby,’ and was called back for an encore." - Disc and Music Echo, May 18, 1968 (x)
“Peter isn’t sure what he’s going to do now [that he has left The Monkees], but he’s feeling free for the first time in months. Toward the end of the Monkees’ run at Screen Gems, Peter said they’d go into recording sessions and not even speak to each other much less play together.” - Circus, June 1969
“[Davy] got sick of banging the tambourine all day long. And [Micky] lost faith in himself. He never did believe he was a decent drummer, so he didn't want to do it anymore. Mike wanted to produce his own records. He wanted to have total control. I was the only one who believed in the group per se, and so there I was all by myself, wanting a group, with nobody to be a group with.” - Peter Tork, When The Music Mattered (1984)
“Taking the expression of following one’s muse quite literally, [Peter] sought to re-create in the studio the very environment that inspired him to compose the song. This endeavor included having a recording engineer crawl on the ground after young Justin to capture real-life ‘smiles and coos’ (as in the song’s lyrics). Both lady and baby giggled and squeaked through hours of expensive recording time, which seemed to infuriate some members of the band and their musical coordinator, the late Lester Sill. ‘“Lady’s Baby” was a very weird and ridiculous situation,’ recalls engineer Hank Cicalo. ‘To accommodate Peter at the time, he wanted to do this thing and he wanted it to be real spacey. So what we did was we set up the studio and brought rugs in and made a little room with pillows. He would bring his friends in and they’d sit around and he’d play a little bit. It was pretty outrageous: days and days of doing the same piece of material. ‘They would just sit around for hours and drink wine and carry on, and try to get takes of this tune. Maybe we would make one or two takes. It was OK for me as an engineer because it was like taxi time. But he wouldn’t take any help from anybody. At this point in time I thought my communication with the guys was pretty good, and I could talk to them and whatever else. There were a couple of times he got a little hot about doing this. I’d say, ‘Hey, you’re wasting a lot of time. Either we do this track, or we get on with it.’ We must have done a hundred takes on that thing. He sort of went off on his own in a lot of ways. And there was a little resentment between the guys in not working together.’” - The Birds, The Bees & The Monkees box set liner notes
“Hey listen, fair is fair. They laugh and joke about that [‘Lady’s Baby’]. OK, it cost as much to do I think as ‘Good Vibrations.’ They were laughing about Peter Tork, but that [song] is a true-to-life thing. He was living with a woman [Karen Harvey] at the time and she had a little baby [Justin Hammer] and that changed his life, you know? That gave him something to think about. He was being downtrodden by the studio in regard to his recording and his playing and his songs and everything else, but the guy was the salt of the earth. It wasn’t just Hare Krishna, waterbeds and brown rice. That guy was a very, very accomplished musician. He needed magic to be able to get in and do ‘Lady’s Baby.’ It’s a nice song. It’s true. It’s got the warmth and everything of what he was living. ‘Lady’s Baby’ touches me, lets me know that I am free, whatever it is. I remember it so well. It’s a real tune, you know? I love it.” - Davy Jones, The Monkees: The Day-By-Day Story of the '60s TV Pop Sensation (2005) (x)
"[M]y darling Karen, with whom I am still very good friends all these years later.” - Peter Tork during his My Life In The Monkees & So Much More tour, 2013 (x)
"We’re still very, very good friends." - Karen Harvey, The News Journal, July 16, 1989 (x)
Q: “The Birds, The Bees & The Monkees sessions was a productive time in the studio for The Monkees. However, none of your stuff like ‘Lady’s Baby’ and ‘Tear The Top Right Off My Head’ made it to the album. How come?” Peter Tork: “To tell you truth… I… I never was able in those days particularly — I’m getting better at it these days — but in those days I was almost entirely unable to fight for what I saw as quality. If I didn’t get somebody fighting on my behalf then it didn’t, just didn’t come to pass. And none of the other guys was much interested in supporting my sense of quality, they had their own agendas and each one of them… I mean, not that I was left out in this regard, no one of us really supported any of the others except that, that I like to think that I tried to support Micky in a way which, for some reason, he never did pick up on. I mean, I think that Micky has a certain kind of genius that he was never able to acknowledge in himself. But be any of that as it may, I just basically think that I wasn’t feeling a part of it anymore already by that point, I’d already felt like I was odd man out, and of course I quit almost immediately thereafter. In fact, I think it’s The Birds, The Bees & The Monkees that has some tunes that were recorded after I quit.” - Headquarters radio, September 1989 (x)
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androcola · 11 days
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mike goes and finds bugs to stick to davy because it's funny to him
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