Liz in Gold Lace

Posted by TXphotoblog on 2015-10-29 14:15:12

Tagged: , 500px Post , Adorable , Beautiful , Beauty , Blonde Hair , Bracelet , Close Up , Color , Fashion , Female , Flickr Post , Full Edit , Girl , Glamour , Gold , Graceful , Jewelry , Lace , Liz Ashley , Look , Lovely , Model , Necklace , People , Portrait , Pretty , San Antonio , See-Through , Sexy , Studio , Supply to Model , Texas , Woman

The post Liz in Gold Lace appeared first on Good Info.

Celebrities That Had The Best Style At Wimbledon 2019

[ad_1]

Celebrities That Had The Best Style At Wimbledon 2019

[ad_2]

The post Celebrities That Had The Best Style At Wimbledon 2019 appeared first on Good Info.

Updated Collection

Body stuff, like creams/scrubs, and one of my favorite (scent-wise) leave-in conditioners for my hair, Philip B.’s ‘Lovin’ Leave-In.’

Posted by Vociferous on 2008-08-25 03:57:16

Tagged: , collection , beauty products , stash , cosmetics

The post Updated Collection appeared first on Good Info.

18″ Beauty Salon BIG Wood Clock, Hair styler Non-ticking, Wall Art Decor LARGE 12-16-18inch, Hairdresser Parlor #85-PERS-p05-D1

NOTA: ESTE ARTÍCULO NO LLEGARÁ ANTES DE NAVIDAD *** Artículos con temas todos de belleza o peluquería: www.etsy.com/… Si desea personalizar el reloj (nombre del salón en el reloj, etc.) por favor, seleccione la opción Personalización – sí en

The post 18″ Beauty Salon BIG Wood Clock, Hair styler Non-ticking, Wall Art Decor LARGE 12-16-18inch, Hairdresser Parlor #85-PERS-p05-D1 appeared first on Good Info.

KAOHS 2016-07-156357

Photo by: Roman Kajzer @FotoManiacNYC FACEBOOK / INSTAGRAM / FLICKR / TWITTER

KAOHS – presenting SS17 collection during Swim Week in South Beach Miami at W Hotel 7/2016

WEBSITE LINK: KAOHS SWIM FACEBOOK LINK: KAOHS FACEBOOK

You can see the entire runway album here: KAOHS – MIAMI SWIM WEEK 7/2016

On Friday, July 15th, 2016, hundreds of guests including top media, influencers and buyers, attended the WET Lounge, at the W South Beach, to experience a amazing runway show. Kaohs Swim debuted its Resort 2016 and Spring 2017 collections at the W South Beach in Miami, which included 22 new bikinis and three returning favorites: Hampton Salty bikini, Rie bikini and Gypsy bikini — famously worn by Kim Kardashian.

Kaohs Swim’s new collections featured touches of stretch denim contrasted with white nylon/spandex swim fabric, as well as simple, structured bikinis inspired by the 90’s embellished with silver rings, criss-crossing straps, sea shells, and one-shoulder tops. In addition to the three returning bikinis, the new collection included 16 new tops, two never-seen-before one-pieces, and 15 new bottoms. Many of the swimsuits were comprised of solid one-tone or color blocks of black, white, blush, peach, and denim sewn in high-quality swim fabrics made to withstand years of use. Seven new colors are offered in the 2016 collections, including an earthy-red hue (Mars), a muted purple (Purple Haze), a dark-bright-tropical blue (Fiji), a shiny metallic olive green (Gimlet), and copper (Penny).

The KAOHS 2017 collection show was easily one of the best shows at SwimMiami. The California-based brand’s vibe backstage was true to LA, with great energy brought by DJ Sam Blacky. KAOHS has gained some major heat, among influencers like Kim and Kourtney Kardashian, Kendall and Kylie Jenner, Bella Hadid, Rocky Barnes, Alexis Ren, Pia Mia, Natasha Oakley, and more ringing in the summer with these seriously sexy looks.

ABOUT KAOHS KAOHS Swim was born in 2013 when two best friends, Tess Hamilton and Ali Hoffmann came together to curate a line of swimwear inspired by sKAte, bOHo and Surf = KAOHS. They were zealous to launch a label that offered edge and functionality, all while showing a free spirited aesthetic. Their designs are for beach girls whose lifestyles demand comfortable and active (and sexy) beachwear. With swimsuits in a variety of cuts – from Brazilian to hipster and low to high – KAOHS Swim makes a swimsuit to flatter – and become the ultimate confidence booster for – every beach-going figure. Focusing on two-piece bikinis with a nod to one-piece swimsuits, KAOHS Swim’s collections feature edgy, feminine cuts, and a playful, modern, and earthy palette of colors. The high quality fabrics and seamless cuts were designed to compliment every shape of every woman. They really wanted KAOHS Swim to be the most perfect confidence boost when hitting the beach- or anywhere that calls for a good tan line!

The swimwear is designed in Orange County, California and made in Los Angeles, California

PR Agency: CECE FEINBERG PUBLIC RELATIONS

ABOUT MIAMI SWIM WEEK Even without longtime organizer IMG, Swim Week in 2016 has delivered a bounty of barely-there swimsuit collection for Spring/Summer 2017.

After IMG announced in May 2015 that it would be pulling out of what was formerly called Mercedes-Benz Fashion Week Swim, following the loss of its title sponsor, those involved had a lot of scrambling to do. Without a strong sponsor or an experienced organizer, could Swim Week even continue in all its stringy, deeply spray-tanned glory? True to the old adage, the show did go on thanks to the (somewhat) cohesive efforts of the affected brands, production companies and publicists.

A week spread between the sweaty Miami heat of three separate trade shows – Swim Show, Cabana and Hammock – of various personalities, with relevant brands occupying space in the show that suit their vibe. All of these shows are situated within walking distance of each other. Brands also have parties or fashion shows throughout the four days at nearby hotels and pools, making Miami Swim Week super busy and a whole lotta fun.

There is a lot to take in with over 25 external runway shows after 5pm, parties and the three simultaneous trade shows, but it’s plenty pleasing on the eye. There’s hot, Miami energy and it’s awesome to be seeing a preview of swim collections from the hottest brands for 2017.

MIAMI SWIM SHOW: The world’s biggest swim show which occupies the convention center with hundreds of brands from across the globe. Brands featured that we liked included Seafolly, Billabong, NLP Women, Kopper & Zinc, and Rhythm amongst hundreds of others.

CABANA: This is the boutique show where the brands showcase in two big, cabana-style tents near the beach with coconuts issued to buyers, media and guests on entry. A few of our faves included Beach Riot, Minimale Animale, Tori Praver Swim, Mara Hoffman, Bec and Bridge, Boys and Arrows and Bower Swim.

HAMMOCK: Situated in the W Hotel, with the coolest brands of today occupying the luxury suites to showcase their latest collection with their marketing teams and a bevy of hot models. Leading Instagram swim brands seemed to be the big brands in this year’s Hammock W show including Mikoh, Indah and Frankies Swim.

LINKS: fashionfilesmag.com/kaohs-swim/ estrellafashionreport.com/2016/07/kaohs-swim-at-swimmiami… allfashion.press/kaohs-swim-runway-debut-miami-swim-week/ www.instagram.com/kaohs_swim/ thelafashion.com/2016/07/20/kaohs-2017-miami-swim-week/ www.bizbash.com/kaohs-runway-years-swim-week-miami-includ…

HISTORY OF THE BIKINI

Time magazine list of top 10 bikinis in popular culture

-Micheline Bernardini models the first-Ever Bikini (1946) -"Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" (1960) -Annette Funicello and Beach Party (1960’s) -The belted Bond-girl bikini (1962) -Sports Illustrated’s first Swimsuit Issue (1964) -Raquel Welch’s fur bikini in One Million Years B.C. (1966) -Phoebe Cates’ Bikini in Fast Times at Ridgemont High -Princess Leia’s golden bikini in Return of the Jedi (1983) -Official uniform of the female Olympic Beach Volleyball team (1996) -Miss America pageant’s bikini debut (1997)

The history of the bikini can be traced back to antiquity. Illustrations of Roman women wearing bikini-like garments during competitive athletic events have been found in several locations. The most famous of them is Villa Romana del Casale. French engineer Louis Réard introduced the modern bikini, modeled by Micheline Bernardini, on July 5, 1946, borrowing the name for his design from the Bikini Atoll, where post-war testing on the atomic bomb was happening.

French women welcomed the design, but the Catholic Church, some media, and a majority of the public initially thought the design was risque or even scandalous. Contestants in the first Miss World beauty pageant wore them in 1951, but the bikini was then banned from the competition. Actress Bridget Bardot drew attention when she was photographed wearing a bikini on the beach during the Cannes Film Festival in 1953. Other actresses, including Rita Hayworth and Ava Gardner, also gathered press attention when they wore bikinis. During the early 1960’s, the design appeared on the cover of Playboy and Sports Illustrated, giving it additional legitimacy. Ursula Andress made a huge impact when she emerged from the surf wearing what is now an iconic bikini in the James Bond movie Dr. No (1962). The deer skin bikini Raquel Welch wore in the film One Million Years B.C. (1966) turned her into an international sex symbol and was described as a definitive look of the 1960’s.

The bikini gradually grew to gain wide acceptance in Western society. According to French fashion historian Olivier Saillard, the bikini is perhaps the most popular type of female beachwear around the globe because of "the power of women, and not the power of fashion". As he explains, "The emancipation of swimwear has always been linked to the emancipation of women." By the early 2000’s, bikinis had become a US $ 811 million business annually, and boosted spin-off services like bikini waxing and the sun tanning.

Interval

Between the classical bikinis and the modern bikini there has been a long interval. Swimming or outdoor bathing were discouraged in the Christian West and there was little need for a bathing or swimming costume till the 18th century. The bathing gown in the 18th century was a loose ankle-length full-sleeve chemise-type gown made of wool or flannel, so that modesty or decency was not threatened. In the first half of 19th century the top became knee-length while an ankle-length drawer was added as a bottom. By the second half of 19th century, in France, the sleeves started to vanish, the bottom became shorter to reach only the knees and the top became hip-length and both became more form fitting. In the 1900’s women wore wool dresses on the beach that were made of up to 9 yards (8.2 m) of fabric. That standard of swimwear evolved into the modern bikini in the first of half of the 20th century.

Breakthrough

In 1907, Australian swimmer and performer Annette Kellerman was arrested on a Boston beach for wearing a form-fitting sleeveless one-piece knitted swimming tights that covered her from neck to toe, a costume she adopted from England, although it became accepted swimsuit attire for women in parts of Europe by 1910. Even in 1943, pictures of the Kellerman swimsuit were produced as evidence of indecency in Esquire v. Walker, Postmaster General. But, Harper’s Bazaar wrote in June 1920 (vol. 55, no. 6, p. 138) – "Annette Kellerman Bathing Attire is distinguished by an incomparable, daring beauty of fit that always remains refined." The following year, in June 1921 (vol. 54, no. 2504, p. 101) it wrote that these bathing suits were "famous … for their perfect fit and exquisite, plastic beauty of line."

Female swimming was introduced at the 1912 Summer Olympics. In 1913, inspired by that breakthrough, the designer Carl Jantzen made the first functional two-piece swimwear, a close-fitting one-piece with shorts on the bottom and short sleeves on top. Silent films such as The Water Nymph (1912) saw Mabel Normand in revealing attire, and this was followed by the daringly dressed Sennett Bathing Beauties (1915–1929). The name "swim suit" was coined in 1915 by Jantzen Knitting Mills, a sweater manufacturer who launched a swimwear brand named the Red Diving Girl,. The first annual bathing-suit day at New York’s Madison Square Garden in 1916 was a landmark. The swimsuit apron, a design for early swimwear, disappeared by 1918, leaving a tunic covering the shorts.

During the 1920’s and 1930’s, people began to shift from "taking in the water" to "taking in the sun," at bathhouses and spas, and swimsuit designs shifted from functional considerations to incorporate more decorative features. Rayon was used in the 1920’s in the manufacture of tight-fitting swimsuits, but its durability, especially when wet, proved problematic, with jersey and silk also sometimes being used. Burlesque and vaudeville performers wore two-piece outfits in the 1920’s. The 1929 film "Man with a Movie Camera" shows Russian women wearing early two-piece swimsuits which expose their midriff, and a few who are topless. Films of holidaymakers in Germany in the 1930’s show women wearing two-piece suits,

Necklines and midriff

By the 1930’s, necklines plunged at the back, sleeves disappeared and sides were cut away and tightened. With the development of new clothing materials, particularly latex and nylon, through the 1930’s swimsuits gradually began hugging the body, with shoulder straps that could be lowered for tanning. Women’s swimwear of the 1930’s and 1940’s incorporated increasing degrees of midriff exposure. Coco Chanel made suntans fashionable, and in 1932 French designer Madeleine Vionnet offered an exposed midriff in an evening gown. They were seen a year later in Gold Diggers of 1933. The Busby Berkeley film Footlight Parade of 1932 showcases aqua-choreography that featured bikinis. Dorothy Lamour’s The Hurricane (1937) also showed two-piece bathing suits.

The 1934 film, Fashions of 1934 featured chorus girls wearing two-piece outfits which look identical to modern bikinis. In 1934, a National Recreation Association study on the use of leisure time found that swimming, encouraged by the freedom of movement the new swimwear designs provided, was second only to movies in popularity as free time activity out of a list of 94 activities. In 1935 American designer Claire McCardell cut out the side panels of a maillot-style bathing suit, the bikini’s forerunner. The 1938 invention of the Telescopic Watersuit in shirred elastic cotton ushered into the end the era of wool. Cotton sun-tops, printed with palm trees, and silk or rayon pajamas, usually with a blouse top, became popular by 1939. Wartime production during World War II required vast amounts of cotton, silk, nylon, wool, leather, and rubber. In 1942 the United States War Production Board issued Regulation L-85, cutting the use of natural fibers in clothing and mandating a 10% reduction in the amount of fabric in women’s beachwear. To comply with the regulations, swimsuit manufacturers produced two-piece suits with bare midriffs.

Postwar

Fabric shortage continued for some time after the end of the war. Two-piece swimsuits without the usual skirt panel and other excess material started appearing in the US when the government ordered a 10% reduction in fabric used in woman’s swimwear in 1943 as wartime rationing. By that time, two-piece swimsuits were frequent on American beaches. The July 9, 1945, Life shows women in Paris wearing similar items. Hollywood stars like Ava Gardner, Rita Hayworth and Lana Turner tried similar swimwear or beachwear. Pin ups of Hayworth and Esther Williams in the costume were widely distributed. The most provocative swimsuit was the 1946 Moonlight Buoy, a bottom and a top of material that weighed only eight ounces. What made the Moonlight Buoy distinctive was a large cork buckle attached to the bottoms, which made it possible to tie the top to the cork buckle and splash around au naturel while keeping both parts of the suit afloat. Life magazine had a photo essay on the Moonlight Buoy and wrote, "The name of the suit, of course, suggests the nocturnal conditions under which nude swimming is most agreeable."

American designer Adele Simpson, a Coty American Fashion Critics’ Awards winner (1947) and a notable alumna of the New York art school Pratt Institute, who believed clothes must be comfortable and practical, designed a large part of her swimwear line with one-piece suits that were considered fashionable even in early 1980’s. This was when Cole of California started marketing revealing prohibition suits and Catalina Swimwear introduced almost bare-back designs. Teen magazines of late 1940’s and 1950’s featured designs of midriff-baring suits and tops. However, midriff fashion was stated as only for beaches and informal events and considered indecent to be worn in public. Hollywood endorsed the new glamour with films such as Neptune’s Daughter (1949) in which Esther Williams wore provocatively named costumes such as "Double Entendre" and "Honey Child". Williams, who also was an Amateur Athletic Union champion in the 100 meter freestyle (1939) and an Olympics swimming finalist (1940), also portrayed Kellerman in the 1952 film Million Dollar Mermaid (titled as The One Piece Bathing Suit in UK).

Swimwear of the 1940’s, 50’s and early 60’s followed the silhouette mostly from early 1930’s. Keeping in line with the ultra-feminine look dominated by Dior, it evolved into a dress with cinched waists and constructed bust-lines, accessorized with earrings, bracelets, hats, scarves, sunglasses, hand bags and cover-ups. Many of these pre-bikinis had fancy names like Double Entendre, Honey Child (to maximize small bosoms), Shipshape (to minimize large bosoms), Diamond Lil (trimmed with rhinestones and lace), Swimming In Mink (trimmed with fur across the bodice) and Spearfisherman (heavy poplin with a rope belt for carrying a knife), Beau Catcher, Leading Lady, Pretty Foxy, Side Issue, Forecast, and Fabulous Fit. According to Vogue the swimwear had become more of "state of dress, not undress" by mid-1950’s.

The modern bikini

French fashion designer Jacques Heim, who owned a beach shop in the French Riviera resort town of Cannes, introduced a minimalist two-piece design in May 1946 which he named the "Atome," after the smallest known particle of matter. The bottom of his design was just large enough to cover the wearer’s navel.

At the same time, Louis Réard, a French automotive and mechanical engineer, was running his mother’s lingerie business near Les Folies Bergères in Paris. He noticed women on St. Tropez beaches rolling up the edges of their swimsuits to get a better tan and was inspired to produce a more minimal design. He trimmed additional fabric off the bottom of the swimsuit, exposing the wearer’s navel for the first time. Réard’s string bikini consisted of four triangles made from 30 square inches (194 cm2) of fabric printed with a newspaper pattern.

When Réard sought a model to wear his design at his press conference, none of the usual models would wear the suit, so he hired 19 year old nude dancer Micheline Bernardini from the Casino de Paris. He introduced his design to the media and public on July 5, 1946, in Paris at Piscine Molitor, a public pool in Paris. Réard held the press conference five days after the first test of a nuclear device (nicknamed Able) over the Bikini Atoll during Operation Crossroads. His swimsuit design shocked the press and public because it was the first to reveal the wearer’s navel.

To promote his new design, Heim hired skywriters to fly above the Mediterranean resort advertising the Atome as "the world’s smallest bathing suit." Not to be outdone by Heim, Réard hired his own skywriters three weeks later to fly over the French Riviera advertising his design as "smaller than the smallest bathing suit in the world."

Heim’s design was the first to be worn on the beach, but the name given by Réard stuck with the public. Despite significant social resistance, Réard received more than 50,000 letters from fans. He also initiated a bold ad campaign that told the public a two-piece swimsuit was not a genuine bikini "unless it could be pulled through a wedding ring." According to Kevin Jones, curator and fashion historian at the Fashion Institute of Design & Merchandising, "Réard was ahead of his time by about 15 to 20 years. Only women in the vanguard, mostly upper-class European women embraced it."

Social resistance

Bikini sales did not pick up around the world as women stuck to traditional two-piece swimsuits. Réard went back to designing conventional knickers to sell in his mother’s shop. According to Kevin Jones, curator and fashion historian at the Fashion Institute of Design & Merchandising, "Réard was ahead of his time by about 15 to 20 years. Only women in the vanguard, mostly upper-class European women embraced it, just like the upper-class European women who first cast off their corsets after World War I." It was banned in the French Atlantic coastline, Spain, Belgium and Italy, three countries neighboring France, as well as Portugal and Australia, and it was prohibited in some US states, and discouraged in others.

In 1951, the first Miss World contest (originally the Festival Bikini Contest), was organized by Eric Morley. When the winner, Kiki Håkansson from Sweden, was crowned in a bikini, countries with religious traditions threatened to withdraw delegates. Håkansson remains the first and last Miss World to be crowned in her bikini, a crowning that was condemned by Pope Pius XII who declared the swimsuit to be sinful. Bikinis were banned from beauty pageants around the world after the controversy. In 1949 the Los Angeles Times reported that Miss America Bebe Shopp on her visit to Paris said she did not approve the bikini for American girls, though she did not mind French girls wearing them. Actresses in movies like My Favorite Brunette (1947) and the model on a 1948 cover of LIFE were shown in traditional two-piece swimwear, not the bikini.

In 1950, Time magazine interviewed American swimsuit mogul Fred Cole, owner of Cole of California, and reported that he had "little but scorn for France’s famed Bikinis," because they were designed for "diminutive Gallic women". "French girls have short legs," he explained, "Swimsuits have to be hiked up at the sides to make their legs look longer." Réard himself described it as a two-piece bathing suit which "reveals everything about a girl except for her mother’s maiden name." Even Esther Williams commented, "A bikini is a thoughtless act." But, popularity of the charms of Pin-up queen and Hollywood star Williams were to vanish along with pre-bikinis with fancy names over the next few decades. Australian designer Paula Straford introduced the bikini to Gold Coast in 1952. In 1957, Das moderne Mädchen (The Modern Girl) wrote, "It is unthinkable that a decent girl with tact would ever wear such a thing." Eight years later a Munich student was punished to six days cleaning work at an old home because she had strolled across the central Viktualienmarkt square, Munich in a bikini.

The Cannes connection

Despite the controversy, some in France admired "naughty girls who decorate our sun-drenched beaches". Brigitte Bardot, photographed wearing similar garments on beaches during the Cannes Film Festival (1953) helped popularize the bikini in Europe in the 1950’s and created a market in the US. Photographs of Bardot in a bikini, according to The Guardian, turned Saint-Tropez into the bikini capital of the world. Cannes played a crucial role in the career of Brigitte Bardot, who in turn played a crucial role in promoting the Festival, largely by starting the trend of being photographed in a bikini at her first appearance at the festival, with Bardot identified as the original Cannes bathing beauty. In 1952, she wore a bikini in Manina, the Girl in the Bikini (1952) (released in France as Manina, la fille sans voiles), a film which drew considerable attention due to her scanty swimsuit. During the 1953 Cannes Film Festival, she worked with her husband and agent Roger Vadim, and garnered a lot of attention when she was photographed wearing a bikini on every beach in the south of France.

Like Esther Williams did a decade earlier, Betty Grable, Marilyn Monroe and Brigitte Bardot all used revealing swimwear as career props to enhance their sex appeal, and it became more accepted in parts of Europe when worn by fifties "love goddess" actresses such as Bardot, Anita Ekberg and Sophia Loren. British actress Diana Dors had a mink bikini made for her during the 1955 Venice Film Festival and wore it riding in a gondola down Venice’s Grand Canal past St. Mark’s Square.

In Spain, Benidorm played a similar role as Cannes. Shortly after the bikini was banned in Spain, Pedro Zaragoza, the mayor of Benidorm convinced dictator Francisco Franco that his town needed to legalize the bikini to draw tourists. In 1959, General Franco agreed and the town became a popular tourist destination. Interestingly, in less than four years since Franco’s death in 1979, Spanish beaches and women had gone topless.

Legal and moral resistance

The swimsuit was declared sinful by the Vatican and was banned in Spain, Portugal and Italy, three countries neighboring France, as well as Belgium and Australia, and it remained prohibited in many US states. As late as in 1959, Anne Cole, a US swimsuit designer and daughter of Fred Cole, said about a Bardot bikini, "It’s nothing more than a G-string. It’s at the razor’s edge of decency." In July that year the New York Post searched for bikinis around New York City and found only a couple. Writer Meredith Hall wrote in her memoir that till 1965 one could get a citation for wearing a bikini in Hampton Beach, New Hampshire.

In 1951, the first Miss World contest, originally the Festival Bikini Contest, was organized by Eric Morley as a mid-century advertisement for swimwear at the Festival of Britain. The press welcomed the spectacle and referred to it as Miss World, and Morley registered the name as a trademark. When, the winner Kiki Håkansson from Sweden, was crowned in a bikini, countries with religious traditions threatened to withdraw delegates. The bikinis were outlawed and evening gowns introduced instead. Håkansson remains the only Miss World crowned in a bikini, a crowning that was condemned by the Pope. Bikini was banned from beauty pageants around the world after the controversy. Catholic-majority countries like Belgium, Italy, Spain and Australia also banned the swimsuit that same year.

The National Legion of Decency pressured Hollywood to keep bikinis from being featured in Hollywood movies. The Hays production code for US movies, introduced in 1930 but not strictly enforced till 1934, allowed two-piece gowns but prohibited navels on screen. But between the introduction and enforcement of the code two Tarzan movies, Tarzan, the Ape Man (1932) and Tarzan and His Mate (1934), were released in which actress Maureen O’Sullivan wore skimpy bikini-like leather outfits. Film historian Bruce Goldstein described her clothes in the first film as "It’s a loincloth open up the side. You can see loin." All at sea was allowed in the USA in 1957 after all bikini-type clothes were removed from the film. The girl in the bikini was allowed in Kansas after all the bikini close ups were removed from the film in 1959.

In reaction to the introduction of the bikini in Paris, American swimwear manufacturers compromised cautiously by producing their own similar design that included a halter and a midriff-bottom variation. Though size makes all the difference in a bikini, early bikinis often covered the navel. When the navel showed in pictures, it was airbrushed out by magazines like Seventeen. Navel-less women ensured the early dominance of European bikini makers over their American counterparts. By the end of the decade a vogue for strapless styles developed, wired or bound for firmness and fit, along with a taste for bare-shouldered two-pieces called Little Sinners. But, it was the halterneck bikini that caused the most moral controversy because of its degree of exposure. So much so as bikini designs called "Huba Huba" and "Revealation" were withdrawn from fashion parades in Sydney as immodest.

Rise to popularity

The appearance of bikinis kept increasing both on screen and off. The sex appeal prompted film and television productions, including Dr. Strangelove. They include the surf movies of the early 1960’s. In 1960, Brian Hyland’s song "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" inspired a bikini-buying spree. By 1963, the movie Beach Party, starring Annette Funicello and Frankie Avalon, followed by Muscle Beach Party (1964), Bikini Beach (1964), and Beach Blanket Bingo (1965) that depicted teenage girls wearing bikinis, frolicking in the sand with boys, and having a great time.

The beach films led a wave of films that made the bikini pop-culture symbol. In the sexual revolution in 1960’s America, bikinis became quickly popular. Hollywood stars like Marilyn Monroe, Jayne Mansfield, Gina Lollobrigida, and Jane Russell helped further the growing popularity of bikinis. Pin-up posters of Monroe, Mansfield, Hayworth, Bardot and Raquel Welch also contributed significantly to its increasing popularity. In 1962, Playboy featured a bikini on its cover for the first time. Two years later, Sports Illustrated featured Berlin-born fashion model Babette March on the cover wearing a white bikini. The issue was the first Swimsuit Issue. It gave the bikini legitimacy, became an annual publication and an American pop-culture staple, and sells millions of copies each year. In 1965, a woman told Time it was "almost square" not to wear one. In 1967 the magazine wrote that 65% of "the young set" were wearing bikinis.

When Jayne Mansfield and her husband Miklós Hargitay toured for stage shows, newspapers wrote that Mansfield convinced the rural population that she owned more bikinis than anyone. She showed a fair amount of her 40-inch (1,000 mm) bust, as well as her midriff and legs, in the leopard-spot bikini she wore for her stage shows. Kathryn Wexler of The Miami Herald wrote, "In the beginning as we know it, there was Jayne Mansfield. Here she preens in leopard-print or striped bikinis, sucking in air to showcase her well noted physical assets." Her leopard-skin bikini remains one of the earlier specimens of the fashion.

In 1962, Bond Girl Ursula Andress emerged from the sea wearing a white bikini in Dr. No. The scene has been named one of the most memorable of the series. Channel 4 declared it the top bikini moment in film history, Virgin Media puts it ninth in its top ten, and top in the Bond girls. The Herald (Glasgow) put the scene as best ever on the basis of a poll. It also helped shape the career of Ursula Andress, and the look of the quintessential Bond movie. Andress said that she owed her career to that white bikini, remarking, "This bikini made me into a success. As a result of starring in Dr. No as the first Bond girl, I was given the freedom to take my pick of future roles and to become financially independent." In 2001, the Dr. No bikini worn by Andress in the film sold at auction for US$61,500. That white bikini has been described as a "defining moment in the sixties liberalization of screen eroticism". Because of the shocking effect from how revealing it was at the time, she got referred to by the joke nickname "Ursula Undress". According to the British Broadcasting Corporation, "So iconic was the look that it was repeated 40 years later by Halle Berry in the Bond movie Die Another Day."

Raquel Welch’s fur bikini in One Million Years B.C. (1966) gave the world the most iconic bikini shot of all time and the poster image became an iconic moment in cinema history. The poster image of the deer skin bikini in One Million Years B.C. made her an instant pin-up girl. Welch was featured in the studio’s advertising as "wearing mankind’s first bikini" and the bikini was later described as a "definitive look of the 1960’s". Her role wearing the leather bikini raised Welch to a fashion icon and the photo of her in the bikini became a best-selling pinup poster. One author said, "although she had only three lines in the film, her luscious figure in a fur bikini made her a star and the dream girl of millions of young moviegoers". In 2011, Time listed Welch’s B.C. bikini in the "Top Ten Bikinis in Pop Culture".

In the 1983 film Return of the Jedi, Star Wars’ Princess Leia Organa was captured by Jabba the Hutt and forced to wear a metal bikini complete with shackles. The costume was made of brass and was so uncomfortable that actress Carrie Fisher described it as "what supermodels will eventually wear in the seventh ring of hell." The "slave Leia" look is often imitated by female fans at Star Wars conventions. In 1997, 51 years after the bikini’s debut, and 77 years after the Miss America Pageant was founded, contestants were allowed wear two-piece swimsuits, not just the swimsuits (nicknamed "bulletproof vests") traditionally issued by the pageant. Two of the 17 swimsuit finalists wore two-piece swimsuits, and Erika Kauffman, representing Hawaii, wore the briefest bikini of all and won the swimsuit competition. In 2010, the International Federation of Bodybuilders recognized Bikini as a new competitive category.

In India

Bollywood actress Sharmila Tagore appeared in a bikini in An Evening in Paris (1967), a film mostly remembered for the first bikini appearance of an Indian actress. She also posed in a bikini for the glossy Filmfare magazine. The costume shocked the conservative Indian audience, but it also set a trend of bikini-clad actresses carried forward by Parveen Babi (in Yeh Nazdeekiyan, 1982), Zeenat Aman (in Heera Panna 1973; Qurbani, 1980) and Dimple Kapadia (in Bobby, 1973) in the early 1970’s. Wearing a bikini put her name in the Indian press as one of Bollywood’s ten hottest actresses of all time, and was a transgression of female identity through a reversal of the state of modesty, which functions as a signifier of femininity in Bombay films. By 2005, it became usual for actors in Indian films to change outfits a dozen times in a single song — starting with a chiffon sari and ending up wearing a bikini. But, when Tagore was the chairperson of the Central Board of Film Certification in 2005, she expressed concerns about the rise of the bikini in Indian films.

Acceptance

In France, Réard’s company folded in 1988, four years after his death. By that year the bikini made up nearly 20% of swimsuit sales, more than any other model in the US. As skin cancer awareness grew and a simpler aesthetic defined fashion in the 1990s, sales of the skimpy bikini decreased dramatically. The new swimwear code was epitomized by surf star Malia Jones, who appeared on the June 1997 cover of Shape Magazine wearing a halter top two-piece for rough water. After the 90’s, however, the bikini came back again. US market research company NPD Group reported that sales of two-piece swimsuits nationwide jumped 80% in two years. On one hand the one-piece made a big comeback in the 1980’s and early 1990’s, on the other bikinis became briefer with the string bikini in the 1970’s and 80’s.

The "-kini family" (as dubbed by author William Safire), including the "-ini sisters" (as dubbed by designer Anne Cole) has grown to include a large number of subsequent variations, often with a hilarious lexicon — string bikini, monokini or numokini (top part missing), seekini (transparent bikini), tankini (tank top, bikini bottom), camikini (camisole top and bikini bottom), hikini, thong, slingshot, minimini, teardrop, and micro. In just one major fashion show in 1985, there were two-piece suits with cropped tank tops instead of the usual skimpy bandeaux, suits that are bikinis in front and one-piece behind, suspender straps, ruffles, and daring, navel-baring cutouts. To meet the fast changing tastes, some of the manufacturers have made a business out of making made-to-order bikinis in around seven minutes. The world’s most expensive bikini, made up of over 150 carats (30 g) of flawless diamonds and worth a massive £20 million, was designed in February 2006 by Susan Rosen.

Actresses in action films like Charlie’s Angels: Full Throttle (2003) and Blue Crush (2002) have made the two-piece "the millennial equivalent of the power suit", according to Gina Bellafonte of The New York Times, On September 9, 1997, Miss Maryland Jamie Fox was the first contestant in 50 years to compete in a two-piece swimsuit to compete in the Preliminary Swimsuit Competition at the Miss America Pageant. PETA used celebrities like Pamela Anderson, Traci Bingham and Alicia Mayer wearing a bikini made of iceberg-lettuce for an advertisement campaign to promote vegetarianism. A protester from Columbia University used a bikini as a message board against a New York City visit by Iranian president Mahmoud Ahmadinejad.

By the end of the century, the bikini went on to become the most popular beachwear around the globe, according to French fashion historian Olivier Saillard due to "the power of women, and not the power of fashion". As he explains, "The emancipation of swimwear has always been linked to the emancipation of women", though one survey tells 85% of all bikinis never touch the water. According to Beth Dincuff Charleston, research associate at the Costume Institute of the Metropolitan Museum of Art, "The bikini represents a social leap involving body consciousness, moral concerns, and sexual attitudes." By the early 2000’s, bikinis had become a US $811 million business annually, according to the NPD Group, a consumer and retail information company. The bikini has boosted spin-off services like bikini waxing and the sun tanning industries.

Continued controversies

The bikini remained a hot topic for the news media. In May 2011, Barcelona, Spain made it illegal to wear bikinis in public except in areas near the beaches. Violators face fines of between 120 and 300 euros. In 2012, two students of St. Theresa’s College in Cebu, the Philippines were barred from attending their graduation ceremony for "ample body exposure" because their bikini pictures were posted on Facebook. The students sued the college and won a temporary stay in a regional court.

In May 2013, Cambridge University banned the Wyverns Club of Magdalene College from arranging its annual bikini jelly wrestling. In June 2013, actress Gwyneth Paltrow, who also is interested in fashion, produced a bikini for her clothing line that is designed to be worn by girls 4 to 8 years old. She was criticized for sexualizing young children by Claude Knight of Kidscape, a British foundation that strives to prevent child abuse. He commented, "We remain very opposed to the sexualization of children and of childhood … is a great pity that such trends continue and that they carry celebrity endorsement."

Four women were arrested over the 2013 Memorial Day weekend in Myrtle Beach, South Carolina for indecent exposure when they wore thong bikinis that exposed their buttocks. In June 2013, the British watchdog agency Advertising Standards Authority banned a commercial that showed men in an office fantasizing about their colleague, played by Pamela Anderson, in a bikini for degrading women.

Links:

en.wikipedia.org/wiki/History_of_the_bikini en.wikipedia.org/wiki/Bikini_variants en.wikipedia.org/wiki/Bikini en.wikipedia.org/wiki/Swimsuit en.wikipedia.org/wiki/Bikini_in_popular_culture en.wikipedia.org/wiki/Indecent_exposure en.wikipedia.org/wiki/Indecent_exposure_in_the_United_States

Posted by FotoManiacNYC on 2017-01-11 07:28:31

Tagged: , KAOHS , designer , SS17 , collection , SpringSummer , 2016 , Miami , South Beach , W Hotel , W , swimming , pool , Florida , Swim Week , fashion week , clothing , bikini , swimwear , swimsuit , fashion , walking , catwalk , runway , designs , trendy , new , preview , sexy , beautiful , topless , almost , nude , naked , boobs , butt , booty , model , agency , nycphotographer , long legs , legs , heels , chic , flirting , teasing , presenting , hair , long hair , makeup , eyes , lips , thin , fit , body , tall , MIAMISWIM , SWIMMIAMI , FUNKSHION , curvy , woman , female , girl , show , vacation , vacations , sunbathing

The post KAOHS 2016-07-156357 appeared first on Good Info.

kingdom beauty large 3-in-1 #hair and facial steamer, #hair and beauty salon pe…

kingdom beauty large 3-in-1 #hair and facial steamer, #hair and beauty salon peterborough, #hair and beauty atherstone england, goddess hair and beauty derby, hair and beauty cv example, hair and beauty gallery outwood, nvq level 4 hair and beauty, hair and beauty derry monday motivation quotes, hair and beauty f

The post kingdom beauty large 3-in-1 #hair and facial steamer, #hair and beauty salon pe… appeared first on Good Info.

Beauty Day

I do not normally re-upload shots, but after converting this image and working with the tones I fell in love with this edit over the colour version.

Posted by Lance P Cridge on 2016-05-18 13:08:03

Tagged: , girl , woman , female , hair , hardressers , makeup , beauty , beautiful , highkey , black , b&w , blackandwhite , white , high , key , young , eye , curls , haircut , makeover

The post Beauty Day appeared first on Good Info.

Darwin Gray ph Erion Hegel Kross…Inspiration for Arthur or Alistair

Darwin Gray ph Erion Hegel Kross…Inspiration for Arthur or Alistair

The post Darwin Gray ph Erion Hegel Kross…Inspiration for Arthur or Alistair appeared first on Good Info.

Actress-Singer Debbie Reynolds, with Baby Daughter Carrie Fisher, 1956

After suffering a massive heart attack while on a flight from London just days before Christmas 2016, American actress and writer Carrie Fisher passed away in Los Angeles. She died on December 27, 2016 while in the intensive care unit at the Ronald Reagan UCLA Medical Center. It was reported that Fisher had experienced cardiac arrest complications.

One day after Fisher’s death, on December 28, 2016, her mother, "America’s Sweetheart" actress, singer, and dancer Debbie Reynolds, suffered a stroke at son Todd Fisher’s home and died later in the day. The veteran actress had been under tremendous stress planning her daughter’s funeral. There are those who believe Reynolds died of "broken heart syndrome" as a result of Carrie’s unexpected death. Carrie was her first-born child, and they had been very close.

May they both rest in peace.

Bio on the legendary Reynolds, via Wikipedia: Mary Frances "Debbie" Reynolds (April 1, 1932 – December 28, 2016) was an American actress, singer, businesswoman, film historian, and humanitarian. Her breakout role was the portrayal of Helen Kane in the 1950 film "Three Little Words," for which she was nominated for the Golden Globe Award for Most Promising Newcomer.   However, it was her first leading role in 1952 at age 19, as Kathy Selden in "Singin’ in the Rain," that set her on the path to fame. By the mid-1950s, she was a major star. Other notable successes include "The Affairs of Dobie Gillis" (1953), "Susan Slept Here" (1954), "Bundle of Joy" (1956 Golden Globe nomination), "The Catered Affair" (1956 National Board of Review Best Supporting Actress Winner), and "Tammy and the Bachelor" (1957), in which her performance of the song "Tammy" reached number one on the music charts. In 1959, she released her first pop music album, entitled "Debbie."   She starred in "How the West Was Won" (1963), and "The Unsinkable Molly Brown" (1964), a biographical film about the famously boisterous Molly Brown. Her performance as Brown earned her a nomination for the Academy Award for Best Actress. Her other notable films include "The Singing Nun" (1966), "Divorce American Style" (1967), "What’s the Matter with Helen?" (1971), "Mother" (1996 Golden Globe nomination), and "In & Out" (1997). Reynolds was also a noted cabaret performer. In 1979, she founded the Debbie Reynolds Dance Studio in North Hollywood, which still operates today.   In 1969, she starred in her own television show "The Debbie Reynolds Show," for which she received a Golden Globe nomination. In 1973, Reynolds starred in a Broadway revival of the musical "Irene" and was nominated for the Tony Award for Best Lead Actress in a Musical.She was also nominated for a Daytime Emmy Award for her performance in "A Gift of Love" (1999) and an Emmy Award for playing Grace’s mother Bobbi on "Will & Grace." At the turn of the millennium, Reynolds reached a new younger generation with her role as Aggie Cromwell in Disney’s "Halloweentown" series. In 1988, she released her autobiography titled, "Debbie: My Life." In 2013, she released an updated version, titled "Unsinkable: A Memoir."   Reynolds was a noted businesswoman, having operated her own hotel in Las Vegas. She was also a collector of film memorabilia, beginning with items purchased at the landmark 1970 MGM auction. She was the former president of The Thalians, an organization dedicated to mental health causes. Reynolds continued to perform successfully on stage, television, and film into her eighties.

********** Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2016-12-29 09:24:10

Tagged: , Debbie Reynolds , Carrie Fisher , actress , Hollywood , beauty , beautiful , woman , child , mother , daughter , celebrity , vintage , 1956 , fifties , 1950s , retro , blonde , hübsche Frau , hübsches Mädchen , hair , hair style , elegant , old , época , ephemeral , entertaInment , nostalgic , nostalgia , añejo , actrice , actriz , Aktrice , schön , Schauspielerin , mujer bonita , mujer , frau , pretty , singer , pretty girl , girl , niña bonita , film , movie , movies , films , película , cine , cinema , classic , clásico , music , musik , dancer , color , fashion , clothing , TV , television , lady , jahrgang , alt , oll

The post Actress-Singer Debbie Reynolds, with Baby Daughter Carrie Fisher, 1956 appeared first on Good Info.

Felley Priory [ slot minus 18 ]

Above picture : the Felley Priory circa 1900 . _________________________________________________________________

Text > > > Felley and its Priory

Through the centuries Felley’s changing landscape of trees ,hillslope, and valley bottom has been a place of continuous human drama. However , while the Great , the Good , and the downright Bad acted out their lives’ scenes , countless Others – men and women now long forgotten and of little consequence by comparison – lived out lives as the lookers-on , as the spectators , to all the grand goings-on around them . Perhaps Felley’s beauty – its God-given – was taken for granted by those whose days were much more taken up by matters of survival than admiriation of nature. The ways and high affairs of the noble , the important and the wealthy – and especially those ofdignitaries who were local and could occasionally be seen " in the flesh " – would always have been more interesting and exciting matters of conversation .

The area of land that is now known as Felley was a place of human habitation long before the priory was established in the mid twelfth century. The place-name Felley evolved from the Saxon words " feld " , which means a stretch of unenclosed land and the word " leah ," meaning a woodland clearing . Today the word " leah " continues in everyday use as " ley " – ley being a familiar tag to the names of the villages Annesley and Brinsley which are close by it. When Saxons first cleared and then ploughed Anneley land they began the creation of an ‘undulating tract of land’ as its eventually deforested landscape condition was to become and be poetically described . Its first settlers are imagined to have been comparitively few in number , having a small settlement of tree-sheltered wooden dwellings overlooking a view of the south.

(Click to an area map that shows Felley Priory as Felley Abbey on a circa 1860 map. )

The Founding : Ralph Britto , Lord of Annesley founded the priory of Felley in the year 1156 , providing a body of Augustinian Black Canons the church and hermitage of Felley. He also gave them his church at Annesley with rents sufficient to sustain a lamp burning during all its service hours . Reginald de Annesley’s son Ralph , confirmed his father’s gifting . Before the founding of the Felley Priory and before the year 1 1 5 1 Ralph Brito had given " the place of Felley to Robert the hermit : the precise place of the man’s hermitage and the exact date of the gifting being unknown.It is speculated that the hermit carved out a cave dwelling or himself in a sandstone hillside, as was done by the hermit at Dale Abbey not far away , or that he constructed a dwelling of stone or of wood , but whatever the exact details were , in 1151 the hermit lost his hermitage when Ralph Brito evicted him from his land .During Ralph Brito’s days the founding of priories and monasteries became politically and strategically sensible because by such patronage a Lord could anticipate gratitude , support and profit in return. In 1151 Ralph Brito and his son Reginald established a local priory for " Austin Canons of Saint Mary " , canons commonly known as " Augustinian black canons " – or entirely accurately as , " Canons Regular of the Order of Saint Augustine ". He bestowed upon them " the * church and hermitage of Felley " plus his church at Annesley and money for the maintenance of the Priory’s church. Note : * Just how substantial or otherwise that church was then and quite how it had come to be built , if it indeed it had been at that 1 1 5 1 date , is not known.However,the matter was not brought about without political discord , for the first canons at the new priory were from the the Priory at Worksop and the older priory duly asserted its right to the newly granted land . A surviving Worksop Priory register , indicates that Ralph and Reginald had in fact granted the church of Felley to the priory church of Worksop . Worksop priory sought the subjection of the upstart and few in number canons of Felley – under their Prior Walter – and appealed to Rome .The Church of Rome accepted the Worksop Priory’s view and Pope Alexander III , by a bull of 1161 , confirmed that Felley Priory was in subjection to Worksop Priory. It was to remain so until the year 1260. ( Note : A hilltop in the Robin Hood Hills near Worksop is the highest point in the County of Nottingham , it being 650ft above sea level. )

Worksop Priory – The Market Cross and Gatehouse of Worksop Priory.

Worksop PriorySaint Augustine – The cannons (monks ) of Felley followed the teachings of Saint Augustine . Augustine , or AUSTIN, ST. : first Archbishop of Canterbury , originally a monk of the Benediotine convent at Rome, was sent by Pope Gregory to convert Britain to Christianity. Accompanied by forty monks, Augustine landed on the Isle of Thanet . Through the intercession of Bertha , wife of Ethelbert, king of Kent, he was permitted to preach , and succeeded in making the king himself a convert to his cause. He was consecrated Archbishop of Canterbury, and, following Gregory’s advice, conciliated native feeling, and made the change of religion as gradual as possible . Augustine ranks high for his monastic zeal, and as a capable bishop , of the Roman Church. He died Aug. 28, 430 , and was buried at Canterbury . See A. J .Mason’s The Million of St. Augustine to England (1897), and books by E. W. Benson , G. F. Browne, and W. E. Collins , (all in 1897). The chief source is Bede’s ‘Eccles,Hist. (ed. Gidley, ; 1870). Augustinlans , fraternities in the Roman Catholic Church who follow the rules referred to St. Augustine ; but the origin of the order is in dispute. The principal congregations are the (canons Regular, the Hermits , the Special Congregations (of which Luther was a member), and the Bare footed Augustinians. The Canons Regular , or Austin Canons , founded at Avignon about 1061 , made their first appearance in Britain about 1100. At the reformation they owned two hundred houses , the chief being at Pontefract, Scone, and Holyrood , and from their habit they were sometimes called the Black Friars. The Hermits, or Austin Friara , were under a rule much more severe, and were one of the four great mendicant orders of the church, whence the name ‘Begging Friars.’ The Special Congregations and Barefooted Augustiniana were even more rigorous in their discipline. The Augustinian nuns are said to have founded their first convent at Hippo, under Perpetua, the sister of Augustine. See Speakman’s Rule of St.Augustine (1902) , and Dugdale’s Monasticon, vi. 37. In Brief – The Life of Saint Augustine .(This text is included for information . It is not intended to favour any particular religious point of view. )Augustine ( Aurelius Augustinus ) , the greatest of the Latin fathers of the Christian church, was born on Nov. 13th , 354 A.D. , at Tagaste, a small Numidian country town. Monica , Augustine’s mother , was a woman of deep Christian piety. At the age of sixteen he was enabled to proceed to the University of Carthage. During his residence at Carthage Augustine lived a life of gaiety and dissipation; but not, apparently, to the neglect of his studies, for he gained the first place in the school of rhetoric the most coveted distinction in those days. In Carthage, while a youth of eighteen, he contracted an alliance with a young woman, with whom he lived in a state of unmarried fidelity for fourteen years. When in his twentieth year Augustine began, as he says, to desire ‘with an incredible ardour the immortality of wisdom. The book that awakened him to this serious state of mind was Cicero’s Bortemius, Turning to the Scriptures to satisfy his new hunger,he was disappointed, for they seemed to him ‘unworthy of being brought into comparison with the majesty of Cicero.’ In this condition of mental fermentation Augustine fell in with professors of Manichaeism, and for more than nine years he remained a professed Manichaean.With a ‘mind darkened by error and a heart led astray by passion ,’ Augustine, at the age of twenty, opened a school for instruction in grammar and rhetoric in his native town. Though not unsuccessful, the young lecturer ere long resolved to seek fame in Carthage. There pupils gathered around him in large numbers, and Augustine further increased his fame by winning a high prize in a public rhetorical contest. But, owing to the lack of discipline among the students , he resolved to seek his fortune in Rome. His mother opposed the idea; but finally ( 383 A.D. ) he eluded her vigilance and escaped. "I lied to my mother, and to such a mother." On his arrival at Rome the fugitive fell into a dangerous illness, but recovered. He set about opening a school, and numbers came to listen to his teaching. Unlike the students at Carthage,they behaved well; but they invarably failed to pay their fees. As a consequence Augustine applied for and obtained a post as teacher of rhetoricin Milan, where hedrew a salary from the government. Before leaving Carthage his enthusiasm for the teaching of the Manichaeans had considerably abated. In Milan various influences operated on him which tended to lead him to accept Christianity. The study of Plato completely undermined his old faith, and the preaching of Ambrose, bishop of Milan, completed the process. It was about this crisis in his history that his mother arrived from Africa. As a result of her influence and that of others , and of the study of the New Testament , Augustine was convinced of the truth of Christianity . The moment of awakening, so graphically described at the close of the eighth book of the Confessions was the result of a conversation in which Pontitianus, a fellow-countryman of his own and a Christian, told him how the Life of Anthony the Hermit had so deeply impressed two members of the imperial service as to induce them to retire to a monastery.This great change in Augustine’s life took place in August of 386. On Easter eve, April 387 , he, along with his son Adeodatus and his friend Alypius, was baptized in Milan by Ambrose. Tradition associates with this memorable occasion the composition of the great Christian hymn the Te Deum. Shortly afterwards, at Ostia, when about to return to Africa, Augustine experienced a great sorrow through the death of his saintly mother;and he had not long settled in his native town, Tagaste, when his son also was taken away. In 391 the Christian community of Hippo Regius, a town close to the borders of Algeria and Tunis, compelled him to accept ordination. Within five years, Valerius, the bishop, secured him as his colleague ; and after the death of the former, Augustine remained in possession of the see till the end of his life. The year 429 saw the Vandals in Africa , and in 430 they besieged Hippo. Three months later, on Aug. 28, 430 , the famous divine breathed his last. No theologian has produced a larger and deeper impress on the mind of Christendom than the bishop of Hippo. This he has achieved not only by his writings , but by the exhibition of Christian fervour and devotion which is given in the story of his inner life. As a philosopher and a moralist he anticipated many of the problems of modern times. As a stylist he is often prolix, but sooner or later he strikes off a sentence of immortal brilliance. He determined that " evil was not a nature " Three great controversies called forth his immense mental resources. As against the Manichaeans , he maintained the doctrine that evil was not a nature. Everything that God made was good. Evil was a defect or corruption of nature , brought about by the exercise of the human will.All his energies . In opposition to the * Donatists , [ * a schismatic party of the African church ] who claimed that the Catholics had ceased to be a holy church by admitting those who had been unfaithful [ and were lapsed – ie lapsi . ] , Augustine denied that the church then existing was intended to be coextensive with the final and glorious church, and referred his opponents to the parables of the ‘Tares’ and the ‘Drag-net.’ However , Augustinianism – the doctrines with which the name of Augustine is universally identified was developed by its author in controversy ( through debate ) )with Pelagius , a British monk , and others , who more or less entirely supported his views. The point of conflict was the relation between truth and individuals – the conditions and process of salvation. Augustine employed all his energies to establish the position that man is unable of himself to will anything good . There is no power either of choosing or of realizing the good in man ; grace must do all. Starting from this, which he regarded as a fact of consciousness and as the teaching of Scripture, Augustine built up that elaborate system of theology which took shape in later days as * Calvinism . ( * See below.)

( Further note : John Calvin was born in Noyon in Picardy in 1509 and died in Geneva on May 24th.,1564 . ) Embracing expositions of Scripture, letters, philosophical and strictly theological works, Augustine’s writings are voluminous . But the two best-known compositions are undoubtedly the De Civitote Dei , or ‘ City of God ‘ (413-426) and the Confessions (397). The former appeared after the fall of Rome (410). In 1 1 9 4 , Pope Celestine III confirmed Felley Priory’s rights and possessions . He permitted the canons the saying of mass in a low voice, without ringing of bells, and with closed doors, even during a general interdict. He also gave them the right of sepulture for persons outside their Augustinian community – but only for those not excommunicated from the Roman Church , and who were devoutly desiring it. The terms of the foundation of a chantry by Geoffrey Barry show that there was in the conventual church of Felley an altar to Saint Edmund of Pontigny , an Archbishop of Canterbury , who was canonized in 1248. In 1 2 6 0 Worksop Priory relieved Felley Priory of its land dues obedience in return for an annual payment ( annuity ) of twenty shillings and ended the bitter dispute between the two bodies . Grants of land at Newark, Colwick, Southwell and other places in Nottinghamshire, as well as some in Derbyshire, were also made to the priory. Annesley Parish Church was was also given ; it was endowed ( given ) by Leonia de Raines , at one time a Lord of Annesley.She gave the Felley Priory canons " the patronage and revenues of Annesley Church " – a patronage that lasted until the Dissolution of the monasteries by King Henry Vlll. In 1 5 3 6 the priory supplied canons to act as priests at the parish church. An End to Controversy about Annesley " Felley Priory received a considerable number of benefactions at various dates. One of the earliest was the advowson and tithes of the church of Annesley. This, originally given by the founder, and confirmed by his son Reginald, was again confirmed to the priory by Leonia de Raines and Henry de Stutevill her son. This deed was promoted by Archbishop Godfrey in order to put an end to the controversies about the patronage of Annesley church, which had arisen between Leonia, the lord of Annesley, and the rector of Kirkby-in-Ashfield.The priory possessed also the tithes of the church of Attenborough.Originally they had only a mediety of these, granted to them in 1339, and confirmed in 1343, but eventually they seem to have acquired the whole, subject to an annual payment of £6 13s. 4d. to the Priory of Lenton, in lieu of the other mediety, which had been appropriated to that house.The family of De Heriz were large benefactors. Among their other gifts, eighteen bovates of land at Tibshelf were specially given for the maintenance of two additional canons at Felley.Certain lands at Dethick, given by the family of that name, were charged with the maintenance by the Canons of Felley of a chaplain to serve the chapel of Dethick. Another benefaction among those held by the priory was charged with the payment of a stipend for a priest to serve a chantry at the altar of our Lady in the church of Mansfield Woodhouse" . Details of the various possessions of the priory can be read of in the article on Felley in the Victoria County History for Nottinghamshire . Public Display In 1311, the canons, being anxious to prove their title to their possessions, obtained leave from Archbishop William Greenfield to make public exhibition of their title deeds, which they accordingly did, at St. Mary’s Church, Nottingham, on the day after Ascension Day in that year. The Priors of Felley Priory The following is a list of all the priors of Felley that are so far as known of : – 01 Walter (1156). 02 Adam of Nocton (reign of Henry II). 03 William de Lovetot (reign of Henry II.) 04 Henry (reign of Henry III.) 05 Thomas (reign of Henry III.). 06 Walter (his name occurs about 1240). 07 Henry (prior at the time when Felley was made independent of Worksop). 08 Ralph of Pleasley (1268: deposed in 1276). 09 Thomas of Wathenowe (1276). 10 Alan of Elksley (1281). 11 William of Toton (resigned in 1315). 12 Elias of Linby (1315). 13 Adam.John of Kirkby (1328). 14 John of Holbrook (1349). 15 Richard of Shirebrook (1349). 16 Robert Eaves (died 1378). 17 Thomas Elmton (1378). 18 John of Mansfield (1381). 19 William Tuxford (died 1405). 20 William Hopwood (1405). 21 Peter Methley (1442). 22 John Throughcroft (died 1454). 23 William Acworth (1454: He became Prior of Worksop in 1463). 24 Richard Congreve (1463). 25 William Symondson, alias Bolton (1482). 26 Laurence Ingham (1500). 27 Robert (or Thomas) Gateford. (He became Prior of Worksop in 1518). 28 Thomas Stock (1519). 29 Christopher Bolton – the last prior. The Last Prior of Felley .The priory was dissolved in 1536, along with the other smaller religious houses of England .The prior , Christopher Bolton , and the canons receiving pensions. The prior’s pension, however, ceased on July 2nd, 1537, on his accepting another benefice,the Rectory of Attenborough . The 13th Century Seal used by Felley Priory is kept in the British Museum. Since its condition is fragile , a cast replica of it has been made . Of pointed oval shape it displays the Virgin Mary crowned and seated, with sceptre, fleur de lys, with the Christ Child on her knee.Misdemeanors and Misconduct.During the 13th century there were some serious problems at Felley Priory .In 1 2 7 6 , Ralph of Pleasley , Felley’s then Prior , was deposed for sundry misdemeanours by sentence of Archbishop Walter Giffard. At the same time he punished two other canons for misconduct , namely Richard of Codnor and Robert Barry. The latter had some ten years previously , it seems , been readmitted to the priory house of Felley, by permission of the same archbishop, after having deserted it! The canons elected Thomas of Wathenowe as Prior in the room (in place of) of Ralph de Pleasley . In Detail . Ralph de Pleasley had permitted the Priory to fall into disrepair while his canons had " erred and strayed to the scandal of the neighbourhood ". The book " Victorian County History " records the visitation by Archbishop Giffard in the year 1276 that resulted in the Prior, Ralph de Pleasley, being removed for irregularities that included : – (a) his " confining of Ralph de Codnore to the cloister due to incontinence" and (b) – " the infliction of like punishments on Robert Barry and William de Dunham for theft and immorality ". At that time those charges against the prior would not have been considered serious ones, but it was also shown to the Archbishop , by the Prior’s own personal confession and the sworn testimonies of others – (c) that goods of the house had been wasted , (d) that the house itself had become dilapidated ; (e) that he (the Prior) had violently attacked Alan, one of the canons; (g) that he had broken open a lock against the will of the convent and (h) had neglected to correct the canons in the Chapter House . Ralph de Pleasley was found to have been an inadequate man for his position as Prior on account of weakness and old age. Later, after further visitation and enquiry, further scandalous and immoral behaviour was revealed concerning several of the canons , which was said ," degraded the practice of religion ".In slackly governed and impecunious small monastries enclosing walls, ditches or fences were apt to fall into decay. Repeated injunctions circa 1270 for " a house of canons in Notts." to put its restraining boundaries in order " , probably had reference to Felley . The 1276 process of election of a Prior of Felley, after the deposition of Ralph de Pleasley , is recorded in Archbishop Giffard’s register at some length in a letter ( from the canons )asking for the election to be confirmed. Episcopal licence to elect was read in the chapter-house on the 10th of July. " On the morrow, after solemn celebration of Lady Mass, the chapter-house was entered, and after singing the Veni Creator the method of election was discussed. At length the canons decided to proceed by way of scrutiny, when it was found that all had voted for Thomas de Wathenowe, one of the canons. On Thomas giving his assent, he was conducted before the high altar with chanting of the Te Deum and ringing of the bells. After prostrating himself in prayer, the prior-elect was then led to the altar itself, which he kissed."The archbishop’s assent was humbly asked, and Giffard, who was then stopping at Southwell, made formal confirmation of the election on 13th of July,1276. The Felley priory had a grange at Selston.Particularly at harvest time,there would have been great activity between the two places.The labourers at Selston’s tithe-barn being under constant demands from the priory.

Selston Church – circa 1900 . (Postcard image by courtesy of Mr.A.P.Knighton. ) England in Famine Years 1315 – 1317.Should this web account so far reveal too little of the harshness of life in England in those times,the following does not.In those years Fate was not disposed to bestow kindnesses to anyone , for while Scots attacked and pillaged in the north , throughout all England an aweful famine began . –The Times of Want and Famine : Particularly 1315 – 1317.The national taste of England, even to the present day , has continued to be that of our Saxon ancestors . Plain joints of animal food, with bread and other preparations from corn, have formed the main articles of sustenance of those who could afford the diet.It would be an endless task to attempt enumerating all the varieties of bread, from the wassal and manchet bread , made of the finest flour, to the bread of treet , corresponding with our household bread; also barley bread, and maslin bread, of barley, wheat, and oats mixed. Beans and other coarse materials were made into a bread for horses, and in scarce times the poorer classes were glad to obtain it. Even in ordinary times, before harvest, food became scarce. Even a “ Piers Plowman †, speaking as (of) a respectable farmer , would have posessed only a small supply of cheese, a few curds and cream , with parsley, and leeks , and cabbages, oaten cakes, and loaves of beans and bran , but would have hopes for better food after Lammas.In Saxon times , and as in times before and after , the uncertainty of the seasons , often brought scarcity . Then , and when there was little or no opportunity to find substitute foods the prices varied exceedingly . Nor could a man always give full attention be given to the cultivation of his own land , for as a tenant he was liable at all times , to be called to attend his feudal lord for forty days , or be obliged to serve on an expedition of warfare against his Lord’s enemies , were it such as Wales or Scotland, or even France. He could also be required to work on his superior’s land for a certain number of days, to the neglect of his own and his family’s needs. .The Variable Price of Wheat : Some price examples – 1200 to 1557 . In the twelfth century , wheat typically cost from 1 shilling to 2 shillings the quarter ; in 1270 , however its price rose to 16 shillings the bushel ; In 1286 , the price was initially 2s. 8d. , but then rose in that same year to 16 shillings the quarter ; In 1388 , it was Is. the quarter ; In 1317 , it rose from 6s. 8d. to 80 shillings ; In 1336, wheat cost 2s. the quarter ; From 1550 to 1560 , the price varied between 5s. and 8s. ; though in 1557 , for a short time , it was £2.13s.4d. the quarter. Uncertainties .The farmers sold all their corn soon after harvest time ; if the supply was short it soon became exhausted , then the poor were driven to the most miserable substitutes ; they died by thousands , literally from starvation. No idea can be more false than that the period from the Conquest to the end of the civil wars was a happy time for the lower classes. In a time of plenty food was abundant, but they were harassed by hard servitude and cruel oppression, and years of dearth (famine) frequently occurred. Ecclesiastics and nobles sometimes gave freely to the poor; but when the time of scarcity came, all the food that could be obtained was needed for their own establishments ; then the poor man had no resource, no parochial provision for his relief. On several occasions the scholars at Oxford and Cambridge were sent home , on account of the difficulty in procuring sufficient food for their support.A WITNESS TO MISERY – THE SHAMEFUL LACK OF CHARITY . Matthew Pans, a Benedictine monk , particularly describes a dearth (famine) which occurred in 1233 , in his own times . Hunger and deadly sickness prevailed everywhere ; the poor died from want of food in many places; there was little disposition shown by the rich to assist those in need, and a most shameful want of charity displayed by the prelates and dignitaries of the church. He relates instances of covetousness in the archbishop of York, and a priest of that diocese .The poor suffered more and more severely till the month of July, when they crowded into the fields and plucked the ears of unripe corn , seeking thus to prolong their miserable existence. How widely this statement of facts, by one who himself was an ecclesiastic , differs from the visionary accounts ( false stories ) which represent that the poor were supported by the clergy, and abounded in the necessaries of life! More than 20,000 persons died from want in London alone during this famine. When the seasons of , dearth came , the poor were obliged to use (eat) the bark of trees, the flesh of dogs and horses , and the most disgusting substances for food. Pestilence soon followed ; then the people died by thousands , even though plenty had returned. In the prisons, those who were confined are said to have fed upon the bodies of such as died, and even to have slain a part of their number for food.The following paragraph in part restates some points already made in the previous paragraphs regarding times of want and famine but reveals other detail also. In 1 3 1 5 , and the two following years, England was struck by a severe famine. That was bad enough , but the general hunger was made worse by a seeming well intentioned attempt by the King to limit prices of food , for by his doing those with stores of food enough to trade immediately anticipated the certainty of greater profits by their continued holding of their goods . The price restrictions of Edward II did not succeed and eventually the price of corn had risen twelve-fold . A quarter of wheat could be sold for six pounds which was then a sum equal to the rent of 150 acres of land . Normally the best price for a stalled ox was usually twenty-four shillings , that of a fat sheep , fourteenpence – and sixpence more if the fleece had not been shorn. The famine was aggravated as large number of servants were dismissed by their masters. Those who were not absolutely essential servants – especially large numbers who had been kept by the nobility and prelates were discharged from their work in order to conserve the food held in their masters’ stores and larders , and , or , to reduce the cost of their masters’ buyings . For many of those made placeless , their only means of staying alive was by robbery or plundering . In response people at large armed themselves . Many of the thieves and plunderers " were caught and slain : other perished by the executioner. Some that were taken and held in prison died by starvation . In those famine years little thought was given to those in custody . They were left to perish (starve to death) , or actually to feed upon each other! . In the terrible harshness of that time , " there were grounds for believing that children were stolen and eaten ." " The condition of England was particularly unhappy at this period. Its people not only suffered by a general famine , so severe that many of the poor died in the street; but its northern districts were also continually ravaged by enemies while the King , oblivious to the public welfare , engaged in frivolous pursuit. " BLACK DEATH , In 1349 Felley’s Prior ,John de Holebroke died of the Black Death and it is most probable that others of the Priory and Selston and Annesley localities suffered and died also . The black death was an epidemic of plague that swept through England during 1348-9 , although its recorded that England had suffered at least six outbreaks of a similar disease during years before the great epidemic. The disease had originated in Asia , probably in China , from where it spread westward round the northern coast of the Black Sea to Constantinople amd then to the Mediterranean ports . When it finally and inevitably reached England , the first outbreak occurred in Dorsetshire in August of 1348 .From there it spread via Bristol, Gloucester, and Oxford to London and then raged throughout all England.It is thought that between one third and one-half of the country’s 5,000,000 ( five millions )population died during a single year . In London it was said that 100,000 died ; and in Norwich, 60,000. Its symptoms were much the same as those of bubonic plague , excepting that, in addition to the buboes or boils, there appeared on the body dark blotches , from which symptoms came the name ‘Black Death.’ The disease reappeared in 1361, 1362, 1367, and 1369 , and in Ireland in 1370. There were social and economic consequences of the Black Death . Without the lost men and women there was a widespread dislocation of trade , especially in agriculture . Felley Priory Today Felley Priory is today seen as a long and low building upon a gently sloping hillside, half hidden by trees. Its many gables,stone mullioned windows, pretty Tudor chimney- shaft, and a four centred 16th century front entrance doorway opens to a long passageway that leads to the dining,sitting and various other rooms . On each side of the doorway are metal statues,a lion and a unicorn, both have a fine piece of spiral topiary. Hidden below and within the Priory and its garden lie remains of structures of earlier times. It is thought that the garden occupies the site of the chapel and that some of the former cloister could be part part of the structure of the oldest part of the present house. At the rear of its north end are four semi-circular pillars with interesting capitals which serve as gateposts at the garden entrance. It is believed that they were part of the chancel arch of the priory church. A fireplace inside the house has what is probably a prior’s grave-slab, which has been cut to shape, for a mantlepiece.

Felley Priory – A drawing of the bulding as it was prior to the dissolution of the monastries : the picture’s original is in the British Library . MONASTERY DETAIL Felley’s Priory was not a monastery or an abbey as some old maps show it . It was established as , and it always remained , simply a small priory house . However, the following typical details of a monastery building may be of interest.A monastery, or abbey , whether large or small , was a building (or buildings) and setting comprising rooms and features purposely built or adapted for the needs of dedicated religious life .They were usually situated on low lying sites , which afforded convenience for fish-ponds , as fish formed a regular article of diet; and, generally, the ruins of monasteries indicate fertile and even picturesque spots. The church, or chapel, included the altar for celebrating mass, the lecterns or reading-desks, seats, and kneeling places in the choir, adapted for the various postures during the services. The rood-lofts were small galleries, in which images relating to the crucifixion were placed; usually the cross, with Mary on one side and the apostle John on the other. The confessionals, or boxes, contained a chair for the confessor, and a grated side at which the penitents kneeled and confessed their sins. Galilees were places or marks to ascertain the spot from whence processions moved, and to which they were to return, and sometimes open spaces used to assemble in for hearing sermons. Side-chapels were dedicated to the virgin or saints, in which private services were repeated. Galleries afforded passages round the upper part of the building, and served to hang tapestry from on great occasions. The richly adorned shrine was the place where the most respected images, or the most venerated relics, were placed. Pulpits, organs, bells, clocks, stands for lights, and other furniture, need not be described. In these buildings seven solemn services ought to have been performed every day, besides masses and sermons; but these frequently degenerated into merely formal aad irreverent repetitions, while much disorderly conduct was manifested by those who attended.The vestiaries were rooms adjoining the church, or within its walls, where the priests habits were kept Those used in the services of the church of Rome were very numerous and splendid. The complete vestments of a single establishment often were worth sums equal to some thousands of pounds of our present money.The refectory was a large hall, used for meals with dresser, tables, and benches; it was placed so as to communicate with the kitchen , pantry and cellar. The abbot’s table usually was raised above the rest of the apartment. Ar St.Alban’s there was an ascent of fifteen Steps to it.At the entrence was an inclosure called the lavatory,where The monks washed their hands before and after maeals. The diet of the inmates varied according to the rules of each monastic order .In some, many luxuries were Provided;in others only plain and simple fare.The bill of fare on fish day,still preserved,contains twenty-seven sorts of dishes. Psalms were sung,or passages from Scripture or religious works were read during the meal .The chapter was a room fitted up with rows of benches, principally used for inquiry into offences; but some religious services were performed and various matters transacted in it, connected with the discipline of the monastery. The dormitory,or dortor,was a long room or building,usually divided by a number of partitions into chambers,each lighted by a separate window;they were just large enough to hold a bed and a desk.The cloister was a principal part of the monastry,formed in general by four paved walks,covered overhead,surrounding a green or open court.The different parts of the monastery communicated with the cloister;there were seats and desks , so that the monks might use the cloister for study or recreation, sheltered from the weather.It was the centre or general place of conference. In some monastic establishments there were no dormitories, but each monk inhabited a small room or cell; these cells were built in ranges, and opened into the cloister, or lone passages. " The infirmary was a hospital ward, with various apartments connected therewith; it had a court or garden. In some orders , during the middle ages , the monks were bled several times in the year, on which occasions they retired for three days to the infirmary the sick were all removed to this building ; thus it was the place where every monk expected to die ; the approach of the last hour was carefully watched, and services performed appropriate thereto. Yet the solemn considerations inspired by the reflection that this place would probably be the last that was occupied by each inmate of the monastery, were often forgotten, and the place was frequented on account of the license in diet and wine permitted there. Monks would resort to the infirmary to enjoy a private treat.The guest-hall usually was a separate building where strangers were received and entertained, ft communicated with the kitchen and servants’ offices, also with a number of small bed-chambers. A guest- hall at Canterbury was a noble room, 40 feet by 160; but the number of pilgrims who resorted thither to the shrine of Thomas a Becket, probably was greater than to any other similar place in the’&gdom- 100,000 are computed to have visited Canterbury in a single year. la those days, when inns were few and inconvenient, travellers resorted to monasteries for accommodation and lodging. This was given without charge; but if the traveller could afford it he presented an offering before he left the place Persons of rank were received with much attention and honour; but all visitors were expected to depart on the third day. A rich man was flattered, and excited to indulge himself; but a hint was to be given him as to the quantity of wine he had drank to excite his liberality. The guests’ apartments in a monastery were especially the places for the gossip and news of the day.The parlour, or loctory, was an apartment used mostly for conversation, as the name implies. In some orders, talking was forbidden in the other parts of the house. The parlour was the place to which persons were admitted who had business with the inmates.The almonry was a building, generally on the outer wall, where charity was given to the poor. The library was a separate room, under the charge of a particular officer, who might not allow the books to be removed or lent, without a sufficient pledge for their return. Before the invention of printing, the number of books was small; a large room for a library was not requisite. The books in a monastery were, for the most part, volumes of scholastic divinity. Those of history and philosophy usually contained much that was erroneous and absurd. The catalogue of Leicester Abbey does not contain a complete collection of the Holy Scriptures. There were detached books, and parts, and monkish glosses. Some monks might be able to use the Latin but English versions were not allowed. There are records extant, which show that monks were punished for having English Testaments in their possession. Leland describes the library of the Franciscans, at Oxford: it was only accessible to the wardens, and a part the members; it was full of cobwebs, moths, and filth, and contained no books of value.The scriptorium, or writing-room, was a place set apart for writing books, which was an employment for monks, from the earliest times, and of great importance before the invention of printing. Many of these were works were executed with much labour and skill, and richly ornamented.The prison usually was a dungeon, very gloomy, and though often used for criminals, doubtless maay suffered there for doctrinal opinions, only because they were followers of the truth, though accused of heresy, both monks and laymen. There is repeated mention in the bishops’ registers of persons sent to abbeys to be kept as prisoners for heresy.The sanctuary was a part of the buildings con- nected with the church, where offenders who had committed crimes were allowed to enter, and remain protected from the officers of justice for a certain number of days, sufficient for them to arrange their escape, in which the monks assisted.The common-room, or house, was a place where the monks met for recreation. A fire was kept there always in the winter; there were no fires in the churches or lodging-rooms. A garden and bowling alley adjoined, for summer recreation. Some abbeys had mints, places where money was coined. This was a rude process, the blank pieces merely being struck with large hammers, on which the die was cut. Also, there were exchequers, or counting-rooms, fitted up with tables covered with cloths divided by lines, to assist calculations as to receipts or payments of money; for these establishments had many tenants, and considerable dealings.<BR.The kitchens were large and spacious buildings, such. being requisite to prepare food for numerous establishments. The abbot’s kitchen at Glastonbury still remains. " The engraving on page 366 represents this in its present state ; it is thirty-three feet across, each way: the smoke and steam were conducted by flues to the ‘centre of the roof. The provisions for monasteries were usually supplied by the tenants. In some orders, cleanliness was much neglected: mention is incidentally made in one case, that the kitchen was swept out only on Saturdays, and that the monks went thither to wash themselves and to comb their hair. The bake-house does not require notice, except to state that particular care was taken in every process preparing and baking the hosts for the sacrament. Only persons of good character were to be employed, even in carrying the flour. Silence was strictly to be observed during the making of these thin cakes or wafers . The garden had the fruit-trees and vegetables then known, and herbs for cookery and medicine. There were also grass-plats, walks, and arbours, for exercise and recreation. Many of the monks were employed in cultivating the gardens, a healthful and pleasant occupation . The abbey-gate contained the porter’s apartments. It is unnecessary to enumerate dove-cotes, stables, cow, houses, and other out-offices, such as bathing-houses. artificers’ shops, etc., the uses for which are explained by their names, which would then be needful. At that period most articles for common use were necessarily made within these establishments.Where preceding description applies to monastic establishments upon a large scale; the various parts may be traced in ruins that yet remain. The extent of some of these establishments may be judged from a calculation made about thirty years ago, relative to the property formerly belonging to Glastonbury Abbey. It was estimated that the lands once possessed by those monks were let at that time for an annual rental of £260,000 . The buildings of the abbey occupied a space of sixty acres . Five hundred monks, besides servitors, were the inmates , and several hundred strangers were entertained daily within its walls . Dissolution of the Monasteries The first procedures and actions against the monasteries of England and Wales were against the lesser houses , those that were valued below £200 per annum . Since the gross annual value of Felley Priory at the Dissolution was just £61 4s. 8d., with a net income £40 19s. 1d. Felley came in the lesser houses category.The Priory was visited in 1 5 3 6 by the commissioners Legh and Layton , men who had been appointed by Thomas Cromwell the vicar General to the King to enquire into the financial position of religious houses . They duly reported the priory’s yearly income. Christopher Bolton who was the prior at that time was granted a pension of six pounds per annum.Priory dissolution : the William Bolles Gain . Upon the suppression of the priory in 1 5 3 9 it was granted with its lands at Felley, including " certain acres here reserved to the use of the household of the late prior, a messuage, a granary, a water-mill called Felley Mylle " with other properties to William Bolles. The grant specifies that a close called Ollerschay, another called Corne Bradley and one known as Lamberstorth were among former priory lands then purchased.They must soon have returned to the Crown as Queen Mary sold them in 1 5 5 1 to Sir Anthony Strelley who forthwith attempted to sell them to the Earl of Rutland as an excellent investment, and when the earl declined the offer Sir Anthony sold his ”woods at Ollershaw on the east side or the water called Holwell Springs” to the miller of Felley Mill for £30. It is intriguing to think that this holy well may have been associated with the hermitage .Again the Felley property of the old priory reverted to the Crown, James I selling it to " Anthony Millington to whom and his heirs " for a rental of £17 3s. In 1 6 2 8 the son and heir of Anthony Millington was a future regicide.There was a dispute between the King and and His Parliament.When war broke out between the two factions , as a member of the Long Parliament and Deputy Lieutenant of the county , he was marked out for punishment by the Royalists. His home at Felley was seized and sacked ( to the certified extent of £1,713) and the house garrisoned for Charles . In 1 6 4 4 Colonel Hutchinson reported a melee there as troops returning with booty from Newstead Abbey were surprised by a Cavalier force while foraying about Felley . Nottingham troops were hurried up and saved the day."Note : Gilbert Millington, the son of Anthony, was the best known of his family . When in his sixties he had attracted scorn when he took a sixteen years old alehouse girl for his second wife. As a member of the Long Parliament for Nottingham .He was an active supporter together with Colonel John Hutchinson of Owthorpe, of Parliament during the Civil War.Royalist troops from the Marquis of Newcastle’s army plundered and garrisoned Felley in the winter of 1 6 4 4 .Having been one of those who signed Charles the First’s death-warrant , in 1649 he was lucky only to be committed to prison for life, on the Island of Jersey , where he died six years later , as many of his fellow regicides were executed.On the Restoration of the Monarchy , the Felley Priory estate was confiscated and granted to the Duke of York and Albany; but the Millington family recovered it. The priory then remained the property of the Millingtons until 1 7 0 3 when Gilbert the grandson died. From then it passed by marriage to the Holdens of Nuttall. The last of them to live at the Priory seems to have been Millington Holden , who died about 1742. Little of Felley Priory’s monastic buildings have survived . A fine Norman arch, part of the original fabric, was standing until modern times , it was apparently the chancel arch of the church .Its two responds ,though moved from their original position , are still entire. Fragments of the arch itself remain lying about.The community of Felley Priory was never numerous. Its church probably only consisted of a nave and chancel , as was usually the case with such small outlying priory churches of its order not founded in parish churches.The head of a lancet window, which was once thought to be the arch of a piscina , bears witness to work carried out in the 13th century , as does also a wall in the garden on the south of the priory, running east and west . The wall may possibly have been one side of the refectory or have been part of the infirmary building . The existing dwelling-house(ie the modern Felley Priory house ) almost certainly stands on the site of the buildings ranging along the west side of the cloister, and a good 15th century doorway in its west front is very probably in its original position , as is also the case with some buttresses, and a considerable portion of the lower part of the wall of the west front. But the house itself has , as a whole , been rebuilt since the dissolution of the priory , and the cloisters , with the other buildings surrounding them , are gone . Quotation : –" On the west front of the house are two much mutilated stone carvings of a heraldic character, locally believed to represent the lion and unicorn I Some ancient chimney-stacks are ornamented with curious little lead figures representing a stag’s head, collared. One concludes that this must be the crest of one or other of the families who possessed Felley after the Dissolution, but I am sorry to say I have not been able to ascertain anything more about the matter. It is not the crest assigned to Bohle (of Haugh), nor that of the family of Strelley . "From " The Victoria County History Vol 2" : "Thoroton Society Transactions 1912 No 16" – by the Rev. M .Y. Baylay : – The Lay Tenants and Owners . When the buildings and properties were taken over by the Crown, the Felley Priory, site and lands were leased to William Bolles , one of Cromwells Receivers of Monastic properties.Bolles also bought lands at Osberton that had once belonging to Worksop Priory . In 1 5 5 7 , Anthony Strelley and his wife Joan, one of Queen Mary’s gentlewomen, leased the site for a yearly rent of seventeen pounds and three shillings. By 1603, that lease being lapsed, James 1st granted the site of the priory to Anthony Millington who converted some portion of the conventual buildings into a mansion and demolished the remainder.The lion and unicorn on the west side of the house are of his time and he could have placed them there in honour of the king. Millington was responsible for the central gables and large impressive chimney-shaft. The four-centred doorway and stone mullioned windows are 16th century.Felley Priory (Mansion) House was then occupied by farmers – one of whom, Thomas Hodgkinson,bought it in the year 1 7 9 6 .

Above : A Modern Image of Felley Priory – from a 1992 black and white information leaflet published by the House . " MODERN OWNERSHIPS BEGIN " : – Thomas Hodgkinson sold the property in 1 8 2 2 to John Musters, who had married Mary Chaworth in 1805 ,she being " Byron’s "Bright Morning Star of Annesley " .The house was let to a number of tenant farmers until in 1 8 8 6 Albert Cantrell Hubbersty, J.P., of Higham near Alfreton took it over, and after adding the drawing room block on the south and the kitchen on the north end lived in the house until 1895/6. Afterwards : Captain Gerard R. Oakes, J.P. from Riddings tenanted , followed by his widow and his son , Charles Audoin Oakes, until 1960 : during which time the flat at the north end of the west front was built.Mr. Oakes gave up his lease in 1 9 6 0 and Major Robert Chaworth-Musters came to live at the priory .During the 1960’s the priory was severely damaged both externally and internally by coal mining subsidence. Its Tudor chimney started to lean requiring its top section to be taken down while further subsidence took place . The chimney was rebuilt in 1 9 7 0 under the direction of the Major and Mr.Wooley, an architect from Nottingham.Major repairs were made to the house in 1 9 7 3 / 4 – it being empty during this period. Major Chaworth-Musters resumed his residence at the priory in 1974. Note : Felley Priory ‘s address is : Felley Priory , Underwood , Jacksdale , Notinghamshire NG16 5FL . END BACK TO MENU PAGE

This web-page is part of The Haggs Farm Preservation Society’s website.

E-Mail Contact :

___________________________________________________ Contact the Society’s Chairman , Mr.Clive Leivers at : [email protected] Or directly by Telephone on 01246 569 145 . Credits ; – Rev. A. Baylay, Felley Priory, Transactions of the Thoroton Society, vol XVI, 1912. W E Doubleday, Nottinghamshire Villages – Felley . Nottinghamshire Guardian, 20 April 1946 . Leaflet produced by Felley Priory House in 1992 . The British Library The Victoria County History Vol 2 – " Thoroton Society Transactions 1912 No 16" , By the Rev.M.Y.Baylay . "The Middle Ages of England" – The Religious Tract Society . ‘Houses of Austin canons: The priory of Felley’, A History of the County of Nottingham: Volume 2 (1910), pp. 109-12. URL: www.british-history.ac.uk/report.asp?compid=40089 . " Rambles In Nottinghamshire and the Dukeries " by Bernard Reeves : published by the London and North eastern Railway Company.

Posted by Lenton Sands on 2009-07-10 14:00:45

Tagged:

The post Felley Priory [ slot minus 18 ] appeared first on Good Info.

#hair and beauty industry uk, #hair and beauty x summit, #hair and beauty stud…

#hair and beauty industry uk, #hair and beauty x summit, #hair and beauty studio codicote, hair and beauty careers introduction, exclusive hair and beauty dunfermline, hair and beauty industry news, jawed habib hair and beauty salon near me sunnyvale, the hair and beauty shop brasschaat cleaning, the hair and bea

The post #hair and beauty industry uk, #hair and beauty x summit, #hair and beauty stud… appeared first on Good Info.

Janet Yeboah wrote: “Perfect curls and definition are nice and all but there i…

Janet Yeboah wrote: “Perfect curls and definition are nice and all but there is also beauty in letting our hair flourish in its natural state. Those are the moments that make me appreciate our natural hair the most. This applies to other aspects of our lives also….just let it be!!!” || afro hair. Stretched hair. Natural hair. Kinky hair. 4c hair. 4c natural. 4c hair type. 4c texture. 4b hair. 4b/c hair. Pretty hair. Healthy hair. Beautiful hair. Stretched 4c hair. Black women. Black girls.

The post Janet Yeboah wrote: “Perfect curls and definition are nice and all but there i… appeared first on Good Info.

Marilyn is not Dead 2013-11-210106

Guests enjoying the performances during "Marilyn Is Dead" event at Pepelo NYC Lounge. Kayvon Zand, Delysia La Chatte and Anna Evans were behind this evening of "dark Hollywood glamour," with show featuring (dead) star turns from Trixie Little, Madame Rosebud, Velocity Chyaaldd, Markko Donto, Mss Vee, Bettina May, and Evans and La Chatte themselves. For all you sex kittens out there, the night also included a Marilyn look-alike contest. Johanna Constantine served as the night’s alluring DJ.

Photo by: Roman Kajzer @FotoManiacNYC FACEBOOK / INSTAGRAM / FLICKR / TWITTER

More of my work dedicated to the subject: Facebook Page: ALT LIFE NYC

YOUTUBE VIDEO FROM MARILYN IS DEAD (3:10) YOUTUBE VIDEO FROM ANOTHER PERFORMANCE (5:00)

BURLESQUE

In contemporary usage, burlesque is a playfully nostalgic form of striptease — think fans and feather boas rather than explicit nudity — but this is just the latest form of an ironic style of entertainment dating back to medieval times.

Burlesque comes from burla, Spanish for "joke." Comedy has always been an essential part of burlesque art, but it’s comedy of a particular kind. Burlesque is satirical, and it uses exaggeration that can be extreme. Early examples of burlesque in English literature can be found in the Canterbury Tales. By the eighteenth century, the word was used to describe often risque parodies of serious operas or plays. Burlesque became associated with striptease in the music halls and vaudeville theaters of nineteenth-century America.

Burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla – a joke, ridicule or mockery.

Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century. It has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Contrasting examples of literary burlesque are Alexander Pope’s The Rape of the Lock and Samuel Butler’s Hudibras. An example of musical burlesque is Richard Strauss’s 1890 Burleske for piano and orchestra. Examples of theatrical burlesques include W. S. Gilbert’s Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué.

A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860’s to the 1940’s, often in cabarets and clubs, as well as theaters, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930’s to the 1960’s, or included burlesque-style scenes within dramatic films, such as 1972’s "Cabaret" and 1979’s "All That Jazz", among others. There has been a resurgence of interest in this format since the 1990’s.

Literary origins and development

The word first appears in a title in Francesco Berni’s Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. ‘Burlesque’ as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare’s Pyramus and Thisbe scene in Midsummer Night’s Dream and the general mocking of romance in Beaumont and Fletcher’s The Knight of the Burning Pestle were early examples of such imitation.

In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes’ works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.

Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader’s (or listener’s) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.

17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope’s "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler’s poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler’s addition to his comic poem of an ethical subtext made his caricatures into satire.

In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard’s 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.

Burlesque in music

Classical music Beginning in the early 18th century, the term burlesque was used throughout Europe to describe musical works in which serious and comic elements were juxtaposed or combined to achieve a grotesque effect. As derived from literature and theatre, "burlesque" was used, and is still used, in music to indicate a bright or high-spirited mood, sometimes in contrast to seriousness.

In this sense of farce and exaggeration rather than parody, it appears frequently on the German-language stage between the middle of the 19th century and the 1920’s. Burlesque operettas were written by – Johann Strauss II (Die lustigen Weiber von Wien, 1868), – Ziehrer (Mahomed’s Paradies,1866; Das Orakel zu Delfi, 1872; Cleopatra, oder Durch drei Jahrtausende, 1875; In fünfzig Jahren, 1911) and – Bruno Granichstaedten (Casimirs Himmelfahrt, 1911). French references to burlesque are less common than German, though – Grétry composed for a "drame burlesque" (Matroco, 1777). – Stravinsky called his 1916 one-act chamber opera-ballet Renard (The Fox) a "Histoire burlesque chantée et jouée" (burlesque tale sung and played). – A later example is the 1927 burlesque operetta by Ernst Krenek entitled Schwergewicht (Heavyweight) (1927).

Some orchestral and chamber works have also been designated as burlesques, of which two early examples are the Ouverture-Suite Burlesque de Quixotte, TWV 55, by Telemann and the Sinfonia Burlesca by Leopold Mozart (1760). Another often-performed piece is Richard Strauss’s 1890 Burleske for piano and orchestra.

Other examples include the following: – 1901: Six Burlesques, Op. 58 for piano four hands by Max Reger – 1904: Scherzo Burlesque, Op. 2 for piano and orchestra by Béla Bartók – 1911: Three Burlesques, Op. 8c for piano by Bartók – 1920: Burlesque for Piano, by Arnold Bax – 1931: Ronde burlesque, Op. 78 for orchestra by Florent Schmitt – 1932: Fantaisie burlesque, for piano by Olivier Messiaen – 1956: Burlesque for Piano and Chamber Orchestra, Op. 13g by Bertold Hummel – 1982: Burlesque for Wind Quintet, Op. 76b by Hummel Burlesque can be used to describe particular movements of instrumental musical compositions, often involving dance rhythms. Examples are the Burlesca, in Partita No. 3 for keyboard (BWV 827) by Bach, the "Rondo-Burleske" third movement of Symphony No. 9 by Mahler, and the "Burlesque" fourth movement of Shostakovich’s Violin Concerto No. 1.

Jazz The use of burlesque has not been confined to classical music. Well known ragtime travesties include The Russian Rag, by George L. Cobb, which is based on Rachmaninoff’s Prelude in C-sharp minor, and Harry Alford’s Lucy’s Sextette based on the sextet, ‘Chi mi frena in tal momento?’, from Lucia di Lammermoor by Donizetti.

VICTORIAN THEATRICAL BURLESQUE

Victorian burlesque, sometimes known as travesty or extravaganza, is a genre of theatrical entertainment that was popular in Victorian England and in the New York theater of the mid 19th century. It is a form of parody in which a well-known opera or piece of classical theater or ballet is adapted into a broad comic play, usually a musical play, usually risque in style, mocking the theatrical and musical conventions and styles of the original work, and often quoting or pastiching text or music from the original work. Victorian burlesque is one of several forms of burlesque.

Like ballad opera, burlesques featured musical scores drawing on a wide range of music, from popular contemporary songs to operatic arias, although later burlesques, from the 1880’s, sometimes featured original scores. Dance played an important part, and great attention was paid to the staging, costumes and other spectacular elements of stagecraft, as many of the pieces were staged as extravaganzas. Many of the male roles were played by actresses as breeches roles, purposely to show off their physical charms, and some of the older female roles were taken by male actors.

Originally short, one-act pieces, burlesques were later full-length shows, occupying most or all of an evening’s program. Authors who wrote burlesques included J. R. Planché, H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.

History of Victorian theatrical burlesque

Burlesque theater became popular around the beginning of the Victorian era. The word "burlesque" is derived from the Italian burla, which means "ridicule or mockery". According to the Grove Dictionary of Music and Musicians, Victorian burlesque was "related to and in part derived from pantomime and may be considered an extension of the introductory section of pantomime with the addition of gags and ‘turns’." Another antecedent was ballad opera, in which new words were fitted to existing tunes.

Madame Vestris produced burlesques at the Olympic Theater beginning in 1831 with Olympic Revels by J. R. Planché. In these pieces, comedy stemmed from the incongruity and absurdity of the grand classical subjects, with realistic historical dress and settings, being juxtaposed with the everyday modern activities portrayed by the actors. For example, Olympic Revels opens with the gods of Olympus in classical Greek dress playing whist. In the early burlesques, the words of the songs were written to popular music, as had been done earlier in The Beggar’s Opera. Later in the Victorian era, burlesque mixed operetta, music hall and revue, and some of the large-scale burlesque spectacles were known as extravaganzas. The English style of burlesque was successfully launched in New York in the 1840’s by the manager and comedian William Mitchell, who had opened his Olympic Theater in December 1839. Like the London prototypes, his burlesques included characters with nonsensical names such as Wunsuponatyme and The King of Neverminditsnamia, and made fun of all kinds of music currently being presented in the city.

Unlike pantomime, which aimed at all ages and classes, burlesque was aimed at a narrower, highly literate audience; some writers, such as the Brough brothers, aimed at a conservative middle class audience, and H. J. Byron’s success was attributed to his skill in appealing to the lower middle classes. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. From the 1850’s onward, burlesquing of Italian, French and, later in the century, German opera was popular with London audiences. Verdi’s "Il trovatore" and "La traviata" received their British premieres in 1855 and 1856 respectively; British burlesques of them followed quickly. "Our Lady of the Cameleon" by Leicester Silk Buckingham and "Our Traviata" by William F. Vandervell (both 1857) were followed by five different burlesque treatments of "Il trovatore", two of them by H. J. Byron: "Ill Treated Trovatore", or the Mother the Maiden and the Musicianer" (1863) and "Il Trovatore or Larks with a Libretto" (1880). The operas of Bellini, Bizet, Donizetti, Gounod, Handel, Meyerbeer, Mozart, Rossini, Wagner and Weber were burlesqued.

In a 2003 study of the subject, Roberta Montemorra Marvin noted: "…By the 1880s, almost every truly popular opera had become the subject of a burlesque. Generally appearing after an opera’s premiere or following a successful revival, they usually enjoyed local production runs, often for a month or longer. The popularity of stage burlesque in general and operatic burlesque in particular seems to have stemmed from the many ways in which it entertained a diverse group, and the manner in which it fed and fed on the circus-like or carnivalesque atmosphere of public Victorian London…"

W. S. Gilbert wrote five opera burlesques early in his career, beginning with "Dulcamara, or the Little Duck and the Great Quack" (1866), the most successful of which was "Robert the Devil" (1868). In the 1870’s, Lydia Thompson’s burlesque troupe, with Willie Edouin, became famous for their burlesques, by such authors as H. B. Farnie and Robert Reece, both in Britain and the U.S.

The Shakespeare scholar Stanley Wells notes that although parodies of Shakespeare had appeared even in Shakespeare’s lifetime, the heyday of Shakespearean burlesque was the Victorian era. Wells observes that the typical Victorian Shakespeare burlesque "takes a Shakespeare play as its point of departure and creates from it a mainly comic entertainment, often in ways that bear no relation to the original play." Wells gives, as an example of the puns in the texts, the following: Macbeth and Banquo make their first entrance under an umbrella. The witches greet them with "Hail! hail! hail!": Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told "These showers of ‘Hail’ anticipate your ‘reign’". Musically, Shakespearean burlesques were as varied as the others of the genre. An 1859 burlesque of Romeo and Juliet contained 23 musical numbers, some from opera, such as the serenade from Don Pasquale, and some from traditional airs and popular songs of the day including "Buffalo Gals", and "Nix my Dolly".

According to Grove, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in travesty roles … the plays themselves did not normally tend to indecency." Some contemporary critics took a sterner view; in an 1885 article, the critic Thomas Heyward praised Planché ("fanciful and elegant") and Gilbert ("witty, never vulgar"), but wrote of the genre as a whole, "the flashy, ‘leggy’, burlesque, with its ‘slangy’ songs, loutish ‘breakdowns’, vulgar jests, paltry puns and witless grimacing at all that is graceful and poetic is simply odious. … Burlesque, insensate, spiritless and undiscriminating, demoralizes both the audience and the players. It debases the public taste." Gilbert expressed his own views on the worth of burlesque:

The question whether burlesque has a claim to rank as art is, I think, one of degree. Bad burlesque is as far removed from true art as is a bad picture. But burlesque in its higher development calls for high intellectual power on the part of its professors. Aristophanes, Rabelais, Geo Cruikshank, the authors of the Rejected Addresses, John Leech, Planché were all in their respective lines professors of true burlesque.

Gender reversal and female sexuality

Actresses in burlesque would often play breeches roles, which were male roles played by women; likewise, men eventually began to play older female roles. These reversals allowed viewers to distance themselves from the morality of the play, focusing more on joy and entertainment than catharsis, a definitive shift away from neoclassical ideas.

The depiction of female sexuality in Victorian burlesque was an example of the connection between women as performers and women as sexual objects in Victorian culture. Throughout the history of theater the participation of women on stage has been questioned. Victorian culture viewed paid female performance as being closely associated with prostitution, “a profession in which most women in the theater dabbled, if not took on as a primary source of income.”

Gaiety Theater

Burlesque became the specialty of London’s Royal Strand Theater and Gaiety Theater from the 1860’s to the early 1890’s. In the 1860’s and 1870’s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. Nellie Farren starred as the Gaiety Theater’s "principal boy" from 1868, and John D’Auban choreographed the burlesques there from 1868 to 1891. Edward O’Connor Terry joined the theater in 1876. Early Gaiety burlesques included Robert the Devil (1868, by Gilbert), The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand) and Galatea, or Pygmalion Reversed (1883).

Beginning in the 1880’s, when comedian-writer Fred Leslie joined the Gaiety, composers like Meyer Lutz and Osmond Carr contributed original music to the burlesques, which were extended to a full-length two- or three-act format. These later Gaiety burlesques starred Farren and Leslie. They often included Leslie’s libretti, written under his pseudonym, "A. C. Torr", and were usually given an original score by Lutz: Little Jack Sheppard (1885), Monte Cristo, Jr. (1886), Pretty Esmeralda (1887), Frankenstein, or The Vampire’s Victim (1887), Mazeppa and Faust up to Date (1888). Ruy Blas and the Blasé Roué (1889) made fun of the play Ruy Blas by Victor Hugo. The title was a pun, and the worse the pun, the more Victorian audiences were amused. The last Gaiety burlesques were Carmen up to Data (1890), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).

In the early 1890’s, Farren retired, Leslie died, and musical burlesque went out of fashion in London, as the focus of the Gaiety and other burlesque theaters changed to the new genre of Edwardian musical comedy. In 1896, Seymour Hicks declared that burlesque "is dead as a doornail and will never be revived." From her retirement, Nellie Farren endorsed this judgment.

AMERICAN BURLESQUE

American burlesque is a genre of variety show. Derived from elements of Victorian burlesque, music hall and minstrel shows, burlesque shows in America became popular in the 1860’s and evolved to feature ribald comedy (lewd jokes) and female striptease. By the early 20th century, burlesque in America was presented as a populist blend of satire, performance art, music hall, and adult entertainment, featuring striptease and broad comedy acts.

The entertainment was presented often in cabarets and clubs, as well as music halls and theaters. Performers, usually female, often created elaborate tableaux with lush, colorful costumes, mood-appropriate music, and dramatic lighting; novelty acts, such as fire breathing or contortionists, might be added to enhance the impact of their performance. The genre traditionally encompassed a variety of acts: in addition to the striptease artistes, there was some combination of chanson singers, comedians, mime artists, and dancing girls, all delivered in a satiric style with a saucy[peacock term] edge. The striptease element of burlesque became subject to extensive local legislation, leading to a theatrical form that titillated without falling foul of censors.

Burlesque gradually lost popularity beginning in the 1940’s. A number of producers sought to capitalize on nostalgia for the entertainment by attempting to recreate the spirit of burlesque in Hollywood films from the 1930’s to the 1960’s. There has been a resurgence of interest in this format since the 1990’s, and it inspired a 2010 musical film, "Burlesque", starring Christina Aguilera and Cher.

There were three main influences on American burlesque in its early years: Victorian burlesque, "leg shows" and minstrel shows. British-style burlesques had been successfully presented in New York as early as the 1840’s. They achieved wide popularity with productions by Lydia Thompson and her troupe, the British Blondes, who first appeared in the United States in 1868. "Leg" shows, such as the musical extravaganza The Black Crook (1866), became popular around the same time. The influence of the minstrel show soon followed; one of the first American burlesque troupes was the Rentz-Santley Novelty and Burlesque Company, created in 1870 by Michael B. Leavitt, who had earlier feminized the minstrel show with his group Madame Rentz’s Female Minstrels. American burlesque rapidly adopted the minstrel show’s tripartite structure: part one was composed of songs and dances rendered by a female company, interspersed with low comedy from male comedians. Part two featured various short specialties and olios in which the women did not appear. The show’s finish was a grand finale. Sometimes the entertainment was followed by a boxing or wrestling match.

Originally, burlesque performances included comic sketches lampooning the upper classes and high art, such as opera, Shakespearean drama, and classical ballet. The genre developed alongside vaudeville and ran on competing circuits. Possibly due to historical social tensions between the upper classes and lower classes of society, much of the humor and entertainment of later American burlesque focused on lowbrow and ribald subjects.

By the 1880’s, the four distinguishing characteristics of American burlesque had evolved: – Minimal costuming, often focusing on the female form. – Sexually suggestive dialogue, dance, plot-lines and staging. – Quick-witted humor laced with puns, but lacking complexity. – Short routines or sketches with minimal plot cohesion across a show.

The artist and writer Jerome Myers gave a view of burlesque as observed in the working-class neighborhoods of New York in the early years of the 1900’s: "…I have been impressed by the sincerity of the audience. On the runway extending out over the orchestra, the girls would gesture back and forth. It was not always of beauty; yet never that I can remember did these onlooking men, by word or gesture, annoy or belittle the performers. Pitifully inadequate the girls often were for their parts; yet they were working girls, catering to an audience of men who also worked for a living.

Among these imitation actresses, I have seen at times real jewels, featured girls who exercised all their youth and talent, working an enchantment within their narrow limits. There was one young girl who did the so-called strip-tease act. Playfully casting away her garments, she disclosed the full glory of her beautiful figure, her movements unsurpassed in a harmony of action. Had that inspired girl had the benefit of a French or German background of publicity, she would have revealed her art to a top-hat audience. Susceptible artists would have filled their sketch-books, photographers would have vied with one another, books of laudation would have appeared, and a world celebrity would have danced onto the newspaper pages. Yet this audience of ordinary people, in this ordinary burlesque theater, applauded her in their simple way, and for years kept on applauding her as a featured artist, her name up in electric lights…"

Charlie Chaplin (who starred in the 1915 film "Burlesque on Carmen") noted in 1910: "Chicago … had a fierce pioneer gaiety that enlivened the senses, yet underlying it throbbed masculine loneliness. Counteracting this somatic ailment was a national distraction known as the burlesque show, consisting of a coterie of rough-and-tumble comedians supported by twenty or more chorus girls. Some were pretty, others shopworn. Some of the comedians were funny, most of the shows were smutty harem comedies – coarse and cynical affairs".

By the early 20th century, there were two national circuits of burlesque shows, as well as resident companies in New York, such as Minsky’s at the Winter Garden. The uninhibited atmosphere of burlesque establishments owed much to the free flow of alcoholic liquor, and the enforcement of Prohibition was a serious blow. The popular burlesque show of this period eventually evolved into the striptease which became the dominant ingredient of burlesque by the 1930’s. At first soubrettes showed off their figures while singing and dancing; some were less active but compensated by appearing in elaborate stage costumes. Exotic "cooch" dances (similar to bellydancing) were brought in, ostensibly Syrian in origin. Strippers gradually supplanted the singing and dancing soubrettes; by 1932 there were at least 150 strip principals in the US. The transition from traditional burlesque to striptease is depicted in the film "The Night They Raided Minsky’s" (1968).

By the late 1930’s, a social crackdown on burlesque shows began their gradual downfall. The shows had slowly changed from ensemble ribald variety performances, to simple performances focusing mostly on the striptease. In New York, Mayor Fiorello LaGuardia clamped down on burlesque, effectively putting it out of business by the early 1940’s. Burlesque lingered on elsewhere in the U.S., increasingly neglected, and by the 1970’s, with nudity commonplace in theaters, American burlesque reached "its final shabby demise".

Burlesque shows on film

During its declining years and afterwards, films sought to capture the spirit of American burlesque. For example, in "I’m No Angel" (1933), Mae West performed a burlesque act. The 1943 film "Lady of Burlesque", although a murder-mystery, spends much of its running time depicting the back-stage life of burlesque performers.

The first motion-picture adaptation of an actual burlesque show was "Hollywood Revels" (1946). Much of the action was filmed in medium or long shots, because the production was staged in a theater and the camera photographed the stage from a distance. In 1947, film producer W. Merle Connell reinvented the filmed burlesque show by restaging the action especially for films, in a studio, where he could control the camerawork, lighting and sound, providing close-ups and other studio photographic and editorial techniques. His 1951 production "French Follies" recreates a classic American burlesque presentation, with stage curtains, singing emcee, dances by showgirls and strippers, comic sketches and a finale featuring the star performer. The highlight is the famous burlesque routine "Crazy House", popularized earlier by Abbott and Costello. Another familiar sketch, "Slowly I Turned" (later famous as a Three Stooges routine), was filmed for Connell’s 1953 feature "A Night in Hollywood".

Other producers entered the field, using color photography and even location work. "Naughty New Orleans" (1954) is an example of burlesque entertainment on film, equally showcasing girls and gags, although it shifts the venue from a burlesque-house stage to a popular nightclub. Photographer Irving Klaw filmed a very profitable series of burlesque features, usually featuring star pin-up girl Bettie Page and various lowbrow comedians (including future TV star Joe E. Ross). Page’s most famous features are "Striporama" (1953), "Varietease" (1954) and "Teaserama" (1955). These films, as their titles imply, were only teasing the viewer: the girls wore revealing costumes, but there was never any nudity. In the late 1950’s, however, provocative films emerged, sometimes using a "nudist colony" format, and the relatively tame burlesque-show film died out.

As early as 1954, burlesque was already considered a bygone form of entertainment; burlesque veteran Phil Silvers laments the passing of burlesque in the musical "Top Banana". "The Night They Raided Minsky’s" (1968) celebrates classic American burlesque.

NEO-BURLESQUE

Neo-Burlesque, or New Burlesque, is the revival and updating of the traditional American burlesque performance. Though based on the traditional Burlesque art, the new form encompasses a wider range of performance styles; neo-burlesque acts can range from anything from classic striptease to modern dance to theatrical mini-dramas to comedic mayhem.

Revival

A new generation nostalgic for the spectacle and glamour of the old times has been determined to bring burlesque back. The first neo-burlesque show in NYC was the "Blue Angel Cabaret", 1994. "Le Scandal Cabaret", founded in 2001, is an offshoot of the Blue Angel, and is still currently running in NYC, 2014. This revival was pioneered independently in the mid 1990’s by Billie Madley (e.g., "Cinema", Tony Marando’s "Dutch Weismanns’ Follies" revue) in New York and Michelle Carr’s "The Velvet Hammer Burlesque" troupe in Los Angeles. In addition, and throughout the country, many individual performers were incorporating aspects of burlesque in their acts. These productions, inspired by Sally Rand, Tempest Storm, Gypsy Rose Lee, Dixie Evans and Lili St. Cyr among others have themselves gone on to inspire a new generation of performers.

Modern burlesque has taken on many forms, but it has the common trait of honoring one or more of burlesque’s previous incarnations. The acts tend to put emphasis on style and are sexy rather than sexual. A typical modern burlesque act usually includes striptease, expensive or garish costumes, and bawdy humor, and may incorporate elements of cabaret, circus skills, aerial silk, and more; sensuality, performance, and humor are kept in balance. Unlike professional strippers, burlesque performers often perform for fun and spend more money on costumes, rehearsal, and props than they are compensated. Although performers may still strip down to pasties and g-string or merkin, the purpose is no longer solely sexual gratification for men but self-expression of the performer and, vicariously, the women in the audience; the DIY aspect is prominent, and furthermore the striptease may be used to challenge sexual objectification, orientation, and other social taboos. The revival, however, has been known to run afoul of liquor licensing and obscenity laws, thus raising free speech (as symbolic speech) issues that have led to litigation.

Burlesque scenes

There are modern burlesque performers, shows and festivals in many countries throughout the world such as David Jahn’s Prague Burlesque, as well as annual conventions such as the Miss Exotic World Pageant. Today’s burlesque revival has found homes throughout the United States (with the largest communities located on its East and West Coasts) and in Canada, the United Kingdom, Australia, France, Germany and Japan.

Boylesque

Neo-burlesque shows that feature male-body roles have been dubbed as boylesque. The introduction of boylesque elements can be seen as a key difference between neo-burlesque and earlier, exclusively female-body forms of burlesque, which sometimes incorporated drag-queen roles (i.e. male impersonators of female bodies) but did not directly represent masculinity.

Neo-Burlesque organizations

– Burlesque Hall of Fame (formerly the Exotic World Burlesque Museum), which hosts the annual Miss Exotic World Pageant. It is the burlesque museum located on Fremont Street in Downtown Las Vegas. Formerly known as Exotic World, the museum historically was located on the site of an abandoned goat farm in Helendale, California.

– Coney Island USA It is not-for-profit arts organization founded in 1980 that is dedicated to the cultural and economic revitalization of the Coney Island neighborhood of the Borough of Brooklyn in New York City. Its landmark building in the heart Coney Island’s amusement district houses a theater in which the organization presents "Sideshows by the Seashore", a showcase for performers with unusual talents that runs continuously during the warmer months, as well as the Coney Island Museum. It is also notable as the organizer of the annual Coney Island Mermaid Parade, the first of which took place in 1983.

Posted by FotoManiacNYC on 2016-01-21 03:49:43

Tagged: , MarilynIsDead KayvonZand AnnaEvans ALTLIFENYC PEPELO-NYC-LOUNGE , Marilyn , Monroe , theatrical , dramatic , erotic , comedy , satire , parody , pastiche , choreography , dance , extravaganza , burlesque , variety , explicit , nude , nudity , naked , performance , art , tease , striptease , stripper , adult , entertainment , cabaret , playful , feather boa , peacock , tableaux , titillated , censors , suggestive , saucy , lush , costume , artist , alt-model , alternative , model , gender reversal , morality , sexuality , sexual , sensual , topless , booty , boobs , body , corset , blonde , red , hair , makeup , latex , fishnet , see-through

The post Marilyn is not Dead 2013-11-210106 appeared first on Good Info.

lot,Factory direct sale 100% cheap human hair extensions Naturalhairstyles

Curly hair styles, Curly hair styles naturally, Natural hair styles, Hair, Beautiful natural hair, Hair styles – lot,Factory direct sale 100% cheap human hair extensions Naturalhairstyles – #Curlyhair #styles

The post lot,Factory direct sale 100% cheap human hair extensions Naturalhairstyles appeared first on Good Info.

Starlight

Credits : selfcontrolsl.blogspot.com.es/2016/12/starlight.html?m=1

Place: maps.secondlife.com/secondlife/Jattarna%20Av%20Hem/73/140/20

Posted by elocuenciaresident on 2016-12-21 19:27:24

Tagged: , Hair: , [monso] , My , Yujung , Kustom9 , Jacket: , -Pixicat- , Puffer.Jacket , N21 , Body: , .:villena:. , Leotard , Boots , with , socks: , =Zenith=Winter , Leather , Fur , Necklace: , .Quirky. , Elizabeth , Kawaii , Project , Skin , Applier: , (Enfer , Sombre*) , Eyes: , {S0NG} , Andi , Ears: , ^^Swallow^^ , Punky , Sunglasses: , -SU!- , Esme , Glasses , Pose: , {PINGPONG} , Emily , B&F , cute , cutest , blogger , beauty , bloggers , beautiful , blog , blogs , outfit

The post Starlight appeared first on Good Info.

Balayage Dark Hair Straight | Find your …

Balayage Dark Hair Straight | Find your …

The post Balayage Dark Hair Straight | Find your … appeared first on Good Info.

5,255 Likes, 54 Comments – Chloé Brown || ShortHair (@chloenbrown) on Instagram…

5,255 Likes, 54 Comments – Chloé Brown || ShortHair (@chloenbrown) on Instagram: “Throwback to when @annalaurapascon drew this ✏️❤️ Inspired by Andrew Does Hair ‘s cut & photo”

The post 5,255 Likes, 54 Comments – Chloé Brown || ShortHair (@chloenbrown) on Instagram… appeared first on Good Info.