During the 1970s, photographer Marcia Resnick spent most nights at CBGB, Max’s Kansas City, and the Mudd Club. Around this time, she was enchanted by the gregarious women she lived, worked, and partied with who were simultaneously shaking up the scene. She also started photographing the revolutionary spirit and creative power of artists like Joan Jett, Debbie Harry, and Susan Sontag.
“The people from the extraordinary New York milieu amongst whom I was living and working had no way of knowing that the years between 1977 and 1982 were enchanted, endangered, and unrepeatable,” explained Resnick.
Born in Brooklyn, Marcia Resnick first exhibited her art at the Brooklyn Children's Museum when she was five years old. She is an alumnus of the Cooper Union and did her graduate work at California Institute of the Arts. Her photographs are exhibited internationally and are in major museum collections including the Museum of Modern Art, Metropolitan Museum of Art, National Portrait Gallery, George Eastman House, Museum of Fine Arts, Jewish Museum, Rijksmuseum and Getty Museum.
Her work has also been published in numerous books and periodicals that include the Paris Review and Rolling Stone, self-published artist’s books and an autobiographical book of staged photographs about female adolescence, Re-visions.
Like Norma Jeane Baker or Lizzy Grant, Lauren Bacall wasn’t born with a roll-off-the-tongue fame-ready name. Born Betty Joan Perske, then changing to Betty Bacall after her parents divorced, she became Lauren only when she starred her first film – 1944’s To Have and Have Not – for which these hair and makeup tests were taken.
Beautifully styled in four different ways, you can view larger images of each after the break.
To Have and Have Not (1944) was director Howard Hawks’ wartime adventure masterpiece - a minor film classic loosely based upon part of Ernest Hemingway’s 1937 novel of the same name. Jules Furthman and William Faulkner partnered their talents to write the screenplay, retaining some of the sharp dialogue from the book.
Warner Bros. Studios decided that it needed a sequel in an exotic locale to follow up their earlier success of Casablanca (1942), so they chose this similar vehicle with comparable ingredients: an exotic locale in the Caribbean (WWII Martinique), an unmarried ex-patriate American (a charter-boat captain who is tough, sardonic, and politically apathetic - at first), a romantic love interest to create on-screen electricity, Free French (Gaullist) resistance fighters, a Vichy/Gestapo police captain, a cafe/bar and a piano player.
And this film paired an unhappily-married Humphrey Bogart and young Lauren Bacall for the first time (this was Lauren Bacall's startling movie debut at 19 years of age), leading to one of Hollywood’s most enduring romances. The couple actually fell in love together while making the film - and were married shortly afterwards in 1945. Taglines advertised Bacall as a self-reliant lead who could play opposite Bogey:
“The ONLY kind of woman for his kind of man.”
“AT LAST! Bogart makes love to his kind of woman.”
An impressive collection of black and white photos from Hedwig Schönberger that shows daily life of Vienna (Austria), Rimini and Venice (Italy) in the late 1950s.
“This account is dedicated to my mother, who died in 2000, whose estate I am currently working on. The photos shown were taken between 1957 and 1970. The estate consists of about 70 films (4.5 X 6), she made with her Zeiss Ikonta during some holiday trips and walks in Vienna. I also use this camera occasionally today. There are also some 6X6 movies that she exposed with a borrowed Rolleiflex-T. A friend succeeded in getting her interested in photography in the mid-fifties. From him, she also received the technical Know-how, how to develop films and paper prints themselves.”
In the early 20th century, women were not the only ones to get tighter swimsuits. Men's swimwear also slimmed down to show off his new athletic body. In many ways, men's and women's suits were nearly identical.
Men's swimsuit in this period was mostly a one piece tank top and shorts, and the striped ones were often their favorite choices.
“No matter where you meet a stranger, be careful if they are too friendly. One never knows when the homosexual is about.”
Boys Beware is a dramatic short social guidance propaganda film released through Sid Davis Productions. It deals with danger to young boys from predatory homosexuals. The film was released in 1961 and, under the copyright laws in the United States at the time of its release, has lapsed into the public domain and is available from the Prelinger Archives.
The film, shot partially in the Los Angeles suburb of Inglewood, California, and produced with the cooperation of the city's police department and the Inglewood Unified School District, is narrated by a police detective on his way to a school meeting to discuss the issue of sexual predators who attempt to lure young adolescent males.
Aside from the film's early 1960s-culturally influenced conclusion that homosexual men are inherently dangerous to young boys, the film has been noted for its unusual perception of police procedure: the first boy, named Jimmy, was supposedly playing a game of ball and did not feel like walking home, so he decided to “thumb” a ride. A few moments later, a car pulls up and Jimmy enters the stranger’s car. Jimmy and the stranger start a conversation while on the way to Jimmy’s house. They arrive at his house and Jimmy gets out of the stranger’s car.
The following day, the stranger was in his car waiting for him. Jimmy noticed that it was the same car and decided to ride once again. Instead of going straight to Jimmy’s house, “They went to a drive-in and the stranger treated him to a Coke.” The scene after shows ducks in a pond, and then switches to Jimmy and the stranger fishing together on a dock. Jimmy and the stranger (Ralph) reveal their names when they pull out their lunch. Jimmy then eats a sandwich, while Ralph pulls out a deck of “pornographic pictures.” Later, Jimmy is taken to a hotel with Ralph, presumably to be molested, and later reports the crime. The perpetrator is arrested; the victim is put on probation.
Another incautious, unsuspecting boy, Mike, is seen playing a game of basketball with a group of friends while ignoring a man watching them. The group decides to leave, but Mike decides to stay and practice. The man then joins Mike, which is better than playing alone, according to Mike. Mike then decides to leave, and the stranger offers him a ride home. Mike accepts the offer, and enters the vehicle. Mike is supposedly killed that night, having “traded his life for a newspaper headline.”
A third boy, Denny, is tricked into entering a man’s car while he and his friend were sorting out newspapers. The car leaves, and the friend writes down the license plate number. Denny’s friend is later delivering papers and talks to Denny’s mother, who is seen watering her lawn. Denny’s mother decides to go inside and call the police. Right after Denny’s mother called the police, the car is quickly spotted, and the stranger is arrested.
A fourth boy is Bobby, who was in a beachside restroom where he and his friends were changing. Bobby’s friends decide to head for home together, while Bobby decides to take a “shortcut” under a pier. As Bobby is walking to the shortcut, he notices that a man, who was seen at the restroom, was following him. Bobby then waves to his friends, and runs to join them.
The film equates homosexuals with child molesters and hebephiles, repeatedly describing homosexuality as a mental illness. True to the stereotypes of its time, the gay men in the film have mustaches, sunglasses and/or bow ties.
The film has other odd moments, probably the result of its $1,000 budget—a minuscule sum for a short film, even in 1961. Most notably, in the third scenario, the stranger is seen driving the same car (a 1959 Chevrolet Biscayne) as the detective.
Davis was friendly with the police in Southern California and would accept their suggestions of topics to make films about, allowing them to guide the films’ message and development.
The tight blue dress and the spiked-heeled shoes were not the regulation uniform. But Marilyn Monroe managed to make the first kick at this all-star soccer game between Israel Hapoel and the American Soccer League All-Stars at Ebbets Field on May 12, 1957.
The game was part of a Salute to Israel program. The Hollywood goddess arrived at the stadium, home of the Brooklyn Dodgers, riding on the back seat of a convertible and waving as fans cheered. Despite her skimpy blue dress, whose shoulder straps slipped dangerously low at times, Marilyn made three ceremonial kicks - two for photographers and one for the soccer players. There were two minor casualties. One of her kicks sailed off course and smacked a United Press photographer square in the head. And the actress had a slight limp as he was escorted off the field.
