Stunning Portraits of A Very Young and Beautiful Margot Fonteyn in the 1930s

Margot Fonteyn (born Margaret Evelyn Hookham, May 18, 1919 – February 21, 1991) was a young, rising British ballerina in the 1930s who became the leading figure in what would evolve into the Royal Ballet. Se began ballet lessons at age four. Her family moved to China (Tianjin and Shanghai) when she was about eight, where she studied with Russian émigré teacher Georgy Goncharov. She returned to London around age 14 to pursue a professional career.

In 1933–1934, she joined the Vic-Wells Ballet School (founded by Ninette de Valois, later the Sadler’s Wells Ballet and then the Royal Ballet). She initially performed under variations of “Margot Fontes” before settling on “Fonteyn.”

In 1934, she debuted with the Vic-Wells Ballet as a snowflake in The Nutcracker. In 1935, at the age of 16, she had her solo debut as Young Tregennis in The Haunted Ballroom. Frederick Ashton created the role of the Young Bride in Le Baiser de la Fée specifically for her. When Alicia Markova left the company, Fonteyn quickly rose to take on principal and leading roles, sharing and then dominating them. She also studied in Paris during summers with Russian ballerinas like Olga Preobrajenska, Mathilde Kschessinska, and Lubov Egorova. She formed a key early partnership with Robert Helpmann, which lasted into the 1940s. Ashton and others created or cast her in notable roles, leveraging her lyricism, elegance, and graceful, somewhat “feline”quality.

By the late 1930s, she had danced principal roles in classics like Giselle, Swan Lake, and The Sleeping Beauty (including Aurora in a 1939 revival, later considered definitive for the era). She was effectively the company’s prima ballerina by 1939.

The company performed in a pre-WWII context, with emerging experiments in television broadcasts (e.g., her Polka from Façade in 1936). Roles in the 1930s included Apparitions (1936, as the unattainable muse), Nocturne, A Wedding Bouquet, and Les Patineurs.

The 1930s laid the foundation for her long career as one of the 20th century’s most iconic ballerinas, later partnering famously with Rudolf Nureyev in the 1960s. She danced until 1979 and was named prima ballerina assoluta.

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30 Amazing Photographs of Fred Astaire on the Set of “Top Hat” (1935)

On the set of Top Hat (1935), Fred Astaire was a meticulous perfectionist who controlled nearly every aspect of his dance numbers, from the orchestration to the final edit. He famously insisted that the camera remain still and capture dancers from head to toe in long, continuous takes, famously stating, “Either the camera will dance, or I will.” Filming began in early April 1935 at RKO, with a budget around $620,000.

Astaire was famous for his grueling rehearsal schedules. Before a single frame of Top Hat was shot, he and Ginger Rogers spent weeks in a rehearsal hall. He would work until his shoes were literally soaked with sweat, often practicing a single tap sequence for hours to ensure the sound was crisp and the rhythm was flawless.

The most famous story from the set involves the “Cheek to Cheek” sequence. Rogers arrived in a dress heavily adorned with ostrich feathers. As they began to spin, the dress shed feathers like a “chicken being plucked in a cyclone,” as Astaire later put it. Feathers got in his eyes, his mouth, and all over his tuxedo. Astaire, usually a private man, reportedly lost his temper. However, after the dress was stitched down and the scene was successfully filmed, he made light of it by sending Rogers a gold feather charm and nicknamed her “Feathers.”

Astaire had a “Full Body” rule for filming. He hated the way musicals were edited at the time, frequently cutting to close-ups of faces or just the feet. On the set of Top Hat, he insisted that the camera must stay wide. The audience had to see the dancer’s entire body from head to toe. He favored long takes with minimal cuts to prove that the dancing was real and not a product of film editing.

For the title number, “Top Hat, White Tie and Tails,” Astaire treated his cane like a musical instrument. He spent a significant amount of time on set working with the sound engineers. Because the tap sounds were often re-recorded (post-synced) to ensure clarity, Astaire would go into a studio and “dance” with his hands or feet while watching the footage to perfectly match the audio to his filmed movements.

While they weren’t close social friends off-camera, their professional synergy on the Top Hat set was at its peak. Astaire was the taskmaster, and Rogers was one of the few people who could match his stamina. He once remarked that she was the only partner who didn’t cry during his intense rehearsal sessions, though she did famously end up with bleeding feet from her heavy shoes and his demanding choreography.

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Extraordinary Photos of Clotilde von Derp, the Expressionist Dancer Who Performed Either Side of the Great War

Clotilde von Derp (born Clotilde Margarete Anna Edle von der Planitz, 1892–1974) was a pioneering German expressionist dancer and one of the early exponents of modern dance. She emerged in the 1910s as a solo performer and became internationally celebrated in the 1920s through her long-term artistic and personal partnership with Russian dancer, choreographer, and painter Alexander Sacharoff (whom she married in 1919).

Von Derp trained in ballet with teachers from the Munich Opera (Julie Bergmann and Anna Ornelli) after moving to Munich as a child. She made her professional debut on April 25, 1910, at age 18 at the Hotel Union in Munich, performing under the stage name Clotilde von Derp. Audiences were immediately drawn to her striking beauty, youthful grace, and expressive presence.

She quickly gained attention in avant-garde circles. She was associated with the Blaue Reiter group (linked to Wassily Kandinsky) and performed in Max Reinhardt’s pantomime Sumurûn, which toured successfully to London. Her style moved beyond classical ballet toward freer, more emotional expression, influenced by the wave of modern dance sparked by Isadora Duncan but noted for its elegance and modernity.

From 1913 onward, she began collaborating with Alexander Sacharoff. During World War I, as “enemy aliens,” they relocated to neutral Switzerland, where she continued refining her technique (including studies with Enrico Cecchetti in Lausanne). She performed solo works like Danseuse de Delphes (1916), often in ancient Greek-inspired costumes with draped fabrics.

Their joint career reached its height in the late 1910s and throughout the 1920s. They married on July 25, 1919, in Zurich (with painter Marianne von Werefkin as a witness) and performed as the duo “Les Sakharoff.” They created what they called “abstract pantomime,” dances that visualized the emotional and sensory impressions of music rather than strictly following its rhythm. Their works drew on symbolist aesthetics, ancient Greek themes, commedia dell’arte, Renaissance, Baroque, and Rococo references, with fluid, subtle, and theatrical movements. Alexander often designed the elaborate, sometimes androgynous or cross-dressing costumes (including metallic wigs, hats, flowers, and fruit), which accentuated Clotilde’s femininity even in male attire.

They toured extensively across Europe, performed at New York’s Metropolitan Opera in 1920 (supported by Edith Rockefeller McCormick, though with mixed success), and later visited China, Japan, the Americas, and beyond. A 1921 poster by illustrator George Barbier depicted them as a complementary androgynous couple “united in dance.” Critics and artists (including Rainer Maria Rilke, who called them “poets of dance”) praised their vibrant theatricality and innovative approach. Specific pieces from the era included The Little Shepherd, Negro Song (1924), May-Dance (1924), and Vision of the 15th Century (1924).

In the 1920s, photographs and illustrations show Clotilde in flowing, draped costumes, often barefoot or in minimalist attire that emphasized expressive body lines and dramatic poses.

Von Derp and Sacharoff were among the most famous dance couples of the era, helping bridge early modern dance (post-Duncan) with expressionist and avant-garde movements. Their work reflected broader cultural shifts: rejection of rigid classical forms, embrace of emotional authenticity, cross-disciplinary ties to painting and music, and a global touring circuit. Clotilde’s elegant, haunting presence and Sacharoff’s choreographic vision made them symbols of modernist experimentation in dance.

Their partnership continued for decades (they taught and performed into the 1950s), but the 1910s and 1920s marked their rise from Munich debutante to international icons of expressive, music-driven modern dance.

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20 Stunning Photos of Swedish Dancer Sent M’Ahesa From the Early 20th Century

Sent M'Ahesa (pseudonym of Else von Carlberg, also spelled Elsa von Carlberg; full name Else Margaretha Luisa von Carlberg) was a Swedish expressive dancer, translator, and journalist active in the early 20th century, particularly known for her Orientalist and “archaeological” performances inspired by ancient Egyptian motifs.

She was born on August 17, 1883 in Riga (then part of the Russian Empire, now Latvia) to a German family of Swedish origin. Her father was a government official. In 1905 (or around 1907), she moved to Berlin with her sister Erika to prepare for her Abitur (university entrance exam) and later studied in Munich, where she pursued interests in philosophy, history, and Egyptology.

M'Ahesa debuted as a dancer in 1909 in Munich at the Künstlerhaus, performing “Egyptian dances” such as the “Lotus Flower” and “Dance of the Moon Goddess” (earning her the nickname “The Moon Goddess”). Her style drew heavily from Ausdruckstanz (German expressionist dance) but stood out for its exotic, geometric, and two-dimensional poses inspired by ancient reliefs and sculptures rather than fluid grace. She often performed in self-designed costumes featuring loose harem trousers, beaded bras, headdresses, stacked bracelets, jewels, feathers, and ochre body paint, sometimes set against tapestries or curtains.

Her repertoire expanded beyond Egypt to include Indian, Native American, and Thai-inspired dances with religious, funeral, or ritual themes. Audiences and critics noted her eccentric, “archaeological” approach—more interpretive and spectacle-oriented than authentic reconstruction—which aligned with the era’s Orientalism and fascination with non-Western cultures. She gained fame across Europe in the 1910s–1920s but faced criticism for cultural appropriation.

She appeared in silent films like Die entschleierte Maja (1917) and Haß (1920), and her image was captured in artworks, including a 1917 bust by Bernhard Hoetger (Nefertiti-inspired), a 1921 lithograph by Max Beckmann, and pieces by other Expressionist artists. She was also featured in Hannah Höch’s photomontages.

Her stage name “Sent M'Ahesa” may derive from Egyptian elements (possibly “sister of the god Mahes,” a lion-headed deity) or have other playful/hieroglyphic interpretations.

She retired from dancing around 1932, moved to Sweden (Stockholm), and worked as a translator and journalist, contributing to publications like the Frankfurter Allgemeine Zeitung and Atlantis magazine. She died on November 19, 1970 in Stockholm.

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Barefoot Women Dancing in the Snow, New York, 1916

This striking image captures more than just a momentary dance; it represents a radical shift in 20th-century art and physical expression. These women were students of the Noyes School of Rhythm, and the photograph was taken in New York’s Central Park in January 1916.

(Photo by Franz Otto Koch)

The dancers were followers of Florence Fleming Noyes, a pioneer of “free dance” who believed that modern clothing and societal expectations had stifled the human body. She taught a technique called Rhythm, which focused on fluid, natural movements inspired by Greek statuary and the elements.

For Noyes and her students, dancing barefoot in the snow wasn’t just a stunt, it was a philosophy. They believed constant exposure to the elements (even the cold) would harden the body and improve health, shedding heavy winter coats and shoes symbolized a break from the “corseted” Victorian era; they sought a literal connection between the body and the earth, even if that earth was covered in ice.

In 1916, this was incredibly provocative. While we see a beautiful artistic composition today, bystanders in Central Park at the time would have seen women in “scanty” tunics with bare legs and feet—a major departure from the modest fashion of the day. Noyes often had to defend her students against “indecency” concerns, arguing that their work was pure art and physical education.

From a photography standpoint, this image is remarkable for the era. Capturing movement in 1916 required a relatively fast shutter speed, which was difficult in lower light. The high contrast of the dark silk tunics against the bright white snow helps create that iconic, almost ethereal silhouette that has made this photo a viral piece of history a century later.

The Noyes School eventually established a permanent summer camp called “Shepherd’s Nine” in Connecticut, where students continued to dance through the woods and fields, though usually in warmer weather!

Rare Photos of Nichelle Nichols Practicing Ballet Moves on the Set of “Star Trek: The Original Series”

These rare behind the scenes photographs from Star Trek: The Original Series capture Nichelle Nichols (as Lt. Uhura) practicing ballet moves on set while dressed in her iconic red Starfleet uniform. These images showcase her exceptional flexibility and form, including a notable penché.

Before her acting career, Nichols was a trained professional dancer and singer. She began ballet at age seven and studied at the Chicago Ballet Academy. At age 15, she was hired by Duke Ellington to choreograph and perform a ballet for his musical suites.

While filming Star Trek, she frequently used her downtime to maintain her dancing skills, even performing complex moves in the show’s signature mini-skirt and boots. While the show frequently showcased her singing (such as in “Charlie X” and “The Conscience of the King”), her dancing was rarely integrated into the plot of the original series.

“Many fans, even to this day, when meeting Nichelle Nichols are a little jolted that I am not Uhura,” the actress admitted. “I don’t act like Uhura. I have a totally different personality. So, I find people discovering that, and they act like they’re meeting a whole new character.”

Interestingly, her stage name “Nichelle” actually originated from her dance days, it was a nickname given to her because of the graceful way she performed pirouettes.

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Julie Andrews Taking a Ballet Lesson With Her Aunt Joan Wells, 1954

Julie Andrews was born into a theatrical family in Surrey in 1935, and from a young age, her natural gift for music and performance was encouraged. Her mother’s sister, Joan Wells, played an important part in her childhood. Joan was a ballet dancer and teacher, and she introduced little Julie to the discipline and grace of dance.

Julie began taking ballet lessons with her Aunt Joan when she was very young, even before she was fully aware of her extraordinary singing voice. These lessons weren’t just casual playtime—they were proper, structured classes in which Julie learned posture, poise, and discipline. Joan saw that Julie had remarkable natural coordination and urged her to continue.

Though ballet never became Julie’s professional path, the training she received from her aunt became essential later on. The balance, carriage, and breath control she developed in those early ballet lessons carried into her stage presence, vocal stamina, and movement on stage. In interviews, Julie Andrews has often recalled those lessons with affection, saying that her Aunt Joan’s influence gave her a foundation that would serve her throughout her career.

By the time Julie was discovered for her extraordinary four-octave soprano, she already carried herself with the confidence and precision of a performer far beyond her years—qualities rooted in the ballet training Joan Wells had given her.

Julie Andrews’ elegant bearing and discipline as a performer didn’t come only from her voice—it began in her childhood with her Aunt Joan Wells teaching her ballet.

See Russ Tamblyn Performing the ‘Shovel Dance’ in “The Fastest Gun Alive” (1956)

In The Fastest Gun Alive (1956), one of the most memorable moments isn’t a gunfight but a dance. Actor Russ Tamblyn, only 21 at the time, performs a remarkable acrobatic routine known as the “shovel dance.”

In the film, Tamblyn plays Eddie, a young townsman eager to prove himself. When the community gathers at a local barn dance, he suddenly takes the floor, grabs a shovel as a prop, and launches into an energetic number. He flips, leaps, and spins with extraordinary athleticism, balancing and dancing with the shovel as though it were a partner.

Glenn Ford assumed the number would be the kind of brief musical interlude that often appeared in musicals but when he saw Tamblyn’s extraordinary routine, he was astonished. Ford, who was married to esteemed tap dancer and actress Eleanor Powell, was fond of dance numbers but felt Tamblyn’s number was out of place in the film. 

As Tamblyn later recalled Ford said “This is a little western here and this guy is coming in and trying to do a Donald O’Connor all over the walls.” Ford tried to get the number cut from the film and it was said to have been cut from the preview but the credits still contained a reference to Russ Tamblyn’s dance number and the audience demanded to see it. 

The number was reinserted into the picture and ended up being one of the highlights of the film.

Russ Tamblyn, known for his roles as an actor who could also dance, was not formally trained in dance but had a background in tumbling and acrobatics. He considered himself an “actor who danced,” and this is evident in the raw, dynamic, and physical nature of his performances, including the “shovel dance” and his famous roles in musicals like Seven Brides for Seven Brothers (1954) and West Side Story (1961).

Sylvester Stallone and Arnold Schwarzenegger Dancing for a Joke During 1990 Cannes Film Festival

In these 1990 photos, action stars Sylvester Stallone and Arnold Schwarzenegger are photographed dancing the waltz in Cannes, France, after putting their competitive natures to the side. Speaking about that moment, Schwarzenegger described it as one of his favorite memories of being in Cannes.

“We danced the waltz,” said Schwarzenegger during the cocktail, dressed in a seersucker jacket, pants and Adidas sneakers. “... Sylvester was here for a film, and I was promoting Terminator 2: Judgment Day, and up until that point we didn’t really hit it off well. We were very competitive and trying to derail each other at every angle and every possibility. And then, somehow, because we were working for the same company, we hugged at a party right about here. The Gipsy Kings were playing and we were holding onto each other and they said, ‘Do you want to dance?’ and he says, ‘Yeah.’ And so we were dancing, we were waltzing, around and around and around. Then we all of a sudden stopped and he said, ‘God damn it, you’re leading, I hate that.’”

“We couldn’t stand to be in the same galaxy together for a while. We truly, truly loathed each other,” Stallone revealed while discussing their careers in the 1990s.

The candid photographs saw the two actors sharing a laugh as they entertained their audience who watched them in amusement.

Stallone referenced a rumor that Schwarzenegger tricked him into taking a part in 1992’s Stop! Or My Mom Will Shoot to have a flop on his résumé back during their rivalry — which Schwarzenegger confirmed was true. Moreover, Stallone’s ex-wife Brigitte Nielsen reportedly once had an affair with Arnold Schwarzenegger.

Vali Myers Dancing in a Jazz Club, Paris, 1950

When people asked Val Myers what her ambition was, she laughed. “Why must everybody have a set ambition?” She asked. “I merely want to live, to dance, to get as much out of life as possible, to experience as many things and feel as many feelings as possible. I’m not like the other girls. I don’t expect anything from life, or from anybody, for that matter. That is really my whole philosophy. Older people can’t grasp this. But they can’t expect much more from young people today because the whole world is unsettled and the future so uncertain.”

Vali never danced in a professional stage show. She preferred the tiny square-footage cleared for her in little clubs such as l’Escale on the Rue Monsieur-le-Prince, or the Rose Rouge; on Saturday she would invariably turn up at the vast ballroom of the Bal Nègre on the Rue Blomet—there to dance hour after hour with the Senegalese, dancers from the Cameroons, from Martinique, taking them on one after the other and leaving them staggered with exhaustion.

Her dancing is remarkable – a sinuous shuffling, bent-kneed, her shoulders and hands moving at trembling speed to the drumbeats. She wears blue jeans, a man’s shirt pulled in at the waist by a wide black belt, and worn red ballet slippers that she often kicks off to dance in flat-splayed bare feet. Her audience, almost always men, stare at her rather than watch.

A friend explains it as follows: “I watched her dance and I never heard the music. I said to her ‘Man, how can you dance like that? You must be a missing link.’ And that was it. Like I guess Kiki of Montparnasse was for those people in the twenties, Vali was the same for us. You saw in her the personalization of something torn and loose and deep-down primitive in all of us—and, Man, you could see it moving right around in front of you in ballet slippers and a man’s shirt.”

Vali Myers (August 2, 1930 – February 12, 2003) was an Australian artist, dancer, and bohemian icon — famous for her intense, otherworldly artworks and her equally intense, free-spirited life.

Born in Sydney, she grew up in a strict environment but quickly broke away, moving to Melbourne as a teenager, where she became a professional modern dancer. Seeking a wider stage, she left Australia in the late 1940s for Europe, eventually settling in Paris.

In Paris during the 1950s, Vali lived in extreme poverty but became a magnetic figure on the Left Bank. Her wild red hair, heavily lined eyes, tattoos, and fierce independence set her apart — she was like a living artwork herself. She became a muse and friend to major artists and writers like Jean Cocteau, Jean Genet, Tennessee Williams, and Ed van der Elsken. However, she wasn’t just a muse: she was a serious artist. Her intricate ink drawings and paintings, filled with fantastical creatures, spiritual symbolism, and dreamlike landscapes, gained her critical acclaim later in life.

After Paris, she lived for many years in a remote valley near Positano, Italy, where she rehabilitated wild animals and continued her art in almost complete isolation. Later, she returned to Melbourne, Australia, continuing to create and exhibit art until her death.

(Photos by Ed van der Elsken, Paris 1950-54, from Love on the Left Bank)

19-Year-Old Aretha Franklin Rehearsing With Motown Choreographer Charles “Cholly” Atkins, 1961

After turning 18, Franklin confided to her father that she aspired to follow Sam Cooke in recording pop music, and moved to New York. Serving as her manager, C. L. Franklin agreed to the move and helped to produce a two-song demo that soon was brought to the attention of Columbia Records, who agreed to sign her in 1960, as a “five-percent artist.” During this period, Franklin would be coached by choreographer Cholly “Cholly” Atkins to prepare for her pop performances.

Before signing with Columbia, Sam Cooke tried to persuade Franklin’s father to sign her with his label, RCA Victor, but she had already decided to go with Columbia. Berry Gordy had also asked Franklin and her elder sister Erma to sign with his Tamla label, but C.L. Franklin turned Gordy down, as he felt Tamla was not yet an established label. Franklin’s first Columbia single, “Today I Sing the Blues,” was issued in September 1960 and later reached the top 10 of the Hot Rhythm & Blues Sellers chart.

In January 1961, Columbia issued Franklin’s first album, Aretha: With The Ray Bryant Combo. The album featured her first single to chart the Billboard Hot 100, “Won’t Be Long,” which also peaked at number 7 on the R&B chart. Mostly produced by Clyde Otis, Franklin’s Columbia recordings saw her performing in diverse genres, such as standards, vocal jazz, blues, doo-wop and rhythm and blues. Before the year was out, Franklin scored her first hit-single with her rendition of the standard “Rock-a-Bye Your Baby with a Dixie Melody.” By the end of 1961, Franklin was named as a “new-star female vocalist” in DownBeat magazine.

In 1962, Columbia issued two more albums, The Electrifying Aretha Franklin and The Tender, the Moving, the Swinging Aretha Franklin, the latter of which reached number 69 on the Billboard chart.

In the 1960s, during a performance at the Regal Theater in Chicago, WVON radio personality Pervis Spann announced that Franklin should be crowned “the Queen of Soul.” Spann ceremonially placed a crown on her head.

By the mid-1960s, Franklin was making $100,000 per year from countless performances in nightclubs and theaters. Also during that period, she appeared on rock-and-roll shows, such as Hollywood a Go-Go and Shindig! However, she struggled with commercial success while at Columbia. Label executive John H. Hammond later said he felt Columbia did not understand Franklin’s early gospel background and failed to bring that aspect out further during her period there.

Behind the Scenes Footage of David Byrne Practicing His Dance Moves for “Stop Making Sense” in 1983

In 1984, Talking Heads delivered Stop Making Sense. Between frontman David Byrne’s iconic big suit, some suitably zany dance moves, and endlessly danceable tunes, it was considered to be the greatest concert film of all time.

The film was shot over four nights in December 1983 at Hollywood’s Pantages Theatre while Talking Heads were on tour promoting their 1983 album, Speaking in Tongues. Stop Making Sense includes performances of the early Talking Heads single, “Psycho Killer” (1977), through to their most recent hit at the time, “Burning Down the House” (1983).

Byrne’s dance during the song “Once in a Lifetime” is particularly memorable. He moves in exaggerated, robotic ways, combining twitchy gestures, loose-limbed shaking, and expressive facial expressions. These movements reflect the existential and surreal themes of the song, creating a unique visual and emotional experience.

The larger-than-life big suit he wears during the concert is another highlight. Byrne’s oversized gray suit adds a surreal, cartoonish element to his dance, amplifying the eccentric vibe of the performance.

Here’s an amazing behind the scenes footage of frontman David Byrne practicing his distinctive dance moves for the 1984 Talking Heads concert film Stop Making Sense.

Byrne himself has suggested that he took on a character for the show, as he recently told The Ringer, “It’s me as a character – or me as myself – being anxious and isolated in the beginning, and then gradually finding himself with this little supportive community.”

25 Fascinating Photos of Fred Astaire and Cyd Charisse Dancing on the Set of “The Band Wagon” (1953)

The Band Wagon is a 1953 American musical romantic comedy film directed by Vincente Minnelli, starring Fred Astaire and Cyd Charisse. It tells the story of an aging musical star who hopes a Broadway show will revive his career. However, the play’s director wants to make it a pretentious retelling of the Faust legend and brings in a prima ballerina who clashes with the star. Along with An American in Paris (1951) and Singin’ in the Rain (1952), it is regarded as one of the finest Metro-Goldwyn-Mayer musicals, although it was a box-office disappointment on first release.

On the set of The Band Wagon, Fred Astaire and Cyd Charisse exuded the glamour and sophistication of classic Hollywood. Behind the scenes, they were often photographed in stylish costumes designed by MGM’s costume department, with Charisse donning elegant gowns and Astaire in his impeccably tailored suits.

A particularly iconic moment shows them preparing for or rehearsing scenes like “Dancing in the Dark” or “The Girl Hunt Ballet,” surrounded by the elaborate set pieces and lighting rigs typical of the era. These images capture not only their professional focus but also the camaraderie of two masters of their craft.

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