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Introduced by Hughes’ close confidant, Cary Grant, Hepburn and Hughes became a celebrity couple in the modern mold: mutually attracted in part based on the fame of the other, they were hounded by paparazzi, their rumored impending nuptials dissected by outsiders until the relationship itself frittered away. He also rebounded from Hepburn by romancing two of her rivals, Bette Davis and Ginger Rogers, while proposing to just about every major female star he could find. ! Show Notes ! If you have not already, listen to the previous episodes in these two series. First, in Follies of 1938, there was an overview of 1938 and the “Motion Pictures Greatest Year Campaign,” and then Kay Francis and box office poison. This episode covers some of the same events that were dramatized in Martin Scorsese’s The Aviator — a film which I deliberately did not watch this week while I was working on the episode. Those sources included: Kate, The Woman Who Was Hepburn by William Mann; Me, by Katharine Hepburn; T he Untold Story of Howard Hughes by Peter Harry Brown; Hughes: The Private Diaries, Memos and Letters by Richard Hack; and, of course, Hollywood 1938: Motion Pictures’ Greatest Year by Catherine Jurca. Also, Noah Segan is quite invested in his recurring role as Hughes. All of the above named stars, while damaged by the bad press in the moment, went on to make “comeback” movies that helped to cement their legacies. That wasn’t the case for another actress mentioned in the ad, Kay Francis, who in 1938 was still Warner Brothers’ highest paid star — even though she had tried to sue the studio the previous year for casting her in too many bad movies. After roaring her way through New York in the 1920s as a flapper it girl, Kay Francis hit her career peak in 1932, the year she starred in Ernst Lubitsch’s Trouble in Paradise, but eventually she essentially lost her spot in the movie star firmament to Bette Davis. I mean, you don’t have to, but it will give you a better understanding of the general scene in 1938, and the context of the now-infamous “box office poison” scandal. That episode was heavily sourced from Catherine Jurca’s Hollywood 1938: Motion Pictures Greatest Year, a book which served as a starting point for this chapter. The other two MVP texts this week were Kay Francis: A Passionate Life and Career by Lynn Kear and John Rossman; and A Woman’s View: How Hollywood Spoke to Women 1930-1960 by the great Jeanine Basinger. The former is a fun, dishy read, making stellar use of Francis’ own, incredibly bawdy diaries.

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It’s easy to forget just how sad and devastated Sixten and Elvira’s lives have become over the course of the film. This movie can make scavenging through the underbrush of a forest for any roots or mushrooms you can eat look like a beautiful ode to life. The film might actually be to beautiful for its own good because the story itself is just so heartbreaking. Seriously, for a film from the 1960s, the colors in this film are almost absurdly vibrant and saturated. There were also serious elements of the French New Wave where Elvira Madigan was ahead of the pack (alongside its French peers) in the use of handheld shots. Elvira Madigan is certainly a tragic love story, but to say that I didn’t find myself invested in the romance between Elvira and Sixten would be the understatement of the century. You never see any of the romance that led up to their decision to risk everything to be together (not even in flashback) so there’s little to no context to why these two are so madly in love with each other. I couldn’t buy it. I bought the romantic chemistry between Pia Degermark and Thommy Berggren and so I was able to believe their characters were in love with each other, but I couldn’t buy the giant leap of faith their tragic fates required. It also didn’t help that the film almost moved at a dreamlike pace (and not especially in a good way) where these two lovers would be whisked away from one predicament or another without an especially large amount of closure being given to any one action they undertake (although they never undertake the intelligent action). I love a great romance done well, and unfortunately, I couldn’t invest myself emotionally in their love story. As I understand it (and is obvious from the oft-copied imagery of the film), this is one of the more influential romances of all time. However, it’s simply been lost to the ages because of all of the films that took it as influence and then added an actual compelling story to the mix. I may not have cared about the fates of our heroes (though the film’s final moments were truly haunting), but I think I’m always going to look back on this film fondly simply because of how engrossing its imagery was. If you’re not the kind of cinema nerd that doesn’t geek out over cinematography and the visual arts aspect of cinema, you should avoid Elvira Madigan like the plague. However, I, for one, am glad that this beautiful film has survived the ages.

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They use art, top models, different inspirational metaphors, slow motion effects, show some elements of nature etc. Last year a renowned Bulgarian plastic surgeon met wry face of the local authorities demonstrating social consequences of his work. The images portrayed various good-looking girls drawn in American 1950s style, looking much like Coca-Cola imagery, for example, from that time. The connotative meaning seemed to be deliberately chosen because in the epoch in question American women were mostly housewives whereas Bulgarian women worked on equal terms with their husbands to build together a future Socialist Eden. But the more curious thing was the headlines accompanying the beauties on the billboard, such as “I’m in love with myself” and “I’m too beautiful to get a job”. The free market had its say as the surgeon had paid in advance for several month of billboard exposure and the images stayed around until October. Thus the censorship sign served only to enhance the impact of the advertising and attract the attention of passers-by. There were some who even thought that the ban was an ad agency’s trick and pointed to the billboards as a clever promotional plan. The campaign, in fact, was justified by the doctor as “jest”. The sluggish efforts of the authorities at censorship only increased the buzz around the ads. There were several articles in the media dedicated to the case and widely publicizing the phrases hidden bybthe censorship stickers. As to the ban itself, it attached different kind of connotation to the main message and in extremely high degree brought the much-hated times of socialistic censorship back to consumers’ mind instead of, as intended, protecting his and especially her best interests. Gitaigo (literally meaning onomatopoeic expressions) are doubled syllables such as puru puru, giri giri, tsuru tsuru or kira kira. These words, which can sound like names of Chinese pandas or Thai gogo girls, are used liberally in daily conversation by all Japanese people and appear in manga and in Twitter feeds. As Seizo Terasaki puts it: “After all, onomatopoeic expressions are not really language; they are in a sense raw. Depending on the context, this can be a sense of whimsy or a brutally direct and visceral rawness.

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In December 2012, Krayzie appeared on the single “Hating On Me” from Dubai-based Rachid “Two Tone” Messaoud. “The song shows that when you are rich and successful, people say they are your fans but are not really your fans. They hate the fact that you have come up in life. ? ? rayzie Later in December 2012, Bizzy appeared on three tracks from Mountain Lion Pt. 1: The Breathing Truth, the debut album from Denver, Colorado native Jonathan “Jahni Denver” Barefield. And finally am getting some recognition after teaming up with the legendary Bizzy Bone from Bone Thugs”? ? ahni Denver In January 2013, Cleveland, Ohio native Jamaal “Caine” Flowers featured Krayzie on his single “When The Music Stop”, produced by certified platinum, Grammy-nominated fellow Cleveland, Ohio native Ronald “Young Yonny” Ferebee, Jr. “The beat by Yonny is amazing. But when I heard it, I thought it’s time to give it that Cleveland shine. In March 2013, Krayzie released Quick Fix: Less Drama. More Music (Level 1), a seven-track EP through TheLife Apparel. Mixed by U-Neek and Kenny McCloud, the EP contained three bonus solo songs and featured two tracks with Tony “Pozition” Harris, the official DJ for Krayzie and Wish. Krayzie then founded The Quick Fix Radio Show, a weekly radio talk show named after the EP.

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