Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Tuesday, August 31, 2010

Vintage Comedy Part 1

I try to keep my interests compartmentalized - on the internet, at least - and for that reason have separate blogs dedicated to my love for vintage images and fashion, comic books, and literature. Another of my passions is comedy, especially (for now, as my areas of interests are fleeting, transient at best) midcentury revolutionaries Lenny Bruce, Dick Gregory, Mort Sahl, Woody Allen, and Nichols and May. Among their modern progeny, I'd include Marc Maron, Hari Kondabolu, Patton Oswalt, Maria Bamford, Mike Lawrence, Kyle Kinane, Sean O'Connor, Sean Patton, Todd Hanson, James Fritz, Beth Stelling, Louis CK, Dave Chappelle, and Lucas Molandes.

That list is by no means exhaustive, but those are the comedians that I love. They're dark, personal, a bit depressed and misanthropic, intelligent, and most importantly of all, they're hilarious.

Instead of creating a new blog to neglect (sorry I've been away for so long!), I figured I'd share my seemingly disparate passions with the readers of b.vikki vintage.


I've just begun to collect vintage comedy albums and my budding collection has grown - over the past month or so - to include the early work of Bill Cosby, Flip Wilson, W.C. Fields, Steve Martin, George Carlin, The Smothers Brothers, Lily Tomlin, Allan Sherman, and Bob Newhart.


Of course, I can never leave a hobby at collection alone. My tendency toward exhaustive research has permeated my love for comedy, as well. I'd highly recommend, to anyone even peripherally interested in comedy, reading Gerald Nachman's Seriously Funny: The Rebel Comedians of the 1950s and 1960s. Its attitudes toward modern comedy are a bit dismissive and blanketed, but Nachman's depth of passion and interest in what made the comedy of the 50s and 60s so controversial, irreverent, and pioneering are invaluable.

To tie things back to the theme of b.vikki vintage, I found a handful of articles from Ebony and Jet magazine chronicling the evolution of black comedy in the 1950s and 1960s that piqued my interest; profiled alongside the comics I mentioned enjoying above are their black contemporaries, to whom, before finding these articles, I'd unfortunately been all but oblivious. The 1960 Ebony article below names Nipsey Russell, who I loved as the Tin Man in The Wiz, but of whose stand up career I'd never heard, as Mort Sahl's black equivalent.

There are at least three dangling b.vikki vintage features I've been promising to resolve (weddings, voters, menswear), but I've never been one to complete anything the way I'd planned it. So, I'm introducing this feature for you all to enjoy...

Click images to enlarge.




The above article highlights the difficulties facing the emerging class of black comics in 1960, many of whom (Dick Gregory, Red Foxx) we now know went on to fantastic careers, setting the precedent for just the kind of political and social satire the article claims black comics of the day were largely incapable of successfully executing. What I found most interesting was that the controversial work of Lenny Bruce and Mort Sahl is established as the standard to be achieved, this quote from Steve Allen being particularly telling: "Just imagine a Negro comic getting up on stage and saying some of the things that Lenny Bruce or Mort Sahl are getting away with." What no one could have known at the time this article was written was that Bruce would presently be destroyed by censorship and litigation for saying just such things; the heartbreaking story of his rise and fall is documented in Without Tears (which, despite its name, made me cry like a baby!).

If you're interested in hearing some midcentury comedy, here are a couple of bits I really enjoy:

Bach to Bach - Nichols and May: the completely improvised comedy sketch involving two pretentious lovers engaged in hilarious one-uppery. Pillowtalk has never been more unbearable.

Lenny Bruce's subversive Black woman or White woman bit. It challenges people's prejudices even today!


On my YouTube channel, I have tons of comedy videos I love favorited - modern and vintage. Be forewarned, the subject matter is often indelicate and untoward! I guess I talk a good game here on b.vikki vintage, but my tastes are basically as crude as anyone's.

Going back a bit further, I'd also recommend checking out humorists Robert Benchley (whose short essay "Inherent Vice: Express Paid" [no Pynchon] I've just finished and it cracked me up. Some of the other essays in Benchley lost and found are so dated they confound my sense of humor, but the ones that still work are hilarious and timeless.) and S.J. Perelman.

And here's a quick 1961 review and collection of Dick Gregory quotes from Jet Magazine:


Thanks for reading.

Monday, December 7, 2009

Reet, Petite, and Gone

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This post came together completely by accident. I checked out a few books from the library about vintage Black cinema this weekend, a few titles and images caught my eye, and I decided to research them more. Among the captivating titles was Reet, Petite, and Gone - a 1947 movie directed by William Forest Crouch, in the tradition of the race movies of the decade.

And just my luck (and yours!): the entire movie is available online HERE. It's definitely worth watching if you have the hour to spare. It's charming, effervescent, and more risque than you might imagine for a movie made in the 1940s.

All of the female leads and peripheral characters are absolutely stunning! And even more talented! They sing, they dance, and their wardrobe is arresting.

Below are some screencaps from the movie, promotional stills, and images from my library book,Black Cinema Treasures: Lost and Found by G. William Jones with a foreword by the late Ossie Davis. It really is a great read with stills from and synopses of black movies from the 1930s and 1940s that were, for decades, considered lost and unrecoverable. How fortunate for us all that they were found and preserved, for posterity.


The embroidered and I believe feather and floral detail on the bodice of that dress is beautiful. The cap sleeve makes for a wonderfully dainty silhouette.

A bared midriff! That hair accessory is adorable. I've seen just such an accessory on Etsy.


This polka dotted look on the chorus girls, or SHAKE DANCERS, as they were often called, would make a great swimsuit with the right adjustments. NOT FOR ME... but for someone...








I love this secretary's hair. As a curly girlie myself, I can appreciate the style. In a previous post, I mentioned that women of the early 20th century, especially those of us of color, didn't have much to work with in the way of suitable hair products before Madam CJ Walker.




A description of the movie from VenerableMusic.com:

On his death bed, wealthy musical star Schyler Jarvis wills the estate to his bandleader son, Louis, on one condition-that the young musician settle down and marry the daughter of one of Schyler's old flames. Unfortunately, the old man's shady lawyer, Henry Talbot, has altered the will to make it almost impossible for Louis to find the girl. Knowing that Talbot will gain control of the estate if he fails, and desperate for cash to finance his Broadway revue, Louis and his agent, Sam, set up auditions to find the intended bride, but unbeknownst to all, the girl is right under their noses.

This all-black musical is overflowing with great musical numbers by Louis Jordan and his swing band, The Tympani Five. In 1987, Jordan was posthumously inducted into the Rock and Roll Hall of Fame under the "Early Influences" category, and 11 years later was inducted into the Big Band and Jazz Hall of Fame. Rolling Stone Magazine ranked him as the 59th Greatest Rock 'n' Roll Artist of all time, and the raw musical talent and confident smoothness that earned him that status is well documented in this rare treat from black cinema history. Starring Louis Jordan and the Tympany Five, Milton Woods, Lorenzo Tucker, Bea Griffith. Directed by William Forest Crouch.

Here's a clip of my favorite dance number from the film. It's amazing how modern these moves seem! And they're sexy without being scandalous. "WHAM! SAM! DIG THEM GAMS!" ENJOY!



The lyrics of the second number, I Know What You're Putting Down, are quite sensational. It's like The Scarlett Letter all over again. As much as I love the sartorial vocabulary of the 1940s and mid-century America, I don't know if I could deal with the suppressive nature of traditional gender roles and expectations, and the fact that women's sexual liberation was still only a novel idea.

There's a whole lot of talk around town
About the way you're carrying yourself
Whole lot of talk around town, woman
About the way you're carrying yourself
You're jiving everybody in town
But old b., that's me
I know what you've been putting down
Kinsey's Sexual Behavior in the Human Female is still six years away at this point.... though, not much has changed, even with the access to more information over 55 years since produced.

For more information, and a great, informative, colorful review of the movie, visit Wild Realm Reviews HERE.

I've got about a dozen more movies from this era to feature, so I guess this will be a feature as well, along with Vintage Black Brides and Weddings, and Vintage Voters (which will begin tomorrow).

Also, this past weekend marked the 2 month anniversary of b.vikki vintage! It's been a crazy two months. Quite the whirlwind. Thank you to all of my followers, readers, and commenters - and to all of the blogs and websites that have featured or linked to b.vikki vintage in the past 2 months.

Don't forget to visit b.vikki vintage on Etsy!

Sunday, November 15, 2009

Style & Status: Selling Beauty to African-American Women, 1920-1975

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Most recent library book: Style & Status: Selling Beauty to African-American Women, 1920-1975 by Susannah Walker.
Great read! (Though, to be honest, I browsed, more than read the book...)

I was going to stay away from skin lightening ads - and I've come across LOTS of them - but among the photographs included in Style & Status were the ones immediately below, advertising skin lightening creams and salves as a way to have pride in one's race.... which is nothing if not counterintuitive.



The copy on the advertisement above begins, "Your sweetheart - your husband is not blind. If you have short, ugly hair he knows." Well, tell us how you REALLY feel! I can't deny that the photographed woman is a head turner, and appeals to vanity are certainly nothing new, but tact and finesse seem to have been acquired charms in the advertising industry. This 1928 ad from the Chicago Defender is so over the top to the modern reader, it's almost funny.


Madam C.J. Walker's empire extended beyond hair products; the advert above speaks of antiseptic soap, face powders, body oils - all in the service of a woman's beauty and desirability. The ad's copy reads: "Perhaps you envy the girl with irresistible beauty, whose skin is flawless and velvety, whose hair has a beautiful silky sheen, the girl who receives glances of undoubted admiration. You need not envy her." Followed, of course, by the claim that Madam C.J. Walker's products can make you as beautiful as you've ever dreamt of being.

It's all very "Bernice Bobs Her Hair".

Not only was Madam C.J. Walker inventing products for African-American women - she was also employing and teaching them! As seen in the flyer above, which reads: "In these times, when we are so greatly concerned about jobs, it is refreshing to know that here is one company where the color of one's skin is not a bar to employment." Refreshing indeed! And in the 1920s!

Lard, tallow, petroleum, and a spool of thread... MacGuyver could probably sail a ship with less. But what could YOU make of your hair with only these items? Probably a mess. I wouldn't even know where to begin! Black women in the 1920s had this to work with until Madam C.J. Walker. Even as an African American woman with natural hair who isn't fond of chemicals... I couldn't imagine slathering my head with lard.

The teeny weeny afro in this advert seemed at first anachronistic to me. Seems like something you'd see in the late 1960s to early 1970s, but this ad is from a 1929 issue of the Chicago Defender.



Poro College Representatives seemed the 1920s equivalent of what we know as Avon or Mary Kay Reps today. How progressive!


An African American hair show in the 1920s... It's no Bronner Brothers, but that hair shows even existed this early was a huge surprise to me!


No beauty school dropouts here.
I wonder if in the 1940s it was cheaper to have students do your hair, as it is now...

Interesting! These days, people want a sun-kissed beach tan. I know that in the 1920s, women generally valued porcelain complexions and marcelled hair, but Among African-American women, I imagined the beauty standards to be different. I guess not!

Skin lightening ads really rub me the wrong way. I know that they still exist, and are not limited to any one culture or era, but I wish we could all be over the idea that fairer skin is better skin, or straighter hair is better hair. Yes, straight hair and fair skin are beautiful, but just as beautiful are dark skin and curly or kinky hair.
/end rant



This pamphlet cover reminds me of the Tide Magazine cover I'd discovered in Madison Avenue and the Color Line: African Americans in the Advertising Industry last month. I thought Tide's 1947 cover bold and ground-breaking (which is was; Tide was a national advertising trade magazine running a story about African American consumers), but this pamphlet insert from the Chicago Defender from 1945 predates the Tide article by two years.

Makes Pete Campbell's fictional 1963 pitch on Mad Men not seem so far fetched or outrageous.



I've come across so many Nadinola ads during my research they don't even shock me any more. Last month, when I first began scouring old issues of Black publications, every happening upon a Nadinola ad was a new slap in the face... The idea that love could be influenced by complexion, that dark skin was an impediment to happiness is both antiquated (I hope!) and hurtful. But, from a purely aesthetic point of view, the ads were often blocked so beautifully, I was tempted to feature them. I may decide to in the future.




I absolutely LOVE this hair style. I've got to figure out how to achieve it. My hair is very Very VERY puffy and curly, so to tame it into this style may prove difficult. If only I could get my hands on some sensational Vapoil.


Again, Susannah Walker's book, Style & Status was a great read! I definitely recommend it to anyone interested in the Black beauty industry and the experience of Black women in the 1920s to the 1970s.

This week, on b.vikki vintage, I'll begin the Black Brides & Weddings posts, and feature some great vintage ads from Pepsi, Kodak, and more.

Thanks for reading - and a very special thank you to the 20+ new followers I gained last week!

Don't forget to visit b.vikki vintage on Etsy!

Tuesday, November 10, 2009

Chicago's Historic Bronzeville Community 1941-1943 (part 2) + 40s, 50s, 60s Chicago extras

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More photos from Bronzeville: Black Chicago in Pictures: 1941-1943 by Maren Stange.

Ida B. Wells housing project. Skipping rope in the recreation hall at the community center. Jack Delano, March 1942.

The basement of the Good Shephard Community Center is largely used for recreational purpose. Russell Lee, April 1941.


Negro bar on the South Side. Russell Lee, April 1941.



Tavern on the Southside. Russell Lee, April 1941.


Girl listening to music at a dance. Russell Lee, April 1941.

Detail of the crowd watching the orchestra at the Savoy Ballroom. Russell Lee, April 1941.


Negro boys on Easter morning. Russell Lee, April 1941.

This is by far my favorite picture from this book!

In front of the moving-picture theatre. Russell Lee, 1941.



Part of the Easter parade on the South Side. Russell Lee, April 1941.

Crowd outside of a fashionable Negro church after Easter Sunday service. Edwin Rosskam, April 1941.


And here are three grab bag photos I found from 1940s, 1950s, and 1960s Chicago:



Two sisters dancing in 1965 - Chicago.

1950s - Chicago.


1940s Chicago.

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