Home / _2006-2015 Albums to Sort Out (Multiply +) / 2006 thru 2010 - Misc ACJ Pics (HZ) [234]

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    profdash wrote on Dec 11, '08
    Showgirl Marie Stafford was a featured singer-dancer in the revues of the post World War I period. An attractive brunette, she was first given billing on Broadway by the Schuberts in the “Gaieties of 1919.” She followed her stint of Gaiety with Frivolity in G. M. Anderson’s revue, “Frivolities,” of which a contemporary reviewer reported, “The stage was littered with women in all the colors of the rainbow, pretty women.” Amid this colorful litter, Stafford shown brightly enough to be hired away for “The Century Review” which ran 150 performances.

    profdash wrote on Dec 11, '08
    Sally Long was a revue girl with a photogenic jaw line that showed best with modernistic bangs; indeed her striking facial appearance got her out of the chorus, into featured dancer roles in George White’s Scandals of 1922, The Ziegfeld Follies, and “Kid Boots,” and finally onto the screen. Married at age sixteen and and twice a mother by 19, she traveled from Kansas City to New York to break into show business. Ziegfield signed her and took out a $100,000 against her marrying or falling in love unaware that she was an experienced matron. The secret marriage with Leo Tuey lasted until 1926. Long’s movie career was brief, but intense. She had a bit part in a 1918 production, but established herself in 1924, having gone west. A physical performer, she played in westerns, in 1920s “modern youth films,” and action features such as “The Thrill Seekers.” She was named a Wampas Baby in 1926. Sound killed her career.

    ziegfeldgrrl wrote on Dec 30, '08
    David, if you can identify any of these I'd be most appreciative. Thanks so much!

    profdash wrote on Jan 2, '09
    I own two of the Little Old New York stills that ACJ did. Bardleys the Magnificent was photographed by Henry Waxman, who started out as an ACJ acolyte working for Ziegfeld on a job basis as as photographer in 1922-23 before going to Hollywood in late 1923. The Eastman House has several of the Dwan "Perfect Crime" stills that ACJ did. Several of the Paying the Piper stills that he did (which appeared under the credit of the director, Arthur Miller, are for sale at Jay Parrino's The Mint--Some Alma Tell shots, including one in front of a tapestry.

    ziegfeldgrrl wrote on Jan 4, '09
    Ah, that explains the look of the Bardleys the Magnificent still then! Thank you for that info. Henry Waxman... a formidible talent. Thanks too for the rest of the info and for email. Quite helpful and much appreciated!

    profdash wrote on Jan 2, '09
    I also own some of his special stills (not the Marion Davies publicity portraits) that ACJ did for Yolanda as well.

    ziegfeldgrrl wrote on Jan 4, '09
    You must have quite the spectacular collection! I have very few (count on half a hand) original photos and I can't believe I own them. Just gorgeous, all of them.

    profdash wrote on Jan 5, '09
    GENEVIEVE TOBIN (1902-1995)

    Born into an acting family, Genevieve Tobin was performing in children’s pageants and plays as an 8-year old with her brother George and sister Vivian. In summer of 1916 she and Vivian broke into vaudeville playing children’s roles in a playlet, “The Age of Reason,” at the Palace Theatre. By 1919 she was a featured performer on Broadway, appearing in “Palmy Days,” a comedy set in the California mining camps. Her role as “Cricket” had acerbic Alexander Woolcut gushing about her radiance and winsomeness as a seventeen-year old actress. Wolcott’s faith in her talent proved well founded the next year by her triumph in the costume drama, “In Little Old New York.” Playing Patricia, Tobin first appears disguised as a boy, but over the course of three acts sheds the trousers, wins the love of a wealthy guardian, and has adventures with the likes of John Jacob Astor and Cornelius Vanderbilt. Woolcot declared her the “new Maude Adams.” She followed this with another success, “Polly Preferred” about a salesman who advertises a chorus girl (Tobin) into movie stardom. Tobin was ambitious to expand her range from comedy. Despite a less than stellar singing voice, she scored a major hit as the female lead of the Jerome Kern/Howard Dietz musical, “Dear Sir,” in 1924. Throughout the next several seasons, Tobin’s career was stalled, until the 1927 farce, “Muray Hill,” written by co-star Leslie Howard revived her luster. She performed one further drama, “The Trial of Mary Dugan,” whose London premiere in 1927 won Tobin lavish praise from critics. Her stage career ended gloriously with the musical “Fifty Million Frenchmen.” Having trained her singing voice, she brought off Cole Porter’s “I’m in Love” with verve. Tobin in 1929 set her sights on Hollywood, and landed in a Paramount drawing room comedy admirably suited to her skills, “A Lady Surrenders.” Her professionalism, easy sense of ensemble, clear diction, and wit kept her before the camera throughout the decade. Indeed, she suffered something of over-exposure, appearing in 40 films from 1930 to 1940 with only a few—1934’s “Easy to Love” and “Dark Hazard,” 1936’s “Petrified Forest”—commanding enduring interest. By 1937 she had been relegated to supporting roles, and with the war, she left performing for good.
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