Gute xmas card Photos:
chnola xmas 072 (2)
Bild von Traveling Mermaid
Chas receiving her fake gift card to Earthsavers because moi forgot the real one.
BETTY BOOP (this shop has ceased trading)
Bild von infomatique
Betty Boop is known as the first and one of the most famous sex symbols on the animated screen;[she was a symbol of the depression era, a reminder of the more carefree days of The Jazz age flapper. Her popularity was drawn largely from sophisticated adult audiences, and the cartoons, while seemingly surrealistic, contained many sexual/psychological elements, particularly in the "Talkartoon", Minnie the Moocher which featuring Cab Calloway and his orchestra. Minnie the Moocher is perhaps the one cartoon that defined Betty’s character as a teenager of a modern era at odds with the old world ways of her parents.
Betty is at odds with her parents and opts to run away from home, only to get lost in a haunted cave with her boyfriend Bimbo. A ghostly walrus (rotoscoped from live-action footage of Calloway), sings Calloway’s famous song "Minnie the Moocher", accompanied by several other ghosts and skeletons. This haunting performance sends the frightened Betty and Bimbo back to the safety of "home, sweet home". "Minnie the Moocher" was a huge success on two levels. It was a tremedous promotion for Calloway’s subsequent stage appearances, and also established "Betty Boop" as a cartoon star. The eight Talkartoons that followed all starred Betty, leading her into her own series beginning in 1932. With the release of Stopping the Show in August of 1932, the Talkartoons were replaced by the Betty Boop series, which continued for the next seven years, with Betty being one of Paramount’s top stars.
Betty Boop is important to animation history for being the first cartoon character to fully represent a sexual woman. Other female cartoon characters of the same period showed their panties regularly, like Minnie Mouse, but were not fully defined in a woman’s form. All other cartoon "girls" were merely clones of their male co-stars, with alterations in costume with the addition of eyelashes and a female voice. Betty Boop wore short dresses, high heels, and a garter belt. Her breasts were suggested with a low, contoured bodice that showed cleavage. In her cartoons, male characters tried to sneak peeks at her while she’s changing, or simply walking along minding her own business. In Betty Boop’s Bamboo Isle, she does the hula topless, wearing only a lei and a grass skirt, which she repeated in her cameo appearance in the first Popeye cartoon, "Popeye the Sailor" (1933). Her "Bamboo Isle" performance was also included in the short "Betty Boop’s Rise to Fame", featuring a staged quasi-interview with studio head, Max Fleischer.
There was however, a certain girlish quality to the character. She was drawn with a head bigger than normal for an adult, but normal for a baby. This suggested the combination of girlishness and maturity many people saw in the ‘flapper’ type which Betty Boop was supposed to represent.
While compromises on Betty’s virtue were always a challenge, the animators kept her "pure" and girl-like. On screen, anyway. The studio’s 1931 Xmas card featured Betty in bed with Santa Claus, winking at the viewer. Also in 1931, the Talkartoons ‘Bimbo’s Express’ and ‘Dizzy Red Riding Hood’ were given distinctly ‘impure endings’. Officially, she was only 16 years old according to a 1932 interview with Fleischer. Attempts to compromise her virginity were reflected in "Chess Nuts" (1931) and most importantly, "Boop-Oop-A-Doop" (1932). In this cartoon, Betty is a High Wire Performer in a circus. The villainous Ringmaster lusts for Betty as he watches her from below, singing "Do Something," a song previously performed by Helen Kane.
As Betty returns to her tent, the Ringmaster follows her inside and sensually massages her legs, surrounds her and threatens her job if she doesn’t submit. This is perhaps one of the earliest portrayals of sexual harassment on the screen, and was very daring at a time when such subject matter was considered taboo. Betty begs the Ringmaster to cease his advances, as she sings "Don’t take my Boo-Oop-A-Doop Away." Koko the Clown is outside of the tent, practicing his juggling and hears the struggle from inside the tent. He leaps in to save Betty’s virtue, struggling with the Ringmaster who loads him into a cannon, firing it, thinking that he has sent the hero away, laughing with self-satisfaction. But Koko is hiding inside the cannon, and strikes the Ringmaster out cold with a mallet, returning with "the last laugh." Concerned about Betty’s welfare, she answers in song, "No, he couldn’t take my boop-oop-a-doop away!"
Betty Boop’s Big Boss, however, wrong-foots the audience. After the usual menacing advances, there is a vast mobilization of outraged citizens, the Army, the Navy etc. to rescue Betty. The rescuers break in and discover Betty and the Big Boss happily embracing – it seems she likes this one after all! The cartoons closes with astonished exclamations of disgust.
Temporarily purple
Bild von Easternblot
It will wash out in a week. I was afraid it would be pink, but thankfully it’s really purple. And, no, I should not be wearing red shirts with purple hair. And I should take down the Xmas cards, I know.
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