To anglicise her, her first name was abbreviated and she took her mother’s maiden name, but the electrolysis was the worst. This is from a journal article we read: Being Rita Hayworth: labor, identity, and Hollywood stardom by Adrienne McLean:
In a previous week we read in an article that, In the United States more money is spent on beauty than on education or social services. (Can’t remember which article; this quote from the NY Times1.)
We watched the movie Gilda, 1946, supposedly Hayworth’s best. She had learned dancing as a kid and Fred Astaire, who co-starred with her in two movies, said in his autobiography that she was his favorite dancing partner. Life magazine called her The Great American Love Goddess. She was married five times and had a child each by Orson Welles and Prince Aly Khan.
It’s pouring outside, and there’s a science lecture at the U tonight. Bet they’ll be a bunch of empty seats. Think that instead of parking at my friends’ house six blocks away and walking, I’ll cough up the $4 to park in the Tyndall Avenue garage, only a block away.
Also a 1932 film, based on a short story by W. Somerset Maugham that I had read years ago, with Joan Crawford, another scandalous woman.
At the end of January the Sunday New York Times had an article on Kehinde Wiley and his giant portraits and I realized that the collectors we had visited in Phoenix2 had a huge Kehinde Wiley taking up an entire wall, similar to this one, and I tried to get my head around it. Now I understand. This one is based on Raphael’s The Three Graces.
He is known for vibrant, photo-based portraits of young black men (and occasionally women)… their images mashed up with rococo-style frills and empowering poses culled from art history.3
This is a show at the Smithsonian, and you can tell how large the paintings are by the size of the people.