Full Transcript of the Interview (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Full Transcript of the Interview (PDF) AN ORAL HISTORY OF BRITISH FASHION Leslie Russell Interviewed by Linda Sandino C1046/05 © The British Library Board IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. © The British Library Board NATIONAL LIFE STORIES INTERVIEW SUMMARY SHEET Ref. No.: C1046/05/01-12 Playback No.: F13773-74; F14372-75; F14535-37; F14683-84; F14911 Collection title: An Oral History of British Fashion Interviewee’s surname: Russell Title: Mr Interviewee’s forenames: Leslie Sex: Male Occupation: Hairdresser Date of birth: 07.05.1943 Mother’s occupation: Housewife Father’s occupation: Factory worker Date(s) of recording: 03.09.2003; 26.09.2003; 10.12.2003; 21.01.2004; 11.02.2004; 24.03.2004 Location of interview: Interviewee’s flat above salon ‘Smile’ Name of interviewer: Linda Sandino Type of recorder: Marantz CP430 Total no. of tapes: 12 Type of tape: D60 Mono or stereo: Stereo Speed: n/a Noise reduction: Dolby B Original or copy: original Additional material: Two photocopies of magazine articles from 1960s about the interviewee and hairdressing styles. Copyright/Clearance: full Interviewer’s comments: Noises on tapes 3 – 6 are building work on neighbouring property. Interruptions from daughter (occasionally). Whine on tapes 7 – 9 from central heating boiler. Leslie Russell C1046/05/01 F13773A Page 1 [F13773 Side A] Say my name and my date of birth, yes. Leslie Russell, 7th of May 1943. And where were you born? Born in Carshalton, in Surrey. Tell me about your family background. I’m one of six children, three boys, three girls. We lived on council estates mostly, well always. Went to state schools. We were I suppose what you would call a working-class family. What were your parents’ names? My mum was called Lillian and my dad Robert. And... Do you know how they met? No, I don’t know how they met, that’s not... I’ve got a cousin actually, he’s trying to do a family tree at the moment, you know, on the Net I believe, but I don’t really...I’ve got some, some history but not really how they met, no. And we never really... My father seemed to...he didn’t have any contact with his family at all, so I don’t know...I don’t know why, and I don’t know anything about his family. I know more about my mother’s family. Yup. They were, both come from Camberwell. I know a bit about my grandfather now, and my grandfather, but I don’t...my grandmother died when I was quite young, about nine I think, and I only remember seeing her once. And what did your maternal grandfather do? What did he do? I know he came from Le Havre, so he was French. He, it seems... It’s a bit unclear but I think he had two businesses, one was horse-drawn cabs, and the Leslie Russell C1046/05/01 F13773A Page 2 other was, which he definitely had, was a fruit and vegetable business, and I think he was probably supplying restaurants and things like that, and probably coming from France I would have felt. The other extraordinary thing, I’ve only just found out, is, they had thirteen children, and, one of whom died in the ’14-18 War, one of the boys, Frederick, their name was Perrault, and... I’m forgetting why I’m telling you this now. Oh yes. It seems, they never got married...(laughs)...which is... And I often wondered really; he probably had a wife in, in Le Havre I should think, and did a runner across the sea. I think that probably happened quite a lot. My mother... My elder sister knows more about it than I do, but my mother used to tell me she could remember when she was small when they lived in a house when they had servants and things. But then, he, the story is that he was embezzled of all of his money from his brother, and then the whole family ended up in the workhouse, where they had their heads shaved, and, and my grandmother apparently went out and scrubbed office floors and gradually got them all out again. It’s...I think my mum was very small, she doesn’t have a huge memory of that, but I think that was, must have changed their lives, you know, dramatically really. So, before she moved to Camberwell, where do you think... They were born there, both of them, I’ve seen their... I can’t remember the address but they were both born in that area. So, how they met, I’m not really sure, I’ve seen pictures of their wedding and so on. Yes, not a happy couple. So... And, I’m, as I said, one of six. We’re all divorced, which I think is, is... You know, I’m a great believer in, what happens to you when you’re small does shape your life and your decisions. So, yes, we’re very much the working-class family. And, where are you in...? Oh, I’m number four. I’m the youngest son, and I have two younger sisters. And my...we were like two groups of three; my next eldest sister is nine years older than me, and then I’ve got a brother who’s eighteen months older than her, and another brother who’s two years older than the...so there’s one older brother, next brother, then my sister. And then, I don’t know what happened for nine years, but then I came along. (laughs) And then two younger sisters. © The British Library Board Leslie Russell C1046/05/01 F13773A Page 3 And what sort of things do they do? What did they do? They were... My dad did all sorts. I can remember when I was little, he worked in a factory where they made toys, so, he worked on a lathe I think. I think he did any kind of job to, you know, just earn some money really. And where was the factory? That I don’t know, because we lived, until I was eleven we lived in Carshalton, where I was born, and Carshalton is, you know, next to Mitcham, and it’s very sort of, south London basically. And then, when I was eleven we moved to a place called Merstham, which is very near Redhill and Reigate, in the middle of nowhere, those awful council estates they built to offload people from London I think basically. Because when we were talking earlier before the tape about not feeling part of anything, that’s a bit of what I meant. I don’t really, not realising it, but we were sort of, not felt part of anything very really. So, that was quite extraordinary, because we... What happened then, it sounds like a long time ago, but people locally were kind of, some of them were very sort of country based, so we were a sort of, south London family, and I think again felt quite, not part of the whole thing. I remember going to school at that age with a very cockney accent, which everybody had, and then I went to a secondary modern school in the grammar stream where you’re supposed to do, it was the next best thing to going to a grammar school. And, just right from day one was in trouble, kind of, basically, one of those cockney kids who wasn’t going to back off to anybody, you know, I was always fighting, and, the first day I think I was up before the headmaster for three different kind of fracas sort of thing. And that was a lot of, I think just coming from London, you know, ‘You do you think you are?’ that kind of stuff. What was the name of the school? It was called Albury Manor, and it was in Merstham, which not many people have heard of. It’s literally about halfway between London and Brighton on the old Brighton road. I mean, you could drive through it and spit out the window, and you’d © The British Library Board Leslie Russell C1046/05/01 F13773A Page 4 gone past it. It was that kind of place. God knows why they moved there. The only thing I can imagine, you know, we had a bigger garden, and... I can’t, I can’t really think of why, you know. Because we, for someone of my age, I mean eleven, I had loads of friends, and local kids, and, that you just sort of left behind, which made it very difficult. Very difficult, that’s an over-exaggeration. So I can’t say that we enjoyed school, except that, fortunately for me, as I say, the problems I had on day one gave me a bit of a reputation of being, you know, a hard nut or whatever you want to call it. I was very good at football, which was actually what I really wanted to do. So I played football for the school, and, for the borough sometimes and things like that, which meant that you had some kind of status, especially with boys, you know, you can, if you can play sport you can get away with a lot of things.
Recommended publications
  • Trine Dyrholm Est
    FESTIVAL DE VENISE FESTIVAL DE CINÉMA ORIZZONTI EUROPÉEN DES ARCS PRIX DU MEILLEUR FILM PRIX DU JURY TRINE DYRHOLM EST UN FILM DE SUSANNA NICCHIARELLI KINOVISTA ET NEW STORY PRÉSENTENT UNE PRODUCTION VIVO FILM AVEC RAI CINEMA ET TARANTULA EN COPRODUCTION AVEC VOO ET BE TV ÉCRIT & RÉALISÉ PAR SUSANNA NICCHIARELLI AVEC TRINE DYRHOLM, JOHN GORDON SINCLAIR, ANAMARIA MARINCA, SANDOR FUNTEK FESTIVAL DE VENISE FESTIVAL DE CINÉMA ORIZZONTI EUROPÉEN DES ARCS PRIX DU MEILLEUR FILM PRIX DU JURY 2017 · ITALIE / BELGIQUE · 93 MINUTES · COULEUR · VOST ANGLAIS SORTIE LE 18 AVRIL 2018 DISTRIBUTION RELATIONS PRESSE KINOVISTA NEW STORY BOSSA-NOVA | Michel Burstein 34, rue Saint Dominique 7-9, rue des Petites Écuries 32, bd St Germain 75007 Paris 75010 Paris 75005 Paris 01 44 59 60 15 01 82 83 58 90 01 43 26 26 26 [email protected] [email protected] [email protected] www.kinovista.com www.new-story.eu www.bossa-nova.info SYNOPSIS Entre Paris, Prague, Nuremberg, Manchester, la campagne polonaise et le littoral romain, Nico, 1988 est un road movie dédié aux dernières années de Christa Päffgen, plus connue sous le nom de « Nico ». À PROPOS DE NICO PAR SUSANNA NICCHIARELLI La musique de Nico était âpre, mais c’était de loin l’une des productions avons relevé le défi qu’elle puisse toucher le public. Avec Trine comme musicales les plus intéressantes et exigeantes de son époque : elle a créé avec les autres comédiens, notamment John Gordon Sinclair, j’ai utilisé un style unique alliant recherches personnelles, expérimentations et ironie, le regard des partenaires de Nico, du manager aux membres du groupe, refusant obstinément de se soucier du succès commercial.
    [Show full text]
  • For a Faggot Anti-Fascism!
    ...for a faggot anti-fascism! June 2011. The squares are crowded. The people? The people left their couches and took to the streets. Debate. Fermentation. Direct democracy. The people got to acquaint themselves with the real, human face of anarchy rather than with that portrayed in the 8 o'clock news. Those days were a rupture. From there onwards we would “storm into the sky”. The cops spoiled the party. The repressive pigs. With the Israeli tear gas.1 At that point, then, a bit before storming the skies, an awkward moment was due. It was the first and only time – it is true – that we set foot in Syntagma square. It was when on the 4th June 2011, the gay pride parade run into the 'indignados'. Given that it was summer, the coldness of the encounter had something beautiful. A celebration of homosexual pride was encountering a circus of national moaning and it was logical to expect some discontent on the part of the latter. But this text won't talk about such easy to prove point: the widespread racism of Greek society against non-heteronormatives. We want, instead, to address the field of homophobia within anti-fascism, an immediate concern for us. Not to argue why it is not in our interest to maintain it. Besides, who is 'us'? We would just like to elucidate it and put different foundations in the whole debate, our foundations. No one would be surprised were we to reiterate the view that many stereotypes, prejudices and hate ideas have survived from the middle ages, and even prior to that, to the late 19th century and down to the 21st century.
    [Show full text]
  • Under Postcolonial Eyes
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and Chapters University of Nebraska Press 2013 Under Postcolonial Eyes Efraim Sicher Linda Weinhouse Follow this and additional works at: https://digitalcommons.unl.edu/unpresssamples Sicher, Efraim and Weinhouse, Linda, "Under Postcolonial Eyes" (2013). University of Nebraska Press -- Sample Books and Chapters. 138. https://digitalcommons.unl.edu/unpresssamples/138 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Under Postcolonial Eyes: Figuring the “jew” in Contemporary British Writing Buy the Book STUDIES IN ANTISEMITISM Vadim Rossman, Russian Intellectual Antisemitism in the Post-Communist Era Anthony D. Kauders, Democratization and the Jews, Munich 1945–1965 Cesare G. DeMichelis, The Non-Existent Manuscript: A Study of the Protocols of the Sages of Zion Robert S. Wistrich, Laboratory for World Destruction: Germans and Jews in Central Europe Graciela Ben-Dror, The Catholic Church and the Jews, Argentina, 1933– 1945 Andrei Oi܈teanu, Inventing the Jew: Antisemitic Stereotypes in Romanian and Other Central-East European Cultures Olaf Blaschke, Offenders or Victims? German Jews and the Causes of Modern Catholic Antisemitism Robert S. Wistrich,
    [Show full text]
  • Vidal Sassoon INSPECTION REPORT
    INSPECTION REPORT Vidal Sassoon 04 November 2002 VIDAL SASSOON Grading Inspectors use a seven-point scale to summarise their judgements about the quality of learning sessions. The descriptors for the seven grades are: • grade 1 - excellent • grade 2 - very good • grade 3 - good • grade 4 - satisfactory • grade 5 - unsatisfactory • grade 6 - poor • grade 7 - very poor. Inspectors use a five-point scale to summarise their judgements about the quality of provision in occupational/curriculum areas and Jobcentre Plus programmes. The same scale is used to describe the quality of leadership and management, which includes quality assurance and equality of opportunity. The descriptors for the five grades are: • grade 1 - outstanding • grade 2 - good • grade 3 - satisfactory • grade 4 - unsatisfactory • grade 5 - very weak. The two grading scales relate to each other as follows: SEVEN-POINT SCALE FIVE-POINT SCALE grade 1 grade 1 grade 2 grade 3 grade 2 grade 4 grade 3 grade 5 grade 4 grade 6 grade 5 grade 7 VIDAL SASSOON Adult Learning Inspectorate The Adult Learning Inspectorate (ALI) was established under the provisions of the Learning and Skills Act 2000 to bring the inspection of all aspects of adult learning and work-based training within the remit of a single inspectorate. The ALI is responsible for inspecting a wide range of government-funded learning, including: • work-based training for all people over 16 • provision in further education colleges for people aged 19 and over • learndirect provision • Adult and Community Learning • training funded by Jobcentre Plus • education and training in prisons, at the invitation of Her Majesty’s Chief Inspector of Prisons.
    [Show full text]
  • Book Proposal 3
    Rock and Roll has Tender Moments too... ! Photographs by Chalkie Davies 1973-1988 ! For as long as I can remember people have suggested that I write a book, citing both my exploits in Rock and Roll from 1973-1988 and my story telling abilities. After all, with my position as staff photographer on the NME and later The Face and Arena, I collected pop stars like others collected stamps, I was not happy until I had photographed everyone who interested me. However, given that the access I had to my friends and clients was often unlimited and 24/7 I did not feel it was fair to them that I should write it all down. I refused all offers. Then in 2010 I was approached by the National Museum of Wales, they wanted to put on a retrospective of my work, this gave me a special opportunity. In 1988 I gave up Rock and Roll, I no longer enjoyed the music and, quite simply, too many of my friends had died, I feared I might be next. So I put all of my negatives into storage at a friends Studio and decided that maybe 25 years later the images you see here might be of some cultural significance, that they might be seen as more than just pictures of Rock Stars, Pop Bands and Punks. That they even might be worthy of a Museum. So when the Museum approached me three years ago with the idea of a large six month Retrospective in 2015 I agreed, and thought of doing the usual thing and making a Catalogue.
    [Show full text]
  • Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
    Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip.
    [Show full text]
  • THEATRE ORGAN BOMBARDE, the Official Pub­ Lication of the American Threatre Organ Enthu­ 11 but in a Bike Shop?
    TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS HI! AT.OE. lets sing along Wurlitzer Theatre Organ I 111:11111 fl11, II . I IMIII I ! I I The modern Theatre Console Organ that combines the grandeur of yesterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru­ ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tone, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au­ • Two 61-note keyboards • 25-note pedal keyboard with two 16 ' and thentic individually , and when combined they two 8' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen­ • Multi-Matic Percussion @ with Ssh -Boom ®, Sustain , Repeat , Attack , Pizzicato, and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes, and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra -Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two-channel solid state amplifiers, 70 watts organs, Chimes and Slide Control ..
    [Show full text]
  • Polanskimay Soon Be Permitted Back Into the U.S., but He's Made Some of His Most Compelling Films While in Exile from the Holl
    RomanMAY SOON BE PERMITTED POLANSKI BACK INTO THE U.S., BUT HE’S MADE SOME OF HIS MOST COMPELLING FILMS WHILE IN EXILE FROM THE HOLLYWOOD MACHINE. AS HE COLLABORATES WITH ARTIST FRANCESCO VEZZOLI ON A COMMERCIAL FOR A FICTIONAL PERFUME STARRING NATALIE PORTMAN AND MICHELLE WILLIAMS, THE DIRECTOR TALKS ABOUT THE PERILS OF THE MOVIE WORLD AND THE PLEASURES OF SKIING DRUNK AT NIGHT By FRANCESCO VEZZOLI and CHRISTOPHER BOLLEN Portrait PAOLO ROVERSI OPPOSITE: ROMAN POLANSKI, PHOTOGRAPHED IN PARIS ON NOVEMBER 25, 2008. YOU KNOW WHAT I like TO SEE AGAIN and AGAIN? SNOW WHITE. I DON’T THINK they MAKE ABOVE AND OPPOSITE: PHOTOS FROM THE SET OF GREED, THE NEW FRAGRANCE BY FRANCESCO VEZZOLI (2008), DIRECTED BY ROMAN POLANSKI ANYTHING better. IT’S so NAÏVELY BEAUTIFUL. AND STARRING MICHELLE WILLIAMS AND NATALIE PORTMAN. COSTUMES DESIGNED BY MIUCCIA PRADA. “ ” When Italian artist Francesco Vezzoli went look- Not like in America. [pauses] You know, I did an in- RP: No, I didn’t. But you have to take it into consid- ing for a director to help him make his latest art- terview for Interview with Andy back in 1973. eration, nevertheless. work, he went straight for the biggest. Vezzoli’s CB: I think, in fact, you did two with him. Do you FV: I’m sure you know the movie by [François] productions have always served up larger-than-life remember the questions he asked you? Truffaut called The Man Who Loved Women [1977]. spectacles studded with Hollywood mythos and RP: Not at all. He didn’t care.
    [Show full text]
  • Abba to Zappa by Gijsbert Hanekroot
    Hong Kong, 8th January 2018 Press Release for immediate Release !www.bluelotus-gallery.com FROM ABBA TO ZAPPA 70s legendary rock stars photographed by Dutch photographer ’Gilbert’ Gijsbert Hanekroot 16 February – 10 March 2019, Grand Opening: Friday 15 February, 6–9 pm New Address! Blue Lotus Gallery, 28 Pound Lane, Sheung Wan, Hong Kong + Featuring a selection of ‘Vinyl Hero’ Paul Au’s famous vinyl collection David Bowie John Lennon & Yoko Ono Lou Reed Ahoy, Amsterdam, 1976 Selfridges, Oxford Street, London, 1971 Amsterdam, 1972 Links and credits: Please insert below links when publishing this story: Link for online event: https://www.bluelotus-gallery.com/new-events/fromabbatozappa Link for Facebook event: https://www.facebook.com/events/239253516968994/ Link to the book available: https://www.bluelotus-gallery.com/shop/book-gijsbert-hanekroot-abba-to-zappa Optional Links: Link to Artist’s page on our website: https://www.bluelotus-gallery.com/#/gilbert/ Link to Atist’s website: http://gijsberthanekroot.com Link to images: https://www.dropbox.com/sh/ckl7gm062a1bgua/AADI5sZuDA0AsJzPV8r7u3qVa?dl=0 Credit photos: Artist Name + Title + Place + Year, courtesy of Blue Lotus Gallery The artist will be in Hong Kong and available by appointment for interviews between 14-18 Feb or over email/phone before or after above-mentioned dates. For further inquiries please contact: Christina Jensen [email protected] Eunice Lam [email protected] Blue Lotus Gallery, 28 Pound Lane, Sheung Wan, HK !1 of !4 Hong Kong, 8th January 2018 Press Release for immediate Release !www.bluelotus-gallery.com SHORT VERSION: Gijsbert Hanekroot, or ‘Gilbert’ as better known amongst the rock stars he photographed, will have his debut exhibition in Hong Kong at Blue Lotus Gallery, showing his grainy black and white photographs of 1970s rock legends in their prime including David Bowie, Mick Jagger, Patti Smith, Neil Young, BB King and other A-list artists who changed music forever.
    [Show full text]
  • Oisteanu, Andrei, Inventing the Jews. Antisemitic Stereotypes in Romania and Other Central European Cultures
    Oisteanu, Andrei, Inventing the Jews. Antisemitic Stereotypes in Romania and Other Central European Cultures. Studies in Antisemitism. University of Nebraska Press, Lincoln, London for the Vidal Sassoon International Center for the Study of Antisemitism. Andrea Petö To cite this version: Andrea Petö. Oisteanu, Andrei, Inventing the Jews. Antisemitic Stereotypes in Romania and Other Central European Cultures. Studies in Antisemitism. University of Nebraska Press, Lincoln, London for the Vidal Sassoon International Center for the Study of Antisemitism.. 2010. hal-03232940 HAL Id: hal-03232940 https://hal.archives-ouvertes.fr/hal-03232940 Submitted on 22 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Oisteanu, Andrei, Inventing the Jews. Antisemitic Stereotypes in Romania and Other Central European Cultures. Studies in Antisemitism. University of Nebraska Press, Lincoln, London for the Vidal Sassoon International Center for the Study of Antisemitism. The Hebrew University of Jerusalem. 2009. ISBN 978-0-8032-2098-0, x+468p. Moshe Idel, the most prominent kabala scholar of our time sets a tone of the volume as the first sentence of his introduction labels Oisteanu as „an expert in Romanian folklore and an active Jewish intellectual in Romania”.
    [Show full text]
  • Hairdresser History
    the HISTORY OF HAIRDRESSING By Ryan TEAL Produced by t h e Professional Beauty Association EUGENE SCHUELLER ( 1 8 8 1 - 1 9 5 7 ) Creator of Modern Hair Color Produced by t h e Professional Beauty Association EUGENE SCHUELLER Family Life Taught chemistry at the Sorbonne Approached by hairdresser in early 1900’s Converted his apartment Auréale Produced by t h e Professional Beauty Association EUGENE SCHUELLER Wealthiest industrialist in France Daily routine Controversial politics Family legacy Produced by t h e Professional Beauty Association EUGENE SCHUELLER ( 1 8 8 1 - 1 9 5 7 ) Creator of Modern Hair Color Produced by t h e Professional Beauty Association ANTONI “ANTEK ” CIERPLIKOWSKI ANTOINE DE PARIS ( 1 8 8 4 - 1 9 7 6 ) “THE HANDS OF AN ARCHITECT, AND THE EYE OF AN ARTIST” Produced by t h e Professional Beauty Association ANTOINE DE PARIS Monsieur Antoine The early years… Lilly De Moure (1904) Joan of Arc (1909) Inventor of Hairspray? Produced by t h e Professional Beauty Association ANTOINE DE PARIS Dyed his hair to Coronation of George VI match his poodles’ Died, July 1976 1924 1937 1976 1930 1973 Returned to Poland Began opening salons at Saks Fifth Avenues. 10,000 employees Produced by t h e Professional Beauty Association ANTONI “ANTEK ” CIERPLIKOWSKI ANTOINE DE PARIS ( 1 8 8 4 - 1 9 7 6 ) “THE HANDS OF AN ARCHITECT, AND THE EYE OF AN ARTIST” Produced by t h e Professional Beauty Association ANTOINE DE PARIS Protégés Sydney Guilaroff Did hair for over 400 movies (1907-1997) First hair stylist to be listed in the credits
    [Show full text]
  • The Moody Blues Tour / Set List Project - Updated April 9, 2006
    The Moody Blues Tour / Set List Project - updated April 9, 2006 compiled by Linda Bangert Please send any additions or corrections to Linda Bangert ([email protected]) and notice of any broken links to Neil Ottenstein ([email protected]). This listing of tour dates, set lists, opening acts, additional musicians was derived from many sources, as noted on each file. Of particular help were "Higher and Higher" magazine and their website at www.moodies- magazine.com and the Moody Blues Official Fan Club (OFC) Newsletters. For a complete listing of people who contributed, click here. Particular thanks go to Neil Ottenstein, who hosts these pages, and to Bob Hardy, who helped me get these pages converted to html. One-off live performances, either of the band as a whole or of individual members, are not included in this listing, but generally can be found in the Moody Blues FAQ in Section 8.7 - What guest appearances have the band members made on albums, television, concerts, music videos or print media? under the sub-headings of "Visual Appearances" or "Charity Appearances". The current version of the FAQ can be found at www.toadmail.com/~notten/FAQ-TOC.htm I've construed "additional musicians" to be those who played on stage in addition to the members of the Moody Blues. Although Patrick Moraz was legally determined to be a contract player, and not a member of the Moody Blues, I have omitted him from the listing of additional musicians for brevity. Moraz toured with the Moody Blues from 1978 through 1990. From 1965-1966 The Moody Blues were Denny Laine, Clint Warwick, Mike Pinder, Ray Thomas and Graeme Edge, although Warwick left the band sometime in 1966 and was briefly replaced with Rod Clarke.
    [Show full text]