skip to main |
skip to sidebar
MAE WEST met many characters — — and more than a few were men of the cloth.
• • According to old newsprint, Leroy Jenkins, who had charmed his way into Mae West's circle, was a man of convictions. Some of those oddball beliefs got him sentenced to a 12-year prison term in 1979. That probably crimped his style a bit. Imagine how it must feel to be an Elmer Gantry type of revivalist, setting up a tent and taking up collections from those who feel they are listening to a prophet. All that undeclared income can buy a lot of flashy outfits and sequined capes befitting Moses. Then one day the law burst in onto the scene like an overzealous stage manager, unexpectedly bringing the curtain down. Show's over.
• • Born in 1937, Jenkins, a self-promoting salesman and faith-healer, has been accused by some individuals of being a heel and a swindler. But the spiel goes on. And on.
• • Out of the blue, Canadian columnist Dave Goulet started writing about this shady slicker and roping in Mae West (ouch!). Goulet exclaims: Just when I thought I’d seen every crazed TV preacher on the market, I ran across Reverend Leroy Jenkins this past week. . . .
• • Dave Goulet continues: But what really caught my eye was the physical appearance of the preacher. Between the coiffed hair and obvious facelift, he looked like a cross between Elvis and Joan Rivers. His eyebrows, more appropriate for a supermodel, were stuck in a perpetual slant, which gave him a fierce frown.
• • I was so curious to know more about Rev. Leroy Jenkins that I looked him up on the Internet. According to his website, he’s been a faith healer since he himself was healed by a preacher as a young man. He started his own church and one day God told him to drill a well outside the building. This well gave forth miracle water. Armed with this healing H20, Leroy became quite famous in the Bible Belt as a faith healer.
• • Profound • •
• • Dave Goulet adds: Screen siren Mae West, in her later years, was a close friend of Rev. Jenkins. In the early 1990s [sic], a movie was made about Jenkins (produced by Leroy Jenkins), titled "The Calling" [released in December 2002]. Actress Faye Dunaway [born in Florida on 14 January 1941] played Mae West. For some reason, the good reverend feels this adds stature to his ministry, because we all know what a profound theologian Mae West was. . . .
— — Excerpt: — —
• • Essay: "Drawing from Reverend Leroy's well"
• • Byline: By Dave Goulet | "Two Cents" columnist
• • Published in: Barry's Bay This Week [Ontario, Canada] — — www.barrysbaythisweek.com
• • Published on: 2 June 2009
• • • • • • • • • • • • • • • • • • • • • •• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
Source:http://maewest.blogspot.com/atom.xml
Mae West
• • Photo: • • Mae West • • none • •
• • Feed — — http://feeds2.feedburner.com/MaeWestNYC
Mae West.
MAE WEST's measurements inspired both admiration and frustration, reveals a new book on Hollywood's costume design.
• • Hollywood's leading ladies may get the best lines, but their scene-stealing outfits are the ones to watch, explains Bronwyn Cosgrave in The Age.
• • Bronwyn Cosgrave writes: THERE IS A "FIFTH character" in Sex and the City: The Movie — — the costumes for Carrie Bradshaw and her trio of well-heeled friends, Charlotte York Goldenblatt, Miranda Hobbes and Samantha Jones. Shaping this fifth character required "strategising and finessing and negotiating", akin to wooing an A-list Hollywood star to sign a film deal, says the film's star, Sarah Jessica Parker. . . .
• • By the golden age of the ' 30s, every "big five" studio, including Paramount, MGM and Warner Bros, ran sophisticated wardrobe departments presided over by highly skilled designers. Paramount's Travis Banton cut costumes from the finest textiles, including tweeds from Linton, the knitwear manufacturer in the Scottish Borders used by Chanel. He bought embellishments such as bugle beads and sequins from the Paris supplier that Elsa Schiaparelli patronized, and altered the work of the famed surrealist couturier when in 1937 she was enlisted to design for Mae West for the comedy Every Day's a Holiday. West failed to report to Schiaparelli's Place Vendome atelier and instead sent it a Venus de Milo bust that was meant to replicate her shapely proportions. It didn't quite work out that way — — the statue was evidently a little more modest in size and Schiaparelli's intricate handiwork sat too close on buxom West.
• • Hollywood became a fashion capital as major studios reproduced affordable variations of screen costumes and the most iconic became department-store bestsellers. They included a fluffy Gilbert Adrian gown Joan Crawford modelled in 1932's Letty Lynton, Walter Plunkett's Vivien Leigh antebellum-inspired frocks from 1939 blockbuster Gone with the Wind and a strapless Edith Head number Elizabeth Taylor displayed in A Place in the Sun from 1951.
• • Dressed: A Century of Hollywood Costume Design, Deborah Nadoolman Landis' recently published coffee-table tome, presents myriad Hollywood looks that have influenced generations of fashion designers and movie goers over time, including the body-hugging, strapless satin gown Columbia's Jean Louis created to enhance curvaceous Rita Hayworth's seductive number in Gilda, Taylor's bejewelled decadence and Grace Kelly's glacial glamour, as well as Theadora Van Runkle's late-'60s handiwork for Faye Dunaway. . . .
— — Excerpt: — —
• • Article: A star is worn
• • Written by: Bronwyn Cosgrave
• • Published in: The Age — — www.theage.com.au/
• • Published on: 17 May 2008
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
Source:http://maewest.blogspot.com/atom.xml
Mae West
• • Photo: • • Mae West • • none • •
NYC
Mae West.
