Bob Wig Quotes

She held a violin delicately tucked in between her soft neck and athletic shoulder, and she was dressed in a white goddess-like gown that pooled on the floor. Wide gold cuffs covered her wrists, dangly earrings hung from her ears and an ornate headband haloed her sharply bobbed black wig. Her eyes were outlined in a smoldering, liquid black, and her lips were the color of blood. She was dressed as Cleopatra. Is there a moment in every relationship when it becomes life-threateningly dangerous? When you realize that your heart is so comfortably resting in someone else's hands that should they decide to drop it you would never fully recover? In the case of my relationship with Matilda Duplaine it was at this very moment.

The park reminded me of our own Australia Zoo when it first started out. It was a family operation run by Dick and Judi Warren. They were both warm and friendly and eager to talk. Judi made us toasted sandwiches and hot drinks, while Dick told stories of satirizing the Baby Bob incident. “I dressed up like Steve in a blond wig,” Dick said. “Then I took a little baby doll in with the devils and fed them while holding this little doll.” He checked to make sure I was laughing, and I was. “It ended up on video on one of the ferries here on the island!” Judi said. Australians enjoy laughing at themselves and paying out on others. I’ve always found it refreshing.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Theatre Impressions For me the tragedy's most important act is the sixth: the raising of the dead from the stage's battlegrounds the straightening of wigs and fancy gowns removing knives from stricken breasts, taking nooses from lifeless necks, lining up among the living to face the audience. The bows, both solo and ensemble the pale hand of the wounded heart, the curtseys of the hapless suicide, the bobbing of the chopped-off head. The bow in pairs- rage extends its arm to meekness, the victim's eyes smile at the torturer, the rebel indulgently walks besides the tyrant. Eternity trampled by the golden slipper's toe. Redeeming values swept aside with the swish of a wide- brimmed hat. The unrepentant urge to start all over tomorrow. Now enter, single file, the hosts who died early on, in Acts 3 and 4, or between scenes. The miraculous return of all those without a trace. The thought that they've been waiting patiently offstage without taking off their makeup or their costumes moves me more than all the tragedy's tirades. But the curtain's fall is the most uplifting part, the things you see before it hits the floor: here one hand quickly reaches for a flower, there another hand picks up a fallen sword. Only then one last, unseen hand does its duty and grabs me by the throat.

Theatre Impressions For me the tragedy's most important act is the sixth: the raising of the dead from the stage's battlegrounds the straightening of wigs and fancy gowns removing knives sfrom stricken breasts, taking nooses from lifeless necks, lining up among the living to face the audience. The bows, both solo and ensemble the pale hand of the wounded heart, the curtseys of the hapless suicide, the bobbing of the chopped-off head. The bow in pairs- rage extends its arm to meekness, the victim's eyes smile at the torturer, the rebel indulgently walks besides the tyrant. Eternity trampled by the golden slipper's toe. Redeeming values swept aside with the swish of a wide- brimmed hat. The unrepentant urge to start all over tomorrow. Now enter, single file, the hosts who died early on, in Acts 3 and 4, or between scenes. The miraculous return of all those without a trace. The thought that they've been waiting patiently offstage without taking off their makeup or their costumes moves me more than all the tragedy's tirades. But the curtain's fall is the most uplifting part, the things you see before it hits the floor: here one hand quickly reaches for a flower, there another hand picks up a fallen sword. Only then one last, unseen hand does its duty and grabs me by the throat.

She's been scouted by Ford and Elite- real New York agencies. Micah, the agent for Elite- a tall black guy in silver eyeliner- said that Felice was "heart-stopping." Everyone says that Felice looks like Elizabeth Taylor- all pleased with themselves, as if she were hearing this for the first time. It used to bug Felice: she pictured that squat, henlike woman in her wig and jewels, holding hands with Michael Jackson. But one day, Duffy brought over an old movie magazine while Felice and Berry lounged at their cafe table. He opened it and jabbed at the photo. "There. Look. You kids really are morons. You really don't know anything, do you? 'That's' Elizabeth Taylor." Berry craned over the page. "Wow, you really kind of do. Look at her. You guys could be related." A little nearsighted, Felice held the magazine closer, startled to see the resemblance- the straight brow bone, glimmering eyes, the fine jaw; only Felice's straight hair was self-hacked below the shoulders and Liz's hair was a sable bob, thick as a paintbrush. She finally realized what a compliment this comparison was.

The stables of Versailles in December were not renowned for illumination, but Eliza could hear the gentleman’s satins hissing and his linens creaking as he bowed. She made curtseying noises in return. This was answered by a short burst of scratching and rasping as the gentleman adjusted his wig. She cleared her throat. He called for a candle and got a whole silver candelabra, a chevron of flames bobbing and banking like a formation of fireflies through the ambient miasma of horse breath, manure gas and wig powder.