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William earl Pearson

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  • notnef posted a profile photo
    Mar 3, 2013
    William earl Pearson @WilliamearlPearson
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  • Clara Gordon Bow (/ˈboʊ/; July 29, 1905 – September 27, 1965) was an American actress who rose to stardom in silent film during the 1920s and successfully made the transition to "talkies" after 1927. Her appearance as a plucky shopgirl in the film It brought her global fame and the nickname "The It Girl". Bow came to personify the Roaring Twenties and is described as its leading sex symbol.
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    DarkMarc In the early 1920s a new vogue swept across the country: bobbed hair, low heels, coche hats, short sleek hair, and shorter than average shapeless shift dresses, women wore make up and applied it in public, smoked cigarettes in public, and epitomized the spirit of reckless youth who danced the night away during the Jazz Age. The term flapper originated in Great Britain, where there was a short fad among young women to wear rubber galoshes (an overshoe worn in the rain or snow) left open to flap when they walked. The name stuck, and throughout the United States and Europe flapper was the name given to liberated young women. In the 1920s a few actresses became associated with the term but the two actresses that became well known as Flappers were Colleen Moore and a little later Clara Bow. In 1923 Colleen Moore appeared in Flaming Youth, and she more than anyone became its prototype. The popularity of her flaming youth character inspired another film almost immediately, The Perfect Flapper (1924, First National), and Moore went on to become a huge star. She is the person to whom the title belongs, as she was indeed "the perfect Flapper." However, Clara Bow, who started in films after Moore, and who owns her own title (the "It" Girl), was also labeled as a flapper over and over again in reviews of the day. Because only about fifteen of her films still exist to be screened, Moore is almost completely unknown today. Bow is better known, if only as a kind of "Jazz Baby." But both actresses were once household names. As the flapper grew in popularity it was film that made her into an icon and in film they told American audiences who the flapper was, what she wore, how she behaved, and why she was different from other female film types. The flapper wasn't a siren, or a vamp or a femme fatale. She wasn't an innocent, maybe a little tomboy around the edges. There was a new freedom for women - staying out late at night, driving fast cars, drinking from a whiskey flask, and of course the big one, the freedom to have sex. Thus, the flapper acted out of the change that was taking place for woman in fashion, sex, social awareness, and politics. She represented women in transition from the old to the new, and not much had to be said about it because everyone could see it. Colleen Moore's on-screen characters visually illustrate this transition. In her earliest films, she was usually cast as a demure (though perky) Irish colleen...or a small-town girl trying to make it big in the big city. Tracing the career is tracing the arrival of the flapper, and she even performs the change within the plot of Flaming Youth. Clara Bow started in 1922, and was born to play her kind of freedom and daring. She never played the role of a proper young girl because from the beginning she looked too knowing. She might be the "girl next door" but the audience knew that she could be sweet (as in Wings 1927), but Clara Bow was too hot to handle and the audience knew it. Clara Bow and Colleen Moore offered audiences two different types of flapper: one that was sexy (Bow) and one that was wholesome (Moore). You only had to look at photographs of them to understand. Colleen Moore has an art deco look. She's trim, slim, and sleek, with the boyish figure of the 1920s silhouette. Even her hair is geometric, worn straight, short, and with no sense of softness. Her clothes are simple and elegant, with straight lines that reveal no curves, Bow has a mass of tangled, sleepy-time hair, thick and lush and her line is a curve, and when she walks, she wiggles. Both ladies played roles that were ultimately safe, because neither was ever presented as evil or seriously depraved; their flapper movies weren't tragic tales of unwed motherhood and abandonment. They were both typical examples of the same circumstance, but there was a difference, and that was sex. Both entered movies very young, and both were very ambitious and both were "typical" girls onscreen. Neither actress was what you would call typical both had the grit and ruthlessness that movie stardom required. Growing up both women saw Hollywood as an escape and dreamed of becoming another Mary Pickford. Moore and Bow represent the kind of stardom that is partly an accident of casting and partly a force of personality but that certainly has to be earned the hard way. They are not the timeless stars like Garbo or Dietrich, but stars who represent their own time. To be that kind of movie star is the hardest job of all, because these actors whose films are about nothing much but themselves and their cool, cool (hot, hot) images. Sensational popularity - white hot and all consuming - doesn't last. As a result, Bow and Moore were inevitably pushed into movie after movie. They were tougher than most, and managed to stay movie stars for a full decade. Moore did have a strong sense of herself as someone special - she was born with one blue eye and one brown eye. This feature made her unique and that's something. Colleen Moore's famous haircut the "Dutch Boy bob" came about when she was turned down for the role in Flaming Youth so her mother suggested that she cut her hair and ask to do a test. The famous haircut emerged and Colleen Moore got the part and her stardom as well. Clara Bow won a movie magazine contest and arrived in Hollywood in 1922. By 1925 or 1926 Clara Bow was on the brink of stardom with these films: Mantrap, The Plastic Age, and Dancing Mothers. Clara Bow's biggest personal success and the film that made her a legend as the "It Girl" was her first release in 1927. "It" was a social phenomenon of its day, rather like roller skates but more fun. The term "It" was coined by Elinor Glyn a writer in the Barbara Cartland school. Glyn was able to parlay "It" as a concept into big-time fame in Hollywood where she even had a small part in the film "It." Clara Bow and Colleen Moore were both at the top of their careers in 1927. But by 1929 and the coming of sound (Bow was 24 and Moore was 29 years old) their careers were about finished. Bow made a successful transition to Talkies with her last two films Call Her Savage (1932, Fox Film Corporation) and Hoopla (1933, Fox Film Corporation) but after a series of nervous breakdowns Bow asked that her contract with Paramount be terminated. It was not sound that destroyed Clara Bow's career but heredity and the horrors of her childhood. After marrying Rex Bell in 1931 she had two sons and stayed out of the limelight until her death in 1965. Colleen Moore herself ended her career after starring with Spencer Tracy in The Power And The Glory (1933, Fox Film Corporation) she decided that there was a world outside of Hollywood and wanted to see something of it. Marrying happily for the third and final time to Homer Hargrave of Chicago she became a caring step-mother to his children. She wrote her successful autobiography in 1968 and passed away in 1988 a wealthy and fulfilled matron. When a reporter once asked Clara Bow, "What is "It"? After thinking for a moment, she replied, "I ain't real sure. @ClaraBow
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William earl Pearson
photo credit: notnef
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Birthplace Texas
Nationality American
Occupation Doctor
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