Developed and perfected over fifteen years, Carole Maggio's revolutionary program combats the signs of aging-by diminishing the appearance of fine lines and improving muscle tone-naturally. Filled with dramatic before-and-after photos that illustrate the effectiveness of Facercise, this easy-to-follow book will help anyone achieve visible results-in less than a week. Diminish puffiness around the eyes Shorten and narrow the nose Smooth the chin, neck, and jawline Improve skin color and tone Lift eyebrows Recontour the cheeks Make lips fuller and more firm

Before she was a glamorous actress, before she was a war-time pin-up star, even before she was Carole Landis, she was Frances Lillian Ridste, an insecure young girl from Wisconsin. She was strikingly beautiful, talented, and on her way to becoming a movie star, yet she spent her entire life searching for love. Though she appeared in more than 60 films during her short career, Landis was better known for her extraordinary beauty and many romantic relationships than for her acting or comedic timing. Like many starlets of the time, Landis worked her way up from uncredited bit parts (and according to rumors, from the casting couch) to leading roles in such films as Topper Returns (1940) and My Gal Sal (1942) over the course of her 11-year career. She spent more time visiting troops during World War II--traveling hundreds of thousands of miles and coming near death twice--than any other Hollywood star. Despite her seemingly glamorous and carefree life, Landis was unable to build a lasting relationship, a fact that contributed to her suicide at 29. This work examines Landis's life and career in Hollywood, focusing on how her movie career affected her short, unhappy life.

Despite appearing in twenty-eight movies in little over a decade, Carole Landis (1919-1948) never quite became the major Hollywood star her onscreen presence should have afforded her. Although she acted in such enduring films as A Scandal in Paris and Moon over Miami, she was most often relegated to supporting roles. Even when she played the major role in a feature, as she did in The Powers Girl and the film noir Wake Up Screaming!, she was billed second or third behind other actors. This biography traces Landis's life, chronicling her beginnings as a dance hall entertainer in San Francisco, her career in Hollywood and abroad, her USO performances, and ultimately her suicide. Using interviews with actors who worked with Landis, contemporary movie magazines and journals, and correspondence, biographer Eric Gans reveals a tragic figure whose life was all too brief. Landis's big break came in 1940 with Hal Roach's One Million B.C. She appeared in thirteen Twentieth Century-Fox pictures between 1941 and 1946. In 1942-1943, Landis entertained troops in England and North Africa in the only all-female USO tour. The trip led to her memoir, Four Jills in a Jeep, and a Fox movie of the same title. After her last American film in 1947, she completed two projects in England while having an affair with married actor Rex Harrison. Tormented by a love that could not lead to matrimony and depressed about growing older, she took a fatal drug overdose on July 5, 1948.

"Carole A. Feuerman's sculpture combines superrealist technique with a humanist approach to her subjects. This first monograph on her work is filled with David Finn's dramatic photographs covering two decades of her work, including many enlarged details and multiple views, providing a cinematic, almost three-dimensional experience. The work - in resin, cast marble, bronze, and other materials, often painted - ranges from early erotic reliefs through full-scale sculptures of athletes and nudes. Her women at their toilette are sculptural tours-de-force, yet their intimacy recalls Degas's works on similar themes. Recent fragments and body mappings are experiments with abstraction, deconstruction and conceptualism, at the same time that they explore the emotional life of their subjects penetrating to their spirit." "All of Feuerman's work reflects the two aspects of her vision. Her work is motivated by questions about the nature of reality, and her remarkable skill as an artist leads the viewer to the same questions. Yet beyond the simulacrum of reality, Feuerman also manages to convey the feeling behind the intense physicality, the passion and sensuality behind the seemingly mundane pose."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Carole King's Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album's historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King's generation sought as the turbulent sixties came to a close. Aligning King's own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwriters, this volume situates Tapestry both within King's original vision as the third in a trilogy (preceded by Now That Everything's Been Said and Writer) and as a watershed in musical and cultural history, challenging the male dominance of the music and entertainment industries and laying the groundwork for female dominated genres such as women's music and Riot Grrrl punk.

The carole was the principal social dance in France and England from c. 1100 to c. 1400 and was frequently mentioned in French and English medieval literature. However, it has been widely misunderstood by contributors in recent citations in dictionaries and reference books, both linguistic and musical. The carole was performed by all classes of society - kings and nobles, shepherds and servant girls. It is described as taking place both indoors and outdoors. Its central position in the life of the people is underlined by references not only in what we might call fictional texts, but also in historical (or quasi-historical) writings, in moral treatises and even in a work on astronomy. Dr Robert Mullally's focus is very much on details relevant to the history, choreography and performance of the dance as revealed in the primary sources. This methodology involves attempting to isolate the term carole from other dance terms not only in French, but also in other languages. Mullally's groundbreaking study establishes all the characteristics of this dance: etymological, choreographical, lyrical, musical and iconographical.

Becoming Carole Lombard: Stardom, Comedy and Legacy is a historical critique of the development and reception of Carole Lombard's stardom from the classical Hollywood period to present day. Based on original archival research, Olympia Kiriakou combines theoretically informed textual analyses of Lombard's performances and star image across different media (biographies, publicity materials, photography and film) with a critical engagement of the cultural, economic, social and industrial conditions that shaped her stardom. Sitting at the intersection of feminist film theory, star studies and comedy theory, this work presents Lombard as a case study to challenge the screwball canon and existent academic discourse about female physical comedy and the alleged “delicate” female body. In doing so, it formulates a new historical approach to understanding gender, femininity, and identity in Hollywood comedies of the 1930s. Moreover, this is the first research of its kind to offer a comprehensive understanding of Lombard's stardom beyond her associations with the screwball comedy genre.