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The Evolution Of Primetime Emmy Style: 1949-2013

Published: Sep 20, 2013 by ben Filed under: Artist Biographies Exclusives Gossip & Rumors
On Sunday (September 22) the 65th Annual Primetime Emmy Awards will take over Los Angeles’ Nokia Theatre, and a who’s who of top-name celebrities will compete for media attention by getting all gussied up in designer duds. In fact, over the past six decades Tinseltown favorites have set the fashion pace with their red carpet choices, and it all got started way back in January 1949.

Hosted by NBC radio legend Walter O’Keefe, the 1st Annual Emmy Awards (the ‘Primetime’ didn’t get added until the Daytime Emmys debuted in 1974) was minuscule compared to today’s fanfare. The Hollywood Athletic Club played host to stars like Shirley Dinsdale, Rita LeRoy, Patricia Morrison, Mike Stokey, and Bill Welsh.


And given the shortage of European-designed clothing due to the recent ending of World War II, American designers Gilbert Adrian, Claire McCardell, Bonnie Cashin, and Tom Brigance had all taken a step forward as newly-prominent forces in the fashion realm.

From the 1st Emmys in 1949 through the 1950s, the prevailing trend tended towards conservative-yet-elegant, with an absence of the now-commonplace cleavage for the ladies, and straight-cut jackets and trousers for the gents. That being said, stars like Lucille Ball, Loretta Young, Nanette Fabray, and Pat Carroll utilized beaded accents and embroidered embellishments to add their own gregarious flavor to the red carpet recipe.

When she won the Outstanding Lead Actress in a Comedy Series in both 1957 and 1959, “Father Knows Best” starlet Jane Wyatt celebrated each victory with gowns and jewelry that served as a harbinger for the coming tastes of the 1960s.

By the time the 12th Annual Emmy shindig got started in June 1960, celebrities were already pushing the envelope in terms of showing more skin. Gals like “Bye Bye Birdie” babe Ann-Margret blatantly displayed her curves beneath a flirty white frock with a cutout neckline as host Fred Astaire handed out trophies to Robert Stack and Ingrid Bergman.

Barbra Streisand caused plenty of swooning with her ample bosom in 1965, and the following year Bill Cosby decided on a white tie/vest combo to go with his black tuxedo, both paving the way for a new non-traditional trend for Emmy attendees.

If the 1960s were the years of breaking free of convention, then the 1970s served as a decade for stars to push the boundaries of good taste, thanks to Robert Blake’s massive butterfly-style bowtie at the 27th installment of the Emmys as he accepted the Best Male Actor –Drama award. Even Betty White took a risk with a low-cut black and gold metallic dress as she received a trophy for her work on the “Mary Tyler Moore Show.”

And some Emmy recipients of the 70s like Bob Barker and Barbara Walters opted to forgo the whole glamorous evening wear vibe altogether, instead choosing to don blazers and pantsuits as they posed for the cameras.

In 1979, Loni Anderson made perhaps the boldest style statement up to that point when she chose a seriously-low-cut lavender gown for the 31st Primetime Emmys. Meanwhile, Robin Williams got silly with a velvet beret, and John Ritter added some blue to the otherwise black sea of tuxes worn by the likes of Ron Howard and Chevy Chase.

Adding some youthful zeal to the Emmys, “Diff’rent Strokes” stars Gary Coleman, Todd Bridges, and Dana Plato showed up at the Pasadena Civic Auditorium for the 32nd installment of the Awards in January 1980. The boys wore black tuxedos while Ms. Plato was beautiful in a blue gown.

Coleman was back in 1981 with a powder blue jacket and increased swagger and Miss Anderson played her usual role in a par-for-the-course strapless red number.

“Miami Vice” stars Don Johnson and Philip Michael Thomas got plenty of attention with their dapper duds at the 37th Emmys in 1985, and “Hill Street Blues” babe Barbara Babcock turned heads in a sheer see-through lace top as she arrived at the Pasadena Civic Auditorium with costar Rene Enriquez.

The 45th Emmys in 1993 was overrun with classic black tuxedos on the gents and traditional gowns for the gals as ensemble casts from “Seinfeld,” “Home Improvement,” and “Melrose Place” all made significant showings.

“ER” hunks George Clooney and Anthony Edwards caused mass swooning in 1996 at the 48th Emmys, and the following year “The X Files” costars David Duchovny and Gillian Anderson proved that even sci-fi nerds were hot.

Taking things to the next level in the 2000s, Sarah Jessica Parker established herself as a bona fide style icon in 2003 thanks to her flirty pale strapless Chanel dress, and both Halle Berry and Eva Longoria scored points at the 2005 shindig in their Ungaro and Angel Sanchez garb, respectively.

In 2008, Olivia Wilde was the center of attention in her cap-sleeved, beaded Reem Acra dress, and the following year, Blake Lively made a strong statement in a ravishing plunging red Versace frock.

And bringing things up to the current decade, Lea Michele stunned shutterbugs with her Dark Oscar de La Renta dress with Lorraine Schwartz jewels in 2010, while Kelly Osbourne posed up a storm in an asymmetrical J. Mendel gown the following year.

The Primetime Emmy Awards continues to serve as an important source of inspiration for designers and consumers alike. And as an added bonus, the red carpet action offers valuable insight into the zeitgeist of American popular culture.


Adele’s “new look” on the March cover of Vogue

Published: Apr 23, 2012 by admin Filed under: Artist Biographies Editorial Gossip & Rumors Music
Photoshop strikes again! Eight-time Grammy winner Adele does not look like her usual, beautiful self on the cover of the latest issue of Vogue magazine. Wearing a revealing black lace top, the singer appears to be slimmed down from her normally voluptuous figure. This image of Adele is not one that we are use to seeing and angry fans have taken to Twitter to make sure their displeasure is known: Tweet: "I hate Adele and her clearly photoshopped cheek bones on the cover of Vogue. Totally contradicting herself." Tweet: "I don't like how Vogue made Adele look skinny in this spread they did on her." Tweet: "It's Vogue, what do you expect? #AdeleCover" Adele has always taken pride in her appearance and on Sunday, she addressed the pressure to be thin to "60 Minutes" journalist Anderson Cooper, saying, "I've never seen magazine covers and music videos and been like, I need to look like that if I want to be a success. Never." She also added, "I don't want to be some skinny minnie… I don't want people confusing what it is I'm about." However, her new Vogue cover has fans confused between what she preaches and what she presents. (Check out the full spread here.) Last year, Adele appeared on the cover of British Vogue's October issue and looked more like the voluptuous woman we love and respect. Why wasn't this the image presented in American Vogue? Unfortunately, this trend is something we have come to expect from major publications. Even if a celebrity is comfortable with their body, they will still be subjected to being edited to the point that they become almost unrecognizable. The same thing happened when Kelly Clarkson was over-edited in 2009 on the cover of Self Magazine.

Julia Roberts, 44, Shows Off Killer Beach Bod

Published: Apr 12, 2012 by ben Filed under: Artist Biographies Gossip & Rumors Movies

Julia Roberts might be a 44-year-old mother of three, but she's got the figure of a woman half her age. Check out her killer beach bod and get a glimpse of her special tattoo peeking out as she splashes in the ocean! Plus, "My Girl" star Anna Chlumsky steps out for a screening of her new HBO series "Veep" on Tuesday, and Rooney Mara shows off her new tresses. What a transformation!

 


Fleet of Ferraris ruined in Japan sportscar pileup

Published: Dec 5, 2011 by admin Filed under: Exclusives News Sports

Tokyo Drift: It was an expensive day on the road for the 11 Japanese drivers who totalled more than $1 million worth of supercars--including eight Ferraris--in one spectacular accident.

An outing of luxury sportscar enthusiasts in Japan ended in an expensive freeway pileup--smashing a stunning eight Ferraris, a Lamborghini and two Mercedes likely worth more than $1 million together.

Police say they believe the accident Sunday was touched off when the driver of one of the Ferraris tried to change lanes and hit the median barrier. He spun across the freeway, and the other cars collided while trying to avoid hitting his car.

Even a used Ferrari in Japan can fetch $100,000 or more, meaning the total damage may be $1 million or more.

 

Police declined to comment on the total amount of damage, but said some of the vehicles were beyond repair.

NTV quoted the driver of one of the tow trucks brought in to clear the scene as saying it was the most expensive crash site he had ever seen.

 

No one was seriously injured, but police in Yamaguchi prefecture said 10 people were treated for bruises and cuts. Police say 14 cars were involved altogether.

 

The luxury cars were all in one place because they were being driven by a group of automobile enthusiasts on their way to nearby Hiroshima.

 

 


Danity Kane WikiPedia Bio

Published: Oct 1, 2011 by admin Filed under: Artist Biographies

In 2004, producer Sean "Diddy" Combs returned with Making the Band 3, this time searching for the next female super group.[4] With the help of choreographer Laurie Ann Gibson, vocal trainer Doc Holiday and talent manager Johnny Wright, he set out on a multi-city search and chose twenty young singers out of almost 10,000 young women.[4][5] While seven women remained, Combs became discontent with the level of talent remaining in the competition, and eventually decided not to form a band.[4] He did, however, give a reprieve to three contestants he felt deserved another chance, including then-best friends Aubrey O'Day and Aundrea Fimbres, whose close bond originally formed early in the season.[4] The three contestants became the first to appear in Season 2 of the show.[4]

Afterwards, Combs once again pressed his team to audition new young women for the group.[4] Finally, twenty young women were chosen and moved into a loft in New York City.[4] Viewers had become invested in O'Day and Fimbres's friendship, naming them "the AUs" and "Aubrea" (portmanteux of their first names put together), as they watched the two compete all over again for positions in the group.[4][6] As the competition's challenges increased, their friendship seemed to become the foundation upon which the group was being built.[4] In addition, O'D ay emerged as the show's breakout star.[4][5]


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