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A Descriptio of the Flapper Dresses 1950s Women's Fashion History

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Western women attired in a particular way in the 1920s

A flapper on board a transport (1929)

Flappers were a subculture of immature Western women in the 1920s who wore short skirts (genu height was considered brusk during that catamenia), bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered adequate beliefs. Flappers were seen as brash for wearing excessive makeup, drinking alcohol, smoking cigarettes in public, driving automobiles, treating sex in a coincidental manner, and otherwise flouting social and sexual norms.[one] As automobiles became available, flappers gained freedom of motion and privacy.[2] Flappers are icons of the Roaring Twenties, the social, political turbulence and increased transatlantic cultural exchange that followed the terminate of World War I, besides as the export of American jazz civilisation to Europe. At that place was a reaction to this counterculture from more conservative people who belonged by and large to older generations. They claimed that the flappers' dresses were 'virtually nakedness', and that flappers were 'flippant', 'reckless', and unintelligent.

Etymology [edit]

The slang term "flapper" may derive from an earlier use in northern England to mean "teenage daughter", referring to one whose hair is non even so put up and whose plaited pigtail "flapped" on her back,[3] or from an older word significant "prostitute".[iv] The slang word "flap" was used for a young prostitute as early on as 1631.[5] By the 1890s, the word "flapper" was used in some localities equally slang both for a very young prostitute,[6] [ folio needed ] [7] and, in a more full general and less derogatory sense, of any lively mid-teenage girl.[8]

The standard non-slang usage appeared in print as early equally 1903 in England and 1904 in the United states of america, when novelist Desmond Coke used it in his college story of Oxford life, Sandford of Merton: "There'due south a stunning flapper".[nine] In 1907 English player George Graves explained it to Americans every bit theatrical slang for acrobatic young female stage performers.[10] The flapper was also known as a dancer, who danced like a bird—flapping her arms while doing the Charleston move. This move became quite a competitive dance during this era.[11]

By 1908, newspapers equally serious as The Times used the term, although with conscientious explanation: "A 'flapper', we may explain, is a young lady who has not however been promoted to long frocks and the wearing of her hair 'up'".[12] In April 1908, the fashion section of London's The Globe and Traveller contained a sketch entitled "The Wearing apparel of the Young Girl" with the following explanation:

Americans, and those fortunate English folk whose coin and status let them to go in freely for slang terms ... call the bailiwick of these lines the 'flapper.' The ceremoniousness of this term does not motility me to such whole-hearted admiration of the amazing powers of enriching our language which the Americans modestly admit they possess ..., [and] in fact, would scarcely merit the honour of a moment of my attention, but for the fact that I seek in vain for whatever other expression that is understood to signify that important immature person, the maiden of some sixteen years.

The sketch is of a girl in a apron with a long skirt, "which has the waistline quite high and semi-Empire, ... quite untrimmed, its plainness existence relieved by a sash knotted carelessly around the brim."[13]

By November 1910, the word was popular plenty for A. E. James to begin a series of stories in the London Mag featuring the misadventures of a pretty fifteen-twelvemonth-one-time girl and titled "Her Majesty the Flapper".[14] By 1911, a newspaper review indicates the mischievous and flirtatious "flapper" was an established stage-type.[xv]

By 1912, the London theatrical impresario John Tiller, defining the word in an interview he gave to The New York Times, described a "flapper" equally belonging to a slightly older age group, a girl who has "merely come out".[16] Tiller's utilize of the phrase "come out" means "to make a formal entry into 'society' on reaching womanhood".[17] In polite society at the time, a teenage daughter who had not come out would yet be classed every bit a child. She would be expected to go on a low profile on social occasions and ought not to be the object of male attention. Although the word was still largely understood every bit referring to loftier-spirited teenagers,[xviii] gradually in United kingdom it was being extended to depict any impetuous immature adult female.[a] By late 1914, the British magazine Vanity Fair was reporting that the Flapper was beginning to disappear in England, being replaced by the so-called "Little Creatures."[20]

A Times article on the problem of finding jobs for women fabricated unemployed by the return of the male workforce, following the terminate of Earth War One, was titled "The Flapper's Future".[21] Under this influence, the meaning of the term changed somewhat, to apply to "independent, pleasure-seeking, khaki-crazy young women".[7]

In his lecture in February 1920 on Britain's surplus of young women caused past the loss of immature men in war, Dr. R. Murray-Leslie criticized "the social butterfly type... the frivolous, scantily-clad, jazzing flapper, irresponsible and undisciplined, to whom a trip the light fantastic toe, a new hat, or a man with a automobile, were of more importance than the fate of nations".[22] In May of that year, Selznick Pictures released The Flapper a silent comedy motion picture starring Olive Thomas. It was the first film in the Us to portray the "flapper" lifestyle. Past that time, the term had taken on the total significant of the flapper generation style and attitudes

The use of the term coincided with a fashion among teenage girls in the United States in the early 1920s for wearing unbuckled galoshes,[23] and a widespread fake etymology held that they were called "flappers" considering they flapped when they walked, as they wore their overshoes or galoshes unfastened, showing that they defied convention in a manner similar to the 21st century fad for untied shoelaces.[24] [ page needed ] [25] [ page needed ] Another suggestion to the origin of the term, in relation to style, comes from a 1920s fashion trend in which young women left their overcoat unbuttoned to allow it to flap dorsum and forth as they walked, appearing more independent and freed from the tight, Victorian Era style habiliment.[26]

By the mid-1930s in Britain, although still occasionally used, the word "flapper" had get associated with the past. In 1936 a Times journalist grouped information technology with terms such as "blotto" as outdated slang: "[blotto] evokes a distant echo of glad rags and flappers ... It recalls a by which is not yet 'catamenia'."[27]

Influences [edit]

"In all countries, the Starting time Globe War weakened quondam orthodoxies and regime, and, when information technology was over, neither government nor church building nor school nor family unit had the power to regulate the lives of homo beings as it had once done. I result of this was a profound alter in manners and morals that made a freer and less restrained guild. Women benefited from this as much as anyone else. Time-worn prescriptions concerning what was or was not proper behavior for them no longer possessed much credibility, and taboos virtually unaccompanied appearances in public places, or the utilise of liquor or tobacco, or fifty-fifty pre-marital sexual relationships had lost their strength. ... [W]omen were no longer every bit vulnerable to the tyranny of gild equally they had been [before]."

Historian Gordon A. Craig[28]

One cause of the change in young women's behavior was World War I which ended in November 1918. The death of big numbers of young men in the state of war, and the Spanish flu pandemic which struck in 1918 killing between xx–40 1000000 people,[29] inspired in young people a feeling that life is short and could finish at any moment. Therefore, immature women wanted to spend their youth enjoying their life and freedom rather than merely staying at home and waiting for a human being to marry them.[xxx]

Political changes were another cause of the flapper culture. World State of war I reduced the grip of the class system on both sides of the Atlantic, encouraging different classes to mingle and share their sense of freedom.[31] Women finally won the correct to vote in the United states on August 26, 1920.[32] Women wanted to be men's social equals and were faced with the difficult realization of the larger goals of feminism: individuality, full political participation, economic independence, and 'sex activity rights'.[33] They wanted to be treated similar men and go smoking and drinking.[34] In add-on, many women had more than opportunities in the workplace and had even taken traditionally male jobs such as doctors, lawyers, engineers and pilots.[35] The ascension of consumerism too promoted the ideals of "fulfilment and freedom",[31] which encouraged women to think independently almost their garments, careers, social activities.[35]

Society inverse speedily after World State of war I. For case, community, technology, and manufacturing all moved rapidly into the 20th century after the interruption of the war.[36] The rise of the automobile was an important cistron in flapper civilization, as cars meant a adult female could come and become every bit she pleased, travel to speakeasies and other amusement venues, and use the large vehicles of the day for their popular activity, petting parties.[37] Also, the economic nail allowed more than people the time and money to play golf and tennis and to take vacations,[38] which required vesture adapted to these activities; the flapper'south slender silhouette was very suitable for movement.[39]

Development of the image [edit]

The first appearance of the flapper way[b] in the U.s. came from the popular 1920 Frances Marion film, The Flapper, starring Olive Thomas.[41] Thomas starred in a like office in 1917, though it was not until The Flapper that the term was used. In her concluding movies, she was seen every bit the flapper image.[42] Other actresses, such equally Clara Bow, Louise Brooks, Colleen Moore and Joan Crawford would soon build their careers on the aforementioned image, achieving nifty popularity.[41]

In the Usa, pop antipathy for Prohibition was a cistron in the rise of the flapper. With legal saloons and cabarets closed, back aisle speakeasies became prolific and popular. This discrepancy between the law-abiding, religion-based temperance movement and the bodily ubiquitous consumption of alcohol led to widespread disdain for say-so. Flapper independence was also a response to the Gibson girls of the 1890s.[43] [44] Although that pre-war await does not resemble the flapper style, their independence may accept led to the flapper wisecracking tenacity 30 years later.

Woman depicted in typical flapper outfit in the encompass art for The Plastic Age, 1924

Writers in the United states of america such as F. Scott Fitzgerald and Anita Loos and illustrators such as Russell Patterson, John Held, Jr., Ethel Hays and Faith Burrows popularized the flapper expect and lifestyle through their works, and flappers came to be seen as attractive, reckless, and independent. Amid those who criticized the flapper craze was writer-critic Dorothy Parker, who penned "Flappers: A Hate Vocal" to poke fun at the fad. The secretary of labor denounced the "flippancy of the cigarette smoking, cocktail-drinking flapper".[45] A Harvard psychologist reported that flappers had "the lowest degree of intelligence" and constituted "a hopeless problem for educators".[45]

Another writer, Lynne Frame, said in her book that a big number of scientists and health professionals take analyzed and reviewed the caste of femininity of flappers' appearance and behavior, given the "boyishness" of the flapper expect and behavior. Some gynecologists gave the stance that women were less "marriageable" if they were less "feminine", as the husband would exist unhappy in his marriage. In Frame's book, she besides wrote that the advent of flappers, like the short pilus and short dress, distracted attention from feminine curves to the legs and trunk. These attributes were not only a fashion trend merely also the expression of a blurring of gender roles.[46]

The Gibson Daughter [edit]

The Gibson Girl was one of the origins of the flapper. The invention of Charles Dana Gibson, the Gibson Daughter inverse the style, patterns, and lifestyles of the 1920s; these were much more progressive than the traditions of women's styles in the past. Earlier the Gibson Girl movement, women's voices equally a group were infrequently heard. While some may see the Gibson Daughter as but a fashion argument, information technology was much more broadly influential than that. "She depicted the modernistic woman, known popularly as the 'new woman', at a time when more women gained independence, began to work outside the home, and sought the correct to vote and other rights."[47] Gibson'southward illustrations showed feminist women of all kinds who worried more well-nigh themselves than about pleasing the men in their lives. It was the showtime time a woman could actually concentrate on her ain dreams and goals. The Gibson Girl too exemplified the importance of intelligence and learning rather than catering to men'south needs

Co-ordinate to a website on Kate Chopin, "The Gibson Girl influenced society in the early 1900s much similar Barbie influenced society of the belatedly 1900s. The Gibson Girl crossed many societal lines opening the mode for women to participate in things they had never done earlier. She, like Barbie, portrayed women as potent individuals who could play sports while maintaining perfectly coiffed pilus and dress. She was criticized by many, much similar Barbie, for creating an unrealistic ideal of what women should expect like: perfect proportions and long flowing hair. Despite the criticism she was a tendency setter, a model for women in both dress and action, just like Barbie."[48]

The mode of the Gibson Girl allowed them a much more agile lifestyle then previously, in both work and recreation. "Skirts were long and flared, and dresses were tailored with high necks and close-plumbing equipment sleeves. The style was considered masculine, and this was sometimes emphasized by wearing a necktie. Though women yet wore the restrictive undergarments known as corsets, a new health corset came into mode that was said to be ameliorate for the spine than before corsets. An S-shaped figure became trendy, with a big bosom and large hips, separated by a tiny, corseted waist. These styles, worn with conviction and poise by modernistic women. ... She might be pictured at a desk in a tailored shirtwaist or at a tennis party in an informal sports apparel. She wore her long hair upswept in an elaborate mass of curls, perhaps topped by a simple straw hat. Though she was capable and independent, the Gibson girl was ever beautiful and elegant."[47] According to the Library of Congress, "Gibson'south meticulous depiction of their hats accentuates the Gibson Girls' stylish attire and visually reinforces the impression of meridian, leading the middle to the mountains. ... Gibson shows off the classic Gibson Girl as a figure who embraced outdoor concrete activities."[49]

The Gibson Daughter was uniquely American compared to European standards of style. She was an ideal: youthful, feminist, strong and a truly mod woman. Gibson emphasized that any women tin can be represented as a Gibson Daughter, both those in the middle and the upper class. Minnie Clark, known as "the original Gibson Daughter", was a model for Gibson and could portray whatsoever type of women needed for his illustration. Gibson drew with characteristic grace women of all races and classes and so that any woman could experience that they, too, could exist a graceful Gibson

Magazines [edit]

The Flapper Magazine inner page

In 1922, a small-circulation magazine – The Flapper, located in Chicago – celebrated the flapper's appeal. On the opening page of its first event, it proudly alleged flappers' break with traditional values. Likewise, flappers dedicated them past contrasting themselves with before generations of women whom they called "clinging vines". They mocked the confining fashions and demure passivity of older women and reveled in their own liberty. They did not even admit that the previous generation of female activists had made the flappers' freedom possible.[l]

In the 1920s, new magazines appealed to young German women with a sensuous image and advertisements for the appropriate clothes and accessories they would want to purchase. The glossy pages of Die Dame and Das Blatt der Hausfrau displayed the "Girl"—the flapper. She was young and stylish, financially contained, and was an eager consumer of the latest fashions. The magazines kept her up to date on manner, arts, sports, and modern technology such as automobiles and telephones.[51]

Behavior [edit]

Although many young women in the 1920s saw flappers as the symbol of a brighter future, some also questioned the flappers' more extreme behavior. Therefore, in 1923, the magazine began request for true stories from its readers for a new column called "Confessions of a Flapper". Some of these were lighthearted stories of girls getting the improve of those who underestimated them, just others described girls betraying their own standards of beliefs in order to live upwardly to the paradigm of flappers. There were several examples: a newlywed confessed to having cheated on her hubby, a college student described being told by a boyfriend that she was non "the marrying kind" because of the sexual liberties she had permitted him, and a minister's daughter recounted the humiliation of beingness caught in the lie of pretending she was older and more sophisticated than she was. Many readers thought that flappers had gone too far in their quest for adventure. Ane 23-twelvemonth-old "ex-vamp" declared: "In my opinion, the average flappers from 15 to 19 were dotterel, inconsiderate of others, and like shooting fish in a barrel to become into serious trouble."[50]

So, among the readers of The Flapper, parts of them were celebrated for flappers' spirit and appropriation of male privilege, while parts of them acknowledged the dangers of emulating flappers too faithfully, with some even confessing to violating their own codes of ethics so as to live upward to all the hype.[50]

American banks and "flapper" employees [edit]

According to a study in 1922, some banks beyond the United States started to regulate the dress and deportment of young female employees who were considered to be "flappers". It began with a complaint of a mother in New Jersey who felt dissatisfied because her son did business only with a young female employee, whom she considered illegally bonny. The incident was duly reported to the officials of the bank, and rules adopted regarding requirements in dress for female employees. Those rules included that the dress should not accept a pattern, it should be bought from a specific store, it must exist worn in either blackness, blue or brown, its sleeves must non be shortened above the elbow, and its hem must not be worn college than 12 inches from the ground. Subsequently that, the anti-flapper lawmaking before long spread to the Federal Reserve, where female employees were firmly told that at that place was no time for them to beautify themselves during office hours.[31]

Image of youth [edit]

The concluding Empress of China pictured as a young woman in flapper-style wear, 1929

The flapper stands as one of the more indelible images of youth and new women in the 20th century and is viewed by modernistic-day Americans as something of a cultural heroine. However, back in the 1920s, many Americans regarded flappers every bit threatening to conventional lodge, representing a new moral order. Although most of them were the daughters of the middle class, they flouted center-class values. Lots of women in the United States were drawn to the idea of being a flapper. At that place were rival organizations of flappers- the National Flapper Flock and the Royal Lodge of the Flapper.[52] Flappers shrugged off their chaperones, danced suggestively, and openly flirted with boys. "Flappers prized mode over substance, novelty over tradition, and pleasure over virtue."[fifty] Ruth Gillettes, a 1920s vocaliser, had a song titled "Oh Say! Can I Run into You Tonight?" which expresses the new behavior of girls in the 1920s. Before the 1920s, for a woman to telephone call a man to suggest a date would exist impossible. However, in the 1920s, many girls seemed to play a leading role in relationships, actively request boys out or even coming to their homes.[53]

Flappers' behavior was considered outlandish at the time and redefined women's roles. In the English media, they were stereotyped as pleasure-loving, reckless and prone to defying convention by initiating sexual relationships.[54] Some[55] take suggested that the flapper concept as a stage of life particular to young women was imported to England from Germany, where information technology originated "as a sexual reaction against the over-fed, nether-exercised monumental woman, and as a compromise between pederasty and normal sex".[55] In Federal republic of germany, teenage girls were chosen "Backfisch", which meant a young fish non yet big enough to be sold in the marketplace.[56] [57] Although the concept of "Backfisch" was known in England by the late 1880s, the term was understood to mean a very demure social blazon[58] different the flapper, who was typically rebellious and defiant of convention. The evolving image of flappers was of contained young women who went by night to jazz clubs such as those in Harlem, which were viewed every bit erotic and dangerous, where they danced provocatively, smoked cigarettes and dated freely, perhaps indiscriminately. They were agile, sporting, rode bicycles, drove cars, and openly drank booze, a defiant act in the American period of Prohibition.[59] With fourth dimension, came the development of dance styles such as the Charleston, the Shimmy, the Bunny Hug, and the Black Lesser, which were considered shocking, but were a symbolic badge of the flapper'south rejection of traditional standards.[60]

Overturning of Victorian roles [edit]

Billie Dove on "Non for Old Fogies". The Flapper (cover). Nov 1922.

Flappers also began working outside the dwelling and challenging women's traditional societal roles and the monolithic historical idea of women being powerless throughout social history.[61]

They were considered a significant challenge to traditional Victorian gender roles, devotion to plain-living, hard work and religion. Increasingly, women discarded old, rigid ideas about roles and embraced consumerism and personal selection, and were oft described in terms of representing a "culture war" of old versus new. Flappers also advocated voting and women's rights.

In this fashion, flappers were a result of larger social changes – women were able to vote in the The states in 1920, and religious social club had been rocked past the Scopes trial.[62]

For all the concern almost women stepping out of their traditional roles, however, many flappers were not engaged in politics. In fact, older suffragettes, who fought for the right for women to vote, viewed flappers as vapid and in some ways unworthy of the enfranchisement they had worked so hard to win.[63] Dorothy Dunbar Bromley, a noted liberal writer at the time, summed up this dichotomy by describing flappers as "truly modern", "New Mode" feminists who "admit that a full life calls for marriage and children" and likewise "are moved by an inescapable inner compulsion to be individuals in their ain right".[64]

Petting parties [edit]

"Petting" ("making out" or foreplay) became more common than in the Victorian era, for example, with the rise in popularity of "petting parties".[65] [66] At these parties, promiscuity became more commonplace, breaking from the traditions of monogamy or courtship with their expectations of eventual spousal relationship.[67] This was typical on college campuses, where immature people "spent a great bargain of unsupervised fourth dimension in mixed company".[68] [69] [seventy]

Carolyn Van Wyck wrote a cavalcade for Photoplay, an upmarket mag that featured articles on pop culture, advice on style, and fifty-fifty manufactures on helping readers aqueduct their inner glory. In March 1926 an anonymous young woman wrote in describing petting as a trouble, explaining "The boys all seem to practice it and don't seem to come back if yous don't exercise it also. We girls are at our wits' stop to know what to practise. ... I'k sure that I don't want to marry anyone who is too tiresome to want to pet. But I want to discover what is right. Please help me." Van Wyck sympathized with the problem the writer faced and added, "Information technology seems to me much better to exist known as a apartment tire and keep romance in one'south mind than to be called a hot date and have fear in 1'south heart."[71]

In the 1950s, Life magazine depicted petting parties equally "that famed and shocking institution of the '20s", and commenting on the 'Kinsey Report', said that they have been "very much with us ever since".[72] In the Kinsey Written report of 1950, in that location was an indicated increment in premarital intercourse for the generation of the 1920s. Kinsey institute that of women born before 1900, fourteen percent acknowledged premarital sexual activity before the age of 25, while those born after 1900 were two and a half times more than probable (36 percent) to have premarital intercourse and feel an orgasm.[73]

Slang [edit]

Flappers were associated with the use of a number of slang words, including "junk", "necker", "heavy petting", and "necking parties",[74] although these words existed before the 1920s.[75] Flappers also used the give-and-take "jazz" in the sense of anything heady or fun. Their language sometimes reflected their feelings about dating, marriage and drinking habits: "I have to see a man virtually a dog" at this period often meant going to purchase whiskey; and a "handcuff" or "manacle" was an engagement or wedding ceremony band. Moreover, flappers invented slang terms like "hush money," which meant the allowance from a male parent or "dropping the airplane pilot," which meant getting a divorce.[76] Likewise reflective of their preoccupations were phrases to express approving, such as "That's and then Jake",[c] (okay); "That's the bee's knees", (a superb person); "Block-eater," (a ladies' homo); and the pop: "the cat'southward meow," (anything wonderful).[78]

At that place were ii more slangs that reflected flapper'south behaviors or lifestyles, which were "treating" and "charity girls". "Treating" was a culture or habit mainly for the working-class flappers. Although they earned money from piece of work, they still wanted to earn some more for them to alive. Women were willingly invited to trip the light fantastic toe, for drinks, for entrances up to jewelry and clothing. For the "return service", women granted any kind of erotic or sexual interaction from flirting to sexual intercourse. Withal, this practice was easily mistaken for prostitution. And then, some people would call them "charity girls" to differentiate them from prostitutes as the girls claimed that they did not accept coin in their sexual encounters with men.[79]

Appearance [edit]

In addition to their irreverent behavior, flappers were known for their manner, which largely emerged as a event of French fashions,[80] specially those pioneered by Coco Chanel, the upshot on apparel of the rapid spread of American jazz, and the popularization of dancing that accompanied it.[81] Called garçonne in French ("boy" with a feminine suffix), flapper way fabricated girls expect young and boyish: short hair, flattened breasts, and straight waists accentuated information technology. By at least 1913, the association betwixt slim boyhood and a certain characteristic look became fixed in the public's mind. Lillian Nordica, commenting on New York fashions that year, referred to

a thin fiddling flapper of a girl donning a skirt in which she can hardly take a step, extinguishing all but her picayune white teeth with a dumpy bucket of a hat, and tripping down Fifth Avenue.[82]

At this early date, information technology seems that the style associated with a flapper already included the boyish physique[83] and close-fitting lid, merely a hobble skirt rather than ane with a high hemline.[80]

Although the advent typically associated now with flappers (straight waists, brusque hair and a hemline above the knee) did not fully emerge until 1926,[81] there was an early clan in the public mind betwixt unconventional appearance, outrageous behavior, and the word "flapper". A study in The Times of a 1915 Christmas amusement for troops stationed in France described a soldier in drag burlesquing feminine flirtatiousness while wearing "curt skirts, a lid of Parisian blazon[84] and flapper-like pilus".[85]

Despite the scandal flappers generated, their wait became fashionable in a toned-down form amidst respectable older women.[86] Significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines, and popularized curt hair for women. Amid actresses closely identified with the style were Tallulah Bankhead,[87] Olive Borden, Clara Bow, Louise Brooks, Joan Crawford, Bebe Daniels, Billie Dove, Leatrice Joy, Helen Kane, Laura La Plante, Dorothy Mackaill, Colleen Moore, Norma Shearer, Norma Talmadge, Olive Thomas, and Alice White.

Outset in the early 1920s, flappers began actualization in newspaper comic strips; Blondie Boopadoop and Fritzi Ritz – later depicted more domestically, as the wife of Dagwood Bumstead and aunt of Nancy, respectively – were introduced equally flappers.[88]

Apparel [edit]

"Where there's smoke at that place'due south burn" past Russell Patterson, showing a fashionably dressed flapper in the 1920s.

Flapper dresses were straight and loose, leaving the arms bare (sometimes no straps at all) and dropping the waistline to the hips. Silk or rayon stockings were held up by garters. Skirts rose to just below the knee past 1927, assuasive flashes of leg to exist seen when a daughter danced or walked through a breeze, although the way they danced fabricated any long loose skirt flap upwards to show their legs. To heighten the view, some flappers applied rouge to their knees.[89] [90] Popular dress styles included the Robe de style. High heels besides came into vogue at the time, reaching 2–3 inches (5–eight cm) high.[80] Favored shoe styles were Mary Janes and T-straps in classic black, gold, silver, or nude shades.[91]

Lingerie [edit]

Flappers did away with corsets and pantaloons in favor of "step-in" panties. Without the old restrictive corsets, flappers wore simple bust bodices to restrain their chest when dancing. They also wore new, softer and suppler corsets that reached to their hips, smoothing the whole frame, giving women a straight up and downward appearance as opposed to the old corsets that slenderized the waist and accented the hips and bust.[80]

The lack of curves of a corset promoted a boyish look. Adding an even more than boyish look, the Symington Side Lacer was invented and became a popular essential as an everyday bra. This type of bra was made to pull in the back to flatten the chest.[lxxx] Other women envied flappers for their flat chests and bought the Symington Side Lacer to enhance the aforementioned wait; big breasts were normally regarded equally a trait of unsophistication. Hence, flat chests became appealing to women, although flappers were the most common to wearable such bras.

Hair and accessories [edit]

Boyish cuts were in vogue and released the weight of the tradition of women beingness required to grow their hair long, through popular cuts such as the bob cut, Eton ingather, and shingle bob. Finger waving was used as a ways of styling. Hats were still required habiliment and popular styles included the newsboy cap and cloche hat.

Jewelry usually consisted of fine art deco pieces, specially many layers of beaded necklaces. Pins, rings, and brooches came into mode. Horn-rimmed spectacles were also popular.

Cosmetics [edit]

As far back as the 1890s, French actress Polaire pioneered a wait which included short, disheveled pilus, emphatic rima oris and huge optics heavily outlined in kohl.[92] [93] The evolving flapper look required "heavy makeup" in comparison to what had previously been acceptable outside of professional usage in the theater. With the invention of the metal lipstick container likewise every bit compact mirrors, bee stung lips came into vogue. Dark eyes, particularly kohl-rimmed, were the style. Blush came into vogue now that it was no longer a messy application process. Women shaped their eyebrows needle-sparse and penciled them in night, emulating such actresses as Clara Bow.[94] [95]

Originally, pale pare was considered most bonny. However, tanned peel became increasingly popular after Coco Chanel showed off a tan after a holiday – it suggested a life of leisure, without the onerous need to work. Women wanted to look fit, sporty, and, above all, salubrious.

Semiotics of the flapper [edit]

Existence liberated from restrictive dress, from laces that interfered with breathing, and from hoops that needed managing suggested liberation of another sort. The new-found freedom to breathe and walk encouraged movement out of the business firm, and the flapper took full reward.[96] The flapper was an extreme manifestation of changes in the lifestyles of American women made visible through clothes.[97]

Changes in fashion were interpreted equally signs of deeper changes in the American feminine ideal.[98] The short skirt and bobbed hair were likely to be used every bit a symbol of emancipation.[99] Signs of the moral revolution consisted of premarital sex, nativity control, drinking, and contempt for older values. Before the State of war, a lady did not gear up human foot in a saloon; subsequently the War a woman, though no more "a lady", entered a speakeasy as casually as she would get into a railroad station. Women had started swearing and smoking publicly, using contraceptives, raising their skirts above the knee and rolling their hose below it. Women were now competing with men in the business organisation world and obtaining fiscal independence and, therefore, other kinds of independence from men.[97]

The New Woman was pushing the boundaries of gender roles, representing sexual and economic freedom. She cut her hair short and took to loose-fitting clothing and low cut dresses. No longer restrained past a tight waist and long trailing skirts, the modern woman of the 1920s was an independent thinker, who no longer followed the conventions of those before her.[96] The flapper was an example of the prevailing conceptions of women and their roles during the Roaring 1920s. The flappers' platonic was motion with characteristics of intensity, energy, and volatility. She refused the traditional moral code. Modesty, guiltlessness, morality, and traditional concepts of masculinity and femininity were seemingly ignored. The flapper was making an entreatment to authority and was being fastened to the impending "demoralization" of the land.[97]

The Victorian American conception of sexuality and other roles of men and women in society and to one another were beingness challenged. Modern habiliment was lighter and more flexible, amend suiting the modern adult female such as the flapper who wanted to engage in active sport. Women were at present becoming more than assertive and less willing to proceed the home fires burning. The flappers' costume was seen as sexual and raised deeper questions of the behavior and values it symbolized.[97]

End of the flapper era [edit]

The flapper lifestyle and look disappeared and the roaring '20s era of glitz and glamour came to an end in America after the Wall Street Crash of 1929[100] Unable to beget the latest trends and lifestyle, the in one case-vibrant flapper women returned to their dropped hemlines, and the flapper dress disappeared. A sudden serious tone washed over the public with the appearance of the Corking Low. The high-spirited attitude and hedonism were less acceptable during the economic hardships of the 1930s. When hemlines began to rise again, numerous states took action, making laws that restricted women to wear skirts with hemlines no shorter than three inches (7.v centimeters) above the ankle. The always-popular bobbed haircut was the cause for some women being fired from their jobs.[101] [ better source needed ]

Transitioning into the 1930s was no easy task. Campaigns such as the "Make Do and Mend" slogan were condign prevalent to ensure there was no overconsumption throughout society.[102] Fabric choices were amongst the many items to be cut back during this poverty-stricken time. Artificial fabrics were used instead of elegant fabrics such as silk, which were and so popular in the early 1900s. No longer were party dresses adorned with decorative embellishments or made brightly colored. Instead, women headed to work to accept over roles of men at state of war. The physically demanding jobs called for the creation and social acceptance of women'due south pants in lodge.

Meet likewise [edit]

  • Betty Boop
  • Hawksian woman
  • Jazz Age
  • Modern girl
  • 1929 Uk full general election, "the flapper election"
  • Zelda Fitzgerald

References [edit]

Informational notes

  1. ^ In a 1913 alphabetic character a man addressed his 21-year-old girlfriend equally his "flapper".[nineteen]
  2. ^ The word itself was introduced before.[ten] [twoscore]
  3. ^ Start occurring equally American criminal slang before 1914.[77]

Citations

  1. ^ Rosenberg, Jennifer. "Flappers in the Roaring Twenties". Almost.com. Retrieved April 4, 2010.
  2. ^ "Flappers". HISTORY . Retrieved April 20, 2020.
  3. ^ Evans, Ivan H. Brewer's Dictionary of Phrase and Fable (rev. ed.) New York: Harper & Row, 1981 ISBN 0-06-014903-five
  4. ^ "flapper". Online Etymology Dictionary. April 26, 2007. .
  5. ^ Mabbe, James. Celestina Nine. 110 "Fall to your flap, my Masters, kisse and clip"; 112 "Come hither, you foule flappes."
  6. ^ Barrere; Leland (1889). Dictionary of Slang. Flippers, flappers, very young girls trained to vice .
  7. ^ a b Fell, Jon. Teenage: The Creation of Youth Culture. New York: Viking, 2007. p. 202. ISBN 978-0-670-03837-four
  8. ^ Lowsley, Barzillai. A glossary of Berkshire words and phrases 1888 (Due east.D.Due south.): "Vlapper, .. practical in joke to a girl of the staff of life-and-butter historic period."
  9. ^ Oxford English Dictionary. 1989. [ total citation needed ]
  10. ^ a b "The One-act Old Human being and His Troubles". The New York Times (interview with English comedy actor George Graves). February 3, 1907. What are 'flappers'? Why, they are the young girls with their hair nevertheless hanging down their backs. They are the sort that can climb upward ropes mitt over hand and pose at the top.
  11. ^ The Jazz Age. The 20s. Alexandria, Virginia.: Editors of the Fourth dimension-Life Books. 1997. p. 38.
  12. ^ The Times. No. 38574. Feb twenty, 1908. page 15, col F. [ full commendation needed ]
  13. ^ "The Wearing apparel of the Young Girl". The Earth and Traveller. Apr 11, 1908.
  14. ^ James, A. E. "Her Majesty the Flapper" Archived December iv, 2009, at the Wayback Machine. London Magazine (Nov, 1910)
  15. ^ "Review of the 1911 comedy Lady Patricia". The Times. No. 39540. March 23, 1911. p 10, col C. Now the 'flapper' is Miss Clare Lesley, the Dean's tomboy girl... In the play a mature married couple, Patricia and Michael, vainly pursue slang-talking teenagers Billy and Clare, then "Clare, out of the charity of youth for enamoured maturity, indulges Michael with a picayune balmy amour" before at the end finding real honey with Billy, who is her own historic period. The actress playing the flapper is characterized as "full of youth and 'become'".
  16. ^ "Some facts well-nigh the ballet". The New York Times. March 31, 1912. Mr. Tiller explained the difference between a "pony" and a "flapper". A pony, he said, is a small dancer who may exist of any historic period. A flapper is a daughter who has just "come out". She is at an bad-mannered age, neither a kid nor a woman, and she is merely as likely to develop into a evidence daughter as a pony.
  17. ^ Oxford English Dictionary
  18. ^ The Times. No. 40576. July 15, 1914. page one, col B. The male parent of a young lady, anile 15 – a typical "FLAPPER" – with all the cocky assurance of a woman of 30 would be grateful for the recommendation of a seminary (not a convent) where she might be placed for a year or two with the object of taming her. It is non EDUCATION she requires, she has too much of that already... [ full citation needed ]
  19. ^ "£600 Amercement For Alienation of Hope". The Times. No. 40344. Oct 16, 1913. p fifteen, col D. I cannot bear to think of my flapper without an date ring.
  20. ^ Anonymous (December 1914) "The Melancholy Passing of the Flapper" Vanity Off-white
  21. ^ The Times. No. 42232. October 16, 1919. page 7, col B.
  22. ^ The Times. No. 42326. February 5, 1920. page 9, col A. .
  23. ^ "Flappers flaunt fads in footwear" (PDF). The New York Times. January 29, 1922. Retrieved July eighteen, 2021. Simply yous take perhaps heard that at that place is a motion-picture show play, The Three Musketeers, in which Douglas Fairbanks is the D'Artagnan. You may remember having seen, in the long agone, illustrated editions of Mr. Dumas's novel showing D'Artagnan in his musketeer costume. And y'all may peradventure remember that he wore boots, with turned down tops, which flopped as he walked. It is simply that we girls are following the manner gear up past D'Artagnan.
  24. ^ Basinger, Jeanne (2000). Silent Stars. Wesleyan. .
  25. ^ Strong, Marion in Brady, Kathleen (2001). Lucille: The life of Lucille Ball. Billboard. The more noise the buckles made, the amend they flapped, that's why we were called flappers .
  26. ^ Corrigan, Jim. The 1920s Decade in photos: The Roaring Twenties. Berkeley Heights, New Bailiwick of jersey: Enslow Publishers, Inc, 2009, p. 19
  27. ^ The Times (London, England): "Delivering Drunkards", December two, 1936, p. fifteen
  28. ^ Craig, Gordon A. (1991) The Germans New York: Merdian. p.161. ISBN 9780452010857
  29. ^ Sagert, Kelly Boyer (2010). Flappers: A Guide to an American Subculture . Santa Barbara CA: Greenwood Printing. pp. i. ISBN9780313376900.
  30. ^ Cellania, Yard. (2013, March 25). The Rise of the Flapper - Sociological Images. Retrieved April 26, 2016, from https://thesocietypages.org/socimages/2013/03/25/guest-post-the-rise-of-the-flapper/
  31. ^ a b c McGlinchey, S. (2014) "History of Women'south Fashion: 1920 to 1929" Glamour Daze Retrieved April 12, 2016.
  32. ^ Langley, S. (2005) "Jazz" in Roaring '20s Fashions. Atglen, Pennsylvania: Schiffer Publishing. p.xvi ISBN 0764323199
  33. ^ Latham, Angela J. (2000). Posing a Threat: Flappers, Chorus Girls, and other Brazen Performers of the American 1920s. Hanover NH: University Printing of New England. p. 9. ISBN9780819564016.
  34. ^ Langley, South. (2005) "Jazz" in Roaring '20s Fashions. Atglen, Pennsylvania: Schiffer Publishing. p.eighteen ISBN 0764323199
  35. ^ a b Langley, South. (2005) "Jazz" in Roaring '20s Fashions. Atglen, Pennsylvania: Schiffer Publishing. p.17 ISBN 0764323199
  36. ^ Boland, J. (Apr 15, 2012) "1920s Fashion & Music". Retrieved April 12, 2016.
  37. ^ Cellania, M. (March 25, 2013) vi, "The Ascension of the Flapper - Sociological Images". Retrieved April 26, 2016.
  38. ^ Bramlett, L. A. (2010) "Vintage Sportswear" Fuzzylizzie Vintage Retrieved April 12, 2016.
  39. ^ Stevenson, N. J. (2012) Style: A visual history from regency & romance to retro & revolution: A consummate illustrated chronology of fashion from the 1800s to the nowadays day (1st ed.). New York: The Ivy Press Limited. p.92-93
  40. ^ Staff (February 24, 1910). New Brunswick Times. And over in England, every bit I learned, they call a daughter of about fifteen a "flapper."...
  41. ^ a b "Olive Thomas". Memories of Olive. Supposition. Archived from the original on April 12, 2013. .
  42. ^ Long, Bruce (ed.). "Taylorology: A Continuing Exploration of the Life and Death of William Desmond Taylor". Arizona Country University. .
  43. ^ De Castelbajac 1995, p. 35.
  44. ^ Conor, Liz. The Spectacular Modern Adult female: Feminine Visibility in The 1920s 2004. p. 301
  45. ^ a b Zeitz 2007, p. half dozen.
  46. ^ Reinsch, O. (2013). "Gender and Consumerism" [ permanent dead link ] Gender Forum Retrieved April 26, 2016.
  47. ^ a b Staff (ndg) "The Gibson Girl" Encyclopedia of Manner website. Retrieved Oct 11, 2016.
  48. ^ Chopin, Kate (ndg) "The Gibson Girl" Retrieved Oct 25, 2016
  49. ^ Staff (ndg) "The Gibson Girl as the 'New Woman'" The Gibson Girl'due south America: Drawings by Charles Dana Gibson Library of Congress website
  50. ^ a b c d Ferentinos, S. (n.d.). Not for One-time Fogies: The Flapper. Retrieved May eighteen, 2016, from http://www.ultimatehistoryproject.com/flapper.html
  51. ^ Nina Sylvester, "Before Cosmopolitan: The Girl in German women's magazines in the 1920s". Journalism Studies 8#four (2007): 550–54.
  52. ^ Dalzell, Tom (2010). Flappers two Rappers. Mineola, New York: Dover Publications Inc. p. nine. ISBN978-0-486-47587-5.
  53. ^ Langley, South. (2006). Roaring '20s fashions: Deco. Atglen, PA: Schiffer Publishing, p. 16
  54. ^ Praga, Mrs. Alfred (July 29, 1917). ""Sporting" girls and the risks they run. An open up letter to "The Flappers" of England". The Weekly Dispatch. p. 7. My dear "Flappers" – I wonder if any of you in your gay youthfulness ever realise what a lot of impairment you are doing to your future happiness by the way you sometimes devalue yourselves in the optics of your men "pals", every bit you beloved to call them ... The article goes on to describe flappers haunting public venues in society to "get off" with men.
  55. ^ a b Graves, Robert; Hodge, Alan (1994). The Long Week Stop: a Social History of Great Britain, 1918–1939. pp. 33–34. .
  56. ^ Backfisch. In: Sigi Kube: Wie kommt die Katze in den Sack und was weiß der Kuckuck davon?: Tierische Redewendungen und ihre Bedeutung. Heyne, 2011, ISBN 978-three-641-05361-1 (German language)
  57. ^ Staff (February 24, 1910). New Brunswick Times. ... a typical German language girl of the well to do form betwixt the ages of fifteen and seventeen. Before she gets to exist xv she is simply a 'kid' equally we say in this country. But for those two years she is a backfisch pure and unproblematic. The article implies the girl is so designated to prevent someone no longer a child attempting to assume the arrogance of an adult adult female: "These German frauleins dare not do so, because they know they are mere backfisches." The article concludes "And over in England, as I learned, they call a daughter of about xv a 'flapper'. If I were notwithstanding but fifteen I am sure I would prefer being a backfisch."
  58. ^ Pall Mall Gazette. Vol. 3, no. ii. August 29, 1891. Let u.s.a. introduce the word 'Backfisch', for we have the Backfisch e'er with us. She ranges from fifteen to eighteen years of historic period, keeps a diary, climbs copse secretly, blushes on the smallest provocation, and has no conversation. , in the Oxford English Dictionary (2nd ed.). 1989. [ full commendation needed ]
  59. ^ President of the League of American Pen Women, Mrs William Atherton du Puy (October 15, 1921). "Let Girls Smoke, Mrs Dupuy's Plea". The New York Times. Yes, girls do smoke, and there is no impairment if they don't become to excess. It is not like the rush of girls to the cafés to drink which happened twenty years ago. Information technology was that which brought about prohibition. .
  60. ^ Dumenil (1995)
  61. ^ Latham, Angela J. (2000). Posing a Threat: Flappers, Chorus Girls, and other Brazen Performers of the American 1920s. Hanover, NH: Academy Press of New England. pp. 7–8. ISBN9780819564016.
  62. ^ Zeitz, 2007. "Hither was where the modern civilization could prove threatening to the Victorians. The ethos of the consumer market glorified non merely self-indulgence and satisfaction, but also personal liberty and choice. It invited relativism in all matters ranging from colour schemes and bath soap to religion, politics, sex activity and morality."
  63. ^ Zeitz, 2007. "Others argued, though, that flappers' laissez-faire attitude was simply a natural progression of feminine liberation, the right having already been won."; p.107: "T[he Jazz Age flapper ... [was] [d]isengaged from politics..."
  64. ^ Zeitz 2007, p. 117.
  65. ^ Weeks, Linton (June 26, 2015). "When 'Petting Parties' Scandalized The Nation". NPR . Retrieved December 18, 2020.
  66. ^ Staff (February 17, 1922). "Mothers Mutter that Modernistic Girls 'Vamp' Their Sons at Petting Parties". The New York Times. .
    An earlier commodity in the aforementioned newspaper rebutted an set on on the behaviour of American girls made recently in the Cosmopolitan by Elinor Glyn. It admitted the existence of petting parties but considered the activities were no worse than those which had gone on in earlier times under the guise of "kissing games", adding that tales of what occurred at such events were probable to be exaggerated by an older generation influenced past traditional misogyny
    Dupuy, Mrs William Atherton (Oct fifteen, 1921). "Allow Girls Smoke, Mrs. Dupuy'south Plea; Penwomen's President Rises in Defense of Immature Thing Who 'Parks Corsets' Before Dance. MRS.GLYN WRONG, SHE SAYS Declares Short-Brim Girl of Today Who Goes to "Petting Parties" Is All She Should Be". The New York Times. .
  67. ^ McArthur, Judith North; Smith, Harold Fifty (2010). Texas Through Women'southward Optics: The Twentieth-Century Experience. pp. 104–05. ISBN9780292778351. The spirit of the petting party is calorie-free and frivolous. Its object is not marriage – only a momentary thrill. Information technology completely gives the lie to those sugariness, erstwhile phrases, "the only man" and "the only daughter". For where there used to be merely one girl there may be a score of them now.
  68. ^ Drowne, Kathleen Morgan; Huber, Patrick (2004). The 1920s. p. 45. ISBN9780313320132.
  69. ^ Nelson, Lawrence J (2003). Rumors of Indiscretion. p. 39. ISBN9780826262905. .
  70. ^ Bragdon, Claude (2007). Delphic Adult female. pp. 45–46. ISBN9781596054301. .
  71. ^ Dubois, Ellen Carol; Dumenil, Lynn (2012). Through Women'due south Eyes (Third ed.). Boston, MA: Bedford/St. Martin'due south. p. 561.
  72. ^ Havemann, Ernest. "The Kinsey Report on Women" Life mag (August 24, 1953)
  73. ^ Duenil, Lynn (1995). The Modernistic Temper:American Civilisation and Society in the 1920s. New York, NY: Hill and Wang. p. 136.
  74. ^ "Shifters No Longer Entreatment to Slackers". The New York Times. March 26, 1922. The epithets she has evolved from her own dictionary are "junk", "necker" and "heavy necker". "Junk" is annihilation she considers unimportant or unworthy of consideration. A "necker" is a "petter" who puts her arms effectually a boy's neck. A "heavy necker" is a "petter" who hangs heavily on said neck. "Necking parties" take superseded "petting parties. .
  75. ^ Oxford English Lexicon, online ed., March 2012.
  76. ^ Nov 5; 2019. "Flapper Slang: Talk the 1920s talk". KCTS 9 . Retrieved October 13, 2020. {{cite web}}: CS1 maint: numeric names: authors list (link)
  77. ^ Jackson, Louis E; Hellyer, CR (1914). A dictionary of criminal slang. in Oxford English Dictionary (online ed.). March 2012. .[ full commendation needed ]
  78. ^ Editors of Fourth dimension-Life (1997). The Jazz Historic period: The 20s. Alexandria, Virginia.: Time-Life Books. pp. 32–33.
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  82. ^ "Mme Nordica Buys No Paris Gowns". The New York Times. January 1, 1913. .
  83. ^ "Mme Nordica Buys No Paris Gowns". The New York Times. Jan 1, 1913. ...when a lady of uncertain age and very certain development attempts the aforementioned niggling costume because it looks well on the thin picayune girl, well – " And Mme. Nordica left the result to the interviewer's imagination.
  84. ^ The Times. December 23, 1915. p. 11. ...the jaunty little toque
  85. ^ "Pantomime At The Front, Soldier "Heroines"". The Times. No. 41050. December 30, 1915. p 7, col Eastward. There was, for example, a Maid Marian in the cast, who was described every bit a "dainty dam'sell" because she was a sergeant. In that location was something ridiculously fascinating about that sergeant, for he was in bluish short skirts, a hat of Parisian type and flapper-similar hair; and when she was instructing Ferdinand, a Bad Lad... in the employ of the "glad centre", the peachy audience shouted with laughter.
  86. ^ Smith, Merril D. (2014). Cultural Encyclopedia of the Breast. Rowman & Littlefield. p. 114. ISBN9780759123328.
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Bibliography

  • Abra, Allison. (September 2016) "Going to the palais: a social and cultural history of dancing and dance halls in Britain, 1918–1960." Gimmicky British History 30#3 pp. 432–433.
  • Chadwick, Whitney (2003). The Modern Woman Revisited: Paris Between the Wars. ISBN978-0-8135-3292-9. .
  • De Castelbajac, Kate (1995). The Face of the Century: 100 Years of Makeup and Style. Rizzoli. ISBN978-0-8478-1895-2. .
  • Dumenil, Lynn (1995) The Mod Temper: American Culture and Society in the 1920s. New York: Hill and Wang. ISBN 978-0-8090-1566-five
  • Fass, Paula S. (2007) The Damned and the Beautiful: American Youth in the 1920s. 2007. ISBN 978-0-19-502492-0
  • Gourley, Kathleen (2007) Flappers and the New American Woman: Perceptions of Women from 1918 Through the 1920s (Images and or of Women in the Twentieth Century). ISBN 978-0-8225-6060-9
  • Hudovernik, Robert (2006) Jazz Age Beauties: The Lost Collection of Ziegfeld Photographer Alfred Cheney Johnston. ISBN 978-0-7893-1381-2
  • Latham, Angela J. (2000) Posing a Threat: Flappers, Chorus Girls, and other Brazen Performers of the American 1920s. ISBN 978-0-8195-6401-6
  • Lauber, Ellie (2000) Fashions of the Roaring '20s. ISBN 978-0-7643-0017-ii
  • Sagert, Kelly Boyer. Flappers: A Guide to an American Subculture. Santa Barbara, CA:   Greenwood Printing, 2010. ISBN 978-0-313-37690-0
  • Zeitz, Joshua (2007). Flapper: a madcap story of sex, style, celebrity, and the women who made America modern. Random Firm. ISBN978-i-4000-8054-0. .

Farther reading

  • Mackrell, Judith (2013) Flappers: Six Women of a Unsafe Generation. ISBN 978-0-330-52952-v

External links [edit]

  • "1920s fashion & music". 1920s Flapper: Young Women in a Modern World. .
  • "Slang of the 1920s". AACA. Archived from the original on June 18, 2010. .
  • "Flappers and way". Rambova.
  • "Thousands of photos of flappers can exist viewed at Louise Brooks Fan Club on Facebook". .

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