They're not forced to be here or do anything. "The 2,000 people watching the show tonight don't seem to think that, do they?" Pharoah replied. Most of the 90-minute show is performed topless.Ĭho asked, "There are people who are going to watch this and say, 'Do we need to see so many nude girls dancing on stage? Isn't it demeaning?'" A topless dancer at the Moulin Rouge in Paris. "I think the stamina to get from the beginning to the end, 'cause it's just so difficult." Backstage at the Moulin Rouge.Īnd revealing. "The can-can is the hardest, I think," said Evans. "Some of the routines are very difficult," Chapman said. Each elaborate handmade costume can cost $50,000.Īustralians Amanda Chapman and Jessica Evans are long-time dancers. At least 5'8", but really these days you're looking at more than 5'10" and going to 6-foot."Īnd the can-can doesn't come cheap. "I'm looking for very good dancers, good classical training," Pharoah said. He painted dancers like Jane Avril, the inspiration behind Nicole Kidman's character in Baz Luhrmann's 2001 movie. Toulouse-Lautrec was behind the now-familiar posters for the Moulin Rouge, and the originals still hang there. And here he could be in the middle of them and see them dance and laugh and drink. But he was a dwarf, and women escaped from him.
"He lived not far from here," Rapazzini said. Rapazzini said the Moulin Rouge attracted greats like Ernest Hemingway, Pablo Picasso and Henri de Toulouse-Lautrec, the diminutive painter who came to the cabaret almost every night. There was everybody." The chorus line at the Moulin Rouge cabaret in Paris. There were the bourgeois, there were the aristocrats, there were the laundry girls. And here all the classes were mixed together. Author Francesco Rapazzini said, "Here was the party. A forth surviving original color display, a CBS Slave ("companion") set, is now also undergoing restoration.It didn't hurt that Joseph Oller and Charles Zidler, the two businessmen behind the Moulin Rouge, also put on an eye-popping show. has finally phoned home." In April, 2004, two other sets (Steve McVoy's Gray Research monitor and John Folsom's CBS Labs 7-inch combination receiver) demonstrated the CBS Color System using the Hock Converter at the 2004 Early Television Conference in Columbus, Ohio. The receiver has patiently waited and searched for a signal in accordance with the CBS Color standard since the last CBS Colorcast on October 20, 1951. The set was restored by Reitan in 1982 for demonstration at that year's SMPTE Conference in Los Angeles. During the late 1970's the set was discovered by Dan Gustafson of Chicago and transferred to historian Ed Reitan. The Model 12CC2 was preserved starting in 1951 by an engineer associated with the Chicago CBS network affiliate television station that carried the few CBS commercial Colorcasts in 1951. It has been a long time! The Jdate marked almost 53 years since the Model 12CC2 television receiver last received signals in accordance with the CBS Color system. Folsom, McVoy, and Reitan (owners of three original surviving 1951 CBS Color standard reproducers). Hock has delivered three color converters, one each to Messrs. The Model 12CC2 is manually switchable to receive either today's 1941 525-line/60 fields per second NTSC monochrome standard or the 405-line/144 fields per second 1951 CBS Color standard. The CBS video was modulated to the RF of a VHF channel and then input to the Model 12CC2's tuner. Hock's converter translates NTSC color video sources to video using standards in accordance with the 1951 FCC-approved CBS Color Television System. The actual 12CC2 receiver is pictured on Ed Reitan's Color Television History web site.Īn NTSC-to-CBS Color-System converter, developed by Darryl Hock, was used to generate images for presentation on the CBS receiver. On Sunday June 6, 2004, a surviving CBS Columbia Model 12CC2 similar to the picture, the first and only commercial color television receiver sold in 1951, again displayed color pictures using the 1951 CBS Color standard.
0 kommentar(er)
