have a good one tonight, folks

THE LADY IN THE TUTTI-FRUTTI HAT
(Sheet music version)

CHORUS 1:

I wonder why does ev'rybody look at me
And then begin to talk about a Christmas tree?
I hope that means that ev'ryone is glad to see
The lady in the tutti-frutti hat.
The gentlemen, they want to make me say, "Si, si,"
But I don't tell them that, I tell them, "Yes, sir-ee!"
And maybe that is why they come for dates to me,
The lady in the tutti-frutti hat.
Some people say I dress too gay,
But ev'ry day, I feel so gay;
And when I'm gay, I dress that way,
Is something wrong with that?
Americanos tell me that my hat is high,
Because I will not take it off to kiss a guy;
But if I ever start to take it off, ay, ay!
I do that once for Johnny Smith
And he is very happy with
The lady in the tutti-frutti hat.

CHORUS 2:

You hear a lot of people shouting, "There she goes!"
You see a seсorita dressed in flashy clothes,
In Rio de Janeiro, ev'rybody knows
The lady in the tutti-frutti hat.
When she begins to sing a song in Portuguese,
The temp'rature goes up a hundred more degrees;
Although they're freezing prices, they would never freeze
The lady in the tutti-frutti hat.
It isn't any wonder that
She likes her native habitat,
'Cause when she has to pick a hat,
She picks it off the trees.
She always has a half a dozen Romeos,
And when they come to sing a serenade, she throws
A lemon or banana like you throw a rose,
But Casanovas still prefer
That hep and happy character,
The lady in the tutti-frutti hat.

Lyric by Leo Robin
Music by Harry Warren

(one thing i found most interesting is that the only real equivilent to western hats i could find in the japanese prints were on the men playing women in kabuki, and not on women themselves.)

hungary for more?

Painter, graphic artist and industrial designer, Géza Faragó's richness of ideas, and posters full of original humor in Art Nouveau, had a great influence on the development of Hungarian posters.

One rather interesting episode in the history of Hungarian industrial culture is the fortuitous meeting between the United Lamp and Electric Co (trade name: Tungsram) founded in 1872, and Faragó was one of the most popular Hungarian poster artists at the turn of the century. It was a success story that established a lasting reputation for the factory and artist alike.

An invention by Ferenc Hanaman, engineer, and his associate, Sándor Juszt, the tungsten lamp emitted 3.5 times the amount of light, with the same consumption of power, than its predecessor the carbon filament lamp.The poster designer compares the brilliance of the light bulb to the brilliance of sunshine: the graceful female figure looking into the sunlight shades her eyes with delicate hands. 1

Faragó's early career as a textile designer is evident in this decor- atively-patterned poster promoting men's and women's fashions at Budapest's then-elegant Golya department store (golya is the Hungarian word for stork).

Géza Faragó was a pupil of Mucha and Colarossi in Paris in 1898. On his return to Hungary, his works were exhibited in 1900. After another stay of some years in Paris, he became a pupil of Adolf Fényes in Szolnok, and Béla Iványi Grünwald in Kecskemét, then settled down in Budapest around 1905.

He designed stage sceneries and cartoons. His posters were exhibited in Berlin in 1914. From 1910 to 1915 he was a stage designer at Király Theatre, at the Operetta Theatre, Budapest, and later at UFA Studio. "Hungarian Wedding", a ballet, was on in London for a year. His most famous posters include "Gottschlig Reem", "Törley Champagne" (1909), "Kerpel Hand Moisterer" (1910). His works were exhibited in 1910, 1923 and 1928. "Evening by the Danube", "Early Moonshine", "Morning" and "Peasant Girl in Seelfeld" are in the collection of the Hungarian National Gallery.He specialized in costume design, working at theaters in Budapest and Vienna, and many of his paintings hang in the Hungarian National Gallery.

is it true what they say about hats?

i have read (though i can't find it just now) that the japanese hairstyles that were 'discovered' in prints and in visits to japan had a great influence in the hats of the day.

what is it with hats, and hair? why is it that century after century we do things with our hair or wear things on our heads that seriously increase its volume?

is it a frame for the face? a crown? an unconscious wish to appear threatening? a wish to enhance beauty?

in any case, at that point in time, japanese styles were influencing everything, so why not hats?

As the 19th century drew to a close the hats got big enough to use as fire buckets... (more)

immense, yard-wide hats, laden with plumes and feathers or with basket-loads of artificial flowers... (more)

(left: edouard vuillard, georges de feure, utagawa kuniyoshi, and again kuniyoshi. right: not known yet, kunisada utagawa, jules-alexandre grun, gabriele munter.)