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Opening the Williamsburg Bridge
Ceremonies upon the opening of the Williamsburg Bridge in New York City, 1903. Opening the Williamsburg Bridge over the East River, the largest suspension bridge in the world at the time. TLS looking across the newly constructed Williamsburg Bridge, American flags lining barrier, New York City police officers riding horses across bridge, toward cam; next batch of folks crossing the bridge are press photographers carrying large wooden "box" cameras; following them are various dignitaries led by a standard bearer whose banner reads "Mayor." (The mayor of New York at this time was Seth Low, a lame-duck at the time of filming, having been defeated in the November mayoral election.) TLS crowd crossing bridge decorated with bunting, walking away from cam.
Focus on the 60s (1960-64)
Camelot (Kennedy clan), the assassination of John F. Kennedy, the Civil Rights movement, the Civil Rights Act, and the murder of three civil rights workers in Mississippi.
Focus on the 60s (1960-64)
DO NOT USE VO. DO NOT USE ANY TRAILERS AS THEY ARE PRESENTED ON THIS PROGRAM. All other imagery may be used. The early 1960s in film, music & entertainment: the Beatles, Marilyn Monroe, Academy Awards, etc.
Focus on the 60s (1960-64)
The rise of the U.S. military-industrial complex, the successes of the Mercury space program, Alan Shepard & John Glenn, Telstar satellite & other technological advances.
Focus on the 60s (1960-64)
The national allure of Jacqueline Kennedy, Lyndon Johnson, the Warren Report, and Barry Goldwater.
The First World War - PT1
Prologue to the Great War (WWI) - PT1: Great historical background leading up to the First Great War. This section introduces the major world players including royalty, military leaders & politicians. Time period: 1896-1911.
Ethel Waters
Same as catalog # 493010 Ethel Waters This is a killer clip. The first image shows two pairs of shoes, his and hers. They are paired off between the head of a broom. The broom drops to the floor, and the woman begins to briskly walk off. The camera focuses on her shoes which are set against a black and white checkered floor. A housewife walks through a screen door onto a patio, and finds her husband asleep in a hammock. She rips a newspaper from his face, puts one hand on her hip and begins to sing "Taking Your Time" . CUs of her singing, he is still asleep. Female singer is the legendary Ethel Waters. early soundie 1930s.
The Skin Horse
FILES MISSING FROM NETWORK / SINCE ERASED FROM HARDDRIVE This program consists primarily of headshot interviews. A Hostess leads a discussion about on the lives of handicap individuals with three expert guests. There is nothing of much value here.
The Skin Horse
INTRODUCTION: This is work footage for a production that coincides with a larger project. The larger project is a program called, "The Skin Horse." This video begins by showing stills of the various photographs that are hung on stage behind the panelists. Other than that, this footage is exactly the same as that of Master 11350. Although the camera shoots the same discussion, different angles are caught that will allow program editors to diversity the final cut. BODY: 13:18:09 A colored archival photograph is shown. Well, it looks archival, but the composition may just make it appear so. An elderly women sits in front of a window with her head turned away. The window light outlines her face and fills her wrinkles with shadow. She is writing a letter. The surrounding room is sparse and is filled with hard wood floors and a set of long white window curtains. 13:18:46 An illustration, which could serve as a model for a Precious Moment figurine, is shown. It shows a young boy dressed in nice white shirt, a blue coat and a little bow tie. He is holding a miniature donkey, and has golden blond hair. Neither the boy nor the animal has any true emotion being expressed. 13:19:21 A crippled man sits in his wheel chair. The expression on his face resembles a stereotypical Steven King character. Shadows and overhead lighting create of freaky affect. A large sculpture sits near him. It is white and of a vampire that looks like it could be a Klingon from Star Trek. 13:19:48 An archival photograph of a young women is shown. She appears weak and distant in her eyes. Not smiling, she stairs straight-ahead, and into the camera. Dressed in a white dress that hangs off her small frame, it reflects the light coming in from a window. Her face, stark white, also reflects the light. This is a rather disturbing image. 13:20:10 A photograph of, what should be assumed is, a disabled individual is shown. The girl has extended her hand, and her index finger is being held. She has tilted her head, and only one side is shown. Her expression is that of thanks. 13:56:27 A credit screen reads, "The Skin Horse Discussion Segment - Producer: Ducat - Director: Camp." 13:56:53 Footage from here on out parallels Master Number 11350. The camera focuses for long periods of time on the various panelists. As one gives a comment, the camera records the reaction of the others to those comments. These are different shots The purpose of doing this is to obtain footage to create interesting cut away shots during final editing. 14:52:46 OUT.
Howard Theater
Master 11455 Part 1 Same as catalog # 492998 Source material on the Howard Theatre, which catered to an African American audience. Contemporary interviews with theatergoers of the day, archival photographs of Howard performers, commercial advertisements for different shows, album covers and commercial illustrations. There is also some contemporary footage of the Howard Theater as it exists today. Washington, DC
Living Stage - Interview
INTRODUCTION: This video consists of an interview with a producer of the Living Stage Theater Company. He is the only person in this video. Using flowery terminology, he attempts to define the approach his company takes in presenting theater. His approach in doing this is to make an exuberant amount hand gestures. In fact, even when he doesn't make a gesture, his lack of gesturing implies meaning. Which is a good thing, because what he is saying does not. Two different takes are made of this interview, and neither of them is very concise. This video is second tape in a four tape collection. OPENING: 00:07:26 Camera footage opens by showing a theater producer seated atop a large red crate. His feet are resting upon a small yellow crate. One of his hands is placed on his kneecap and the other rests his chin. Waiting for his cue, he becomes impatient and claps his hands for something to do. BODY: 00:07:49 He begins to speaking about the motivations behind his theater company. Looking directly at the camera, he uses many hand gestures to help convey his word. For example, when he says, "body, heart and soul," his hands are first brought close together, but then get wider and then widen as each word is said. Other gestures involve rolling his hand over and over to imply repetition or a karate chop to symbolism an emphasis on a particular point or phase. 00:09:27 The camera tightens the shot on the producer's upper body. His curly moppy hair and downward arching mustache become more detailed. A yellow button is attached to his breast pocket. Now when he gestures, which is at every word, his hands exceed the camera's field of view. 00:09:49 The camera tightens even further. This guy is beginning to look a little possessed, or possibly a bite crazed by over work. He keeps touching his teeth when he pauses over a lack of words, and laughs at himself when he becomes tong-tied. 00:10:57 A cut in taping is called. The camera zooms out to show the producer in relationship to the surrounding space. There is a red ladder, various posters hung on the walls, a drying rack for cloths in the corner and other odds and ends scattered about. 00:11:21 The producer shouts questions at the camera people about how to proceed with the interview. 00:11:39 Footage continues with a second take on the interview. The camera again zooms in on his face. Basically, this is the same stuff as before, but because there is no script, the producer again improvises his lines. 00:17:09 The second take ends. CLOSING: 00:17:23 A banner cry for The Living Stage reads, "In the Deepest Part of Our Soul, In the Truest Parts of Our Humanity, We Have The Need to CREATE: To Transform the Viciousness and Mediocrity of the World In To Sunlight and Peace WELCOME To This Place Where You Can Dare To Be In Your Dreams! Dare To Be Strong! Dare To Be Vulnerable! All Power To the Imagination! Love and Good Courage . . . The Living Stage
Living Stage
INTRODUCTION: This video is the combined product of Master Numbers 11352 and 11353. Really this is just a replay of Master Number 11352, for not much of 11353 is used. Nonetheless, refer to Masters 11353 and 11353 for the complete descriptions of the following footage. The following is not much more than a timeline of the footage. Burn codes do not match up. This video is the third tape in a four tape collection. OPENING: 01:01:43 Footage transitions in from a black screen to show a group of theatrical performers rehearsing for a production. All are dressed in stereotypical hippie attire and are playing music instruments. 01:02:18 Footage shows a Living Stage producer giving an interview about the motivation behind his company. 01:03:17 The title of the program, "Living Stage Theater Company," is shown set again footage of the performers rehearsing. They move into a line anticipating that their audience is about to arrive. BODY: 01:04:55 Footage transitions back to the interview with the producer. 01:05:32 Footage transitions back to the performers. A group of school children enter the room and sit down in front of the performers. A variety of instruments have been placed there for them, and each kid picks one up. A variety of shots capture the performers in relationship to the kids. 01:06:47 One of the performers greets the kids. 01:08:40 The performer takes the kids line by line through the song. 01:12:02 The kids are called to their feet to sing. Close-ups are made of them. 01:13:22 The performer begins to make big sways with her body to encourage the kids to really get into the spirit of the song. The other performers to the same thing. 01:14:25 The performer begins to dance around the room. The kids are not sure what to make of this. Another performer dressed as a red ship sail enters the stage area and works off of the momentum her partner began. Then, a third performer begins to parade around with a polka-dotted bed sheet freaking the kids out. 01:17:30 The first performer begins to give a singing sermon to the kids. Next, a role-play begins. 01:23:42 The performers freeze in scene. The producer enters the stage (This is not part of his interview). He asks the kids to describe the expression of the performers' faces. He eventually stands in between the two role-players and directs them as to how to proceed. 01:30:45 A student helper is selected from the group to help act out the second part of the role-play. 01:44:52 The performers, including the kid, freeze a second time. The producer asks the students to again describe what they see. 01:45:55 The role-play is over. The first performer sits on a box and beings conversing with the students. 01:47:00 The other performers join her, and the students are told to gather around. 01:49:05 The kids and the performers scattered throughout the stage. They begin to act out different emotions. Everyone screams and gestures their bodies. Six different freezes are made. 01:53:00 Everyone moves to on end of the stage. One at a time each kid runs to the other end and freezes. The intention is to create one large sculpture. Once everyone is down to the other end, the first performer orders them to take one more movement, and to create yet another sculpture. Everyone then begins to sing. CLOSING: 01:56:14 The credits read, "Theater of The Heart: Living Stage Theater Company." They are set against additional footage of the emotion freeze thing. 01:58:08 The performance is over, and the kids are shown leaving the stage. The performers then go back to signing their song. 01:59:52 OUT.
Living Stage - Theatre of the Hear
This video is a copy of Master Number 11354. Everything is the same except that 12 minutes of singing has been edited out for your safety and those around you. Consult Master Number 11354 for all footage description. This is the fourth video in a four tape series.
The Asylum - Saint Elizabeths
INTRODUCTION: This program accompanies the program, "Asylum;" an historical account of Saint Elizabeths Hospital in Washington D.C. Footage is of a talk panel discussion hosted by Diane Rehm in which she discusses the issue mental illness with a panel of experts from the Washington D.C. area. Although this discussion does not contain much value in terms of its' visual content, it is valuable from the standpoint that it documents the fall out from decentralization in the specific region of Washington D.C. during the 1980s. OPENING: Footage from "Asylum," transitions to show hostess Diana Rehm and her panel of guests. These guests are Norman Rosenberg, Barbara Bick and Dr. David Washington.
City Dance
INTRODUCTION: This program is the final product of work footage from Master Numbers 11356 and 11357, and has been divides into two parts, but the following description details both. The following footage consists of a collection of seven performances from a 1981Washington Performing Arts Society event held at the Lizzner Auditorium. JC Hayward hosts this event. The following description is nothing more than a timeline of the event. The real descriptions of footage are contained in Master Numbers 11356 and 11357. Consult those Master Numbers for all descriptions. Note that the finale has been cut at its' mid point due to lack of time. OPENING: 00:02:50 Various program-funding announcements for "City Dance" are shown. 00:03:19 Footage begins by showing the various titles of program's acts set against a still shot of from their performance. In order of appearance, they are: D.C. Youth Ensemble, Hoffman Dance Consort, Washington Ballet, Maryland Dance Theater, Raquel Pena Spanish Dance Company, Glen Echo Dance Theater and African Heritage Dancers and Drummers. 00:03:56 The program's title, "City Dance," appears set against a still shot from the Maryland Dance Theater performance. BODY: 00:04:03 Footage shows program hostess, JC Hayward, opening the show. She introduces both the D.C. Youth Ensemble and the Hoffman Dance Consort. 00:05:02 Footage of the D.C Youth Ensemble begins. 00:08:42 Footage of the D.C Youth Ensemble ends, and footage of the Hoffman Dance Consort begins. 00:16:59 Footage of the Hoffman Dance Consort ends. JC Hayward is shown introducing the Washington Ballet. 00:18:08 Footage of the Washington Ballet begins. 00:28:41 Footage of the Washington Ballet ends. 00:28:48 JC Hayward is shown introducing the Maryland Dance Theater. 00:29:30 Footage of the Maryland Dance Theater begins. 00:41:59 Footage of the Maryland Dance Theater ends. 00:42:00 JC Hayward is shown introducing the Raquel Pena Spanish Dance Company. 00:42:59 Footage of the Raquel Pena Spanish Dance Company begins. 00:50:50 Footage of the Raquel Pena Spanish Dance Company ends. 00:50:51 JC Hayward is shown introducing the Glen Echo Dance Theater. 00:51:36 Footage of the Glen Echo Dance Theater begins. 00:59:10 Footage of the Glen Echo Dance Theater ends. 00:59:12 JC Hayward is shown introducing the African Heritage Dancers and Drummers. 00:59:50 Footage of the African Heritage Dancers and Drummers begins. 01:03:14 TAPE ENDS - SWITCH TO MASTER NUMBER 11358 (PART 2). 01:03:06 11358 (Part 2) picks up a few seconds before Part 1 cuts. The time codes do correspond. CONCLUSION: 01:07:43 JC Hayward suddenly cuts in to announce that time has run out for that night's show; meaning television. 01:07:48 Footage returns to show more of the African Heritage Dancers and Drummers' performance as the program's credits role. 01:10:11 Footage of the African Heritage Dancers and Drummers ends. 01:10:27 OUT.
Pushcart Vendors Told to Move On
"Move On." Nice 'slice of life' look at pushcart vendors on New York's Lower East Side, 1903. Film is of a street where several Jewish and Italian pushcart vendors have gathered to sell their goods; in FG fruit and vegetable carts; part of El track in BG. There's a lot of other activity as well - - pedestrians on the sidewalk walking past many small shops, and crossing the street, horse-drawn carts, a young guy tossing some small object up and catching it. 2 Policemen come up the street and order all of the vendors to move. One cop approaches twirling his nightstick, and the cart in the foreground begins moving. The film ends with CU of cop scolding the vendor, shaking his fist. (That last part seems sorta exaggerated - - like it might have been a bit of acting for the camera.)
Paperboys Fighting, 1899
Paper boys fighting. A one-horse paneled newspaper van w/ sign "New York World" drives up and a bunch of young boys go running to the van and crowd around it; maybe they are all trying to get their newspapers first - or competing to get them at all! As they gather around the rear of the vehicle a fight breaks out between two of the boys. The film ends as the crowd forms around the two fighters. Probably filmed at Union Square.
Waco Hearings - Opening Statements - DAY I
WACO HEARINGS: 9:59 - 11:32 AM - Master Number 10902 (Part 1) - Footage begins with the opening statements of various congressmen from both the Democratic and Republican sides of the floor. Almost immediately the Democratics begin a wave of procedural and conspiracy focused opposition statements. Congressmen Schumer, Clinger and Lantos make pointed remarks about the possible involvement of the National Rife Association (NRA) with the hearings. 09:59:02 United States Congressmen, members of the press and government officials prior to the start of hearings. 10:04:02 The Joint Herrings of the Oversite Sub-Committee On National Security and International Affairs and Criminal Justice and the Judiciary Sub-Committee On Crime comes to order. Committee Chairman, Congressman Zeliff of New Hampshire, makes the hearing's opening statement. 10:10:31 Zeliff, recognizes and introduces, Co-Chairman of the Joint Sub-Committee and the Judiciary Sub-Committee On Crime, Congressman Bill McCollum of Florida. Mr. McCollum makes an opening statement. 10:15:56 Zeliff recognizes Ranking Member of the Over Site Sub-Committee On National Security and International Affairs and Criminal Justice, Congressman Thurman of Florida. 10:19:41 Zeliff recognizes the Ranking Minority Member of the Crime Sub-Committee, Rep. Charles Schumer of New York. 10:28:11 Zeliff recognizes the Full Chair of the Judiciary Committee, Congressman Henry Hyde of Illinois. 10:33:23 Zeliff recognizes the Chairman of the Full Oversite Committee, Rep. Bill Clinger of Pennsylvania. 10:37:55 Zeliff recognizes the Ranking Minority Member of the Judiciary Committee, Rep. John Conyers of Michigan. 10:44:30 Chairman Zeliff recognizes the Ranking Minority Member of the Full Committee, Rep. Cardiss Collins of Illinois. 10:51:57 Rep. Lantos asks permission from Chairman Zeliff to ask a question, and receives it. He then asks a question concerning the National Rife Association. 10:54:45 Rep. Barr responds to Congressman Lantos's question by asking the Chairman to clarify the procedures of the hearings. 10:55:25 Chairman Zeliff, responds to the Lantos and Barr statements. 10:56:13 Rep. Jackson Lee asks the Chairman to specify the hearing's procedures. 10:57:02 Rep. Lantos, again, asks that his question be answered. 10:57:05 Chairman Zeliff continues on, but is interrupted by a statement by Congressman. Conyer concerning procedures. Clinger responds to Conyers's concern. 10:59:00 Chairman Zeliff interjects, but then yields to Congressman Watt who states the hearings exclude many members from the process. 10:59:45 TAPE OUT.
Waco Hearings - Opening Statements
WACO HEARINGS: 9:59 - 11:32 AM - Master Number 10902 (Part 2) - Democrats pressure Chairman Zeliff about various procedural details.Rep. Lantos makes the most vocal objection about possible NRA involvement in the hearings. Congressman Hyde makes a statement that there was no outside involvement from any group or organization in the hearings during segment 11:22:30. THERE IS ABOUT A 10 SECOND TIME CODE DISPARITY BETWEEN MASTER NUMBER 10902 PARTS 1 AND 2. 11:01:04 - 11:06:10 Mr. Watt makes his statement, Chmn. Zeliff and Rep. Clinger respond. Watt is concerned about unequla representation. 11:06:10 Mr. Taylor makes a statement concerning witnesses directed towards Chairman Zeliff. 11:07:43 Chairman Zeliff, and then Mr. Clinger, respond to Mr. Taylor. 11:10:20 Mr. Conyer helps to clarify the situation. 11:11:58 Ms. Jackson Lee responds to Mr. Taylor's remarks and voices concern about the hearing's eight day time limit. 11:12:48 Chairman Zeliff responds to Ms. Jackson Lee's remarks. 11:13:43 Mr. Clinger shares his concerns about the various Minority opposition points. 11:15:01 Ms. Jackson Lee responds to Mr. Clinger remarks, but again restates his concerns. 11:15:56 Mr. Lantos restates his question about the National Rife Association. 11:17:11 Chairman Zeliff attempts to answer the question. 11:18:24 Mr. Lantos reclaims his time, and states that the Chairman has not answered the question presented to him. 11:19:10 Mr. Clinger, and then Mr. Schumer, work to pressure the Chairman to answer Mr. Lanotos's question. 11:22:30 Mr. Hyde breaks in to counter the accusations from the Democratics about the NRA. He states that there is no connection between the NRA, and any other organizations (he lists several) with the Waco Hearings. 11:24:31 Mr. Lantos, Mr. Clinger, and Mr. Schumer take turns responding to Mr. Hyde's counter remarks. 11:29:03 Committee Chairman Zeliff responds to the Democratic remarks, but places them aside. Mr. Lantos interrupts him to again restate his point. 11:32:00 Mr. Lantos again pressures the Chairman about the NRA. 11:32:09 TAPE ENDS.
Music Is - Haydn
Performance of works by Haydn from 15:48:45 - 16:22:35 16:24:05 Footage of a piano. 16:34:48 TIME OUT.
Toy Fair
Toy Fair Light newsreel regarding Toy Fair in NYC... MS kids crowded around a futuristic Santa Claus (man in Saint Nick garb wears rubber robot mask over head). MS's kids playing on flying saucer-shaped toys, hobby horses, merry go rounds, etc. Great MS's of woman placing cardboard robot costume over boy. MS's boy trying out a tetherball game with a baseball ball. MS's girl pushing $3000 mink-lined baby carriage (?!).
Heads Up Beach Wear
Heads Up Beach Wear Newsreel regarding California-designed swimwear, modeled here at an Italian beach resort... LS of models posing on a huge, circular diving apparatus. MS's models strutting poolside (most wear rather staid, antique-looking suits). Funny MS's several models wearing Crazy Cap bathing caps, painted on which are silly faces. End with CU Crazy Cap, model turns around to reveal he's actually a man wearing thick horn rim glasses (VO had been hitting on her, er, him... ha, ha).
Waco Hearings - DAY 1
WACO HEARINGS: 11:30-1:00 AM - Master Number 10903 (Part 1) - The following footage from the Waco Hearings consists largely of a video produced by CNN, and the controversy presented by Democratic Congressmen over it being shown. The video, once it was shown by order of Chairman Zeliff, featured footage from the battle at the Mount Carmel compound, and the trial of several Branch Davidian (BD) members following the attack. The opening statements from panelists, Reavis and Wright, are also shown. 11:30:01 Footage overlaps the final minutes from Master Number 10903 Part 2. Committee Chairman, Congressman Zeliff, Rep. Lantos, Rep. Schumer and Rep. Clinger make statements first seen in Master Number 10903 Part 2. 11:33:48 New footage shows Congressman Lantos withdrawing his objection. 11:33:52 Chairman Zeliff introduces and swears in the first panel of witnesses. He introduces author, Mr. Reavis, Editor and writer, Ray Yon and Assistant United States Attorney, Mr. Wright. 11:35:40 Chairman Zeliff introduces a three-minute film made by CNN. 11:35:54 Congressman Schumer raises an objection about the procedural processes of the hearings. He states that he knew nothing about the just introduced film. 11:36:49 Congressman Clinger counters Rep. Schumer's remarks. A volley occurs between the two Congressmen. 11:37:30 Rep. Schumer yields to Congresswoman Collins who also objects to the film being show, because she was never told of it. Then, Rep. Conyers also objects on similar grounds. Chairman Zeliff states that he plans to go ahead and show the film. 11:39:32 Congressman Mica counters the Democrats' objections, and calls them delay tactics. 11:40:48 Various Congressmen are heard attempting to be recognized by the Chair who is consulting with advisors. 11:41:35 Rep. Schumer is recognized, and restates his question about how the hearings are going to proceed. 11:42:09 Rep. Watt asks the Chairman to state how the showing of the film is in regulation with normal procedures. 11:43:12 Congressman Zeliff recounts a rule, but Congrassman Watt responds by stating the rule does not apply. A volley between the two Congressmen follows. 11:44:25 Rep. Mica states a precedent set in a different hearing which, he thinks, justifies the CNN video to be shown. He continues by describing another film that depicted mice being killed after running over a carpet that was sprayed with disinfectant. He makes various gestures with his hands mimicking the ears of mice. The camera shows audience members snickering at his statements and actions. 11:45:38 Rep. Watt reclaims his time, and states Rep. Mica's reasoning does not make sense. The camera cuts to show the panelists slouching in their seats waiting to testify. 11:46:40 Chairman Zeliff orders the film to be shown. 11:47:09 The camera shows a television monitor airing the film. Footage gives a summation of the events beginning with the February 28, 19993 raid that began the 51 day seige of the compound. Also shown is the April 19th fire which consumed the compound, in addition to, segments of the trial for surviving Davidian members. 11:50:06 Footage transitions back to Rep. Zeliff who calls for the testimony from Mr. Reavis. 11:50:26 Mr. Reavis begins his 15 minute opening statement by giving historical background on the (BD). Next, he discuses the BD's "inventory" of weapons. This discussion leads into talk of the ATF and how they serviced a search warrant to the compound, and their raid of the compound. Talk begins about the order of events during the raid, including statements about the use of helicopters. Reavis closes his opening statement by claiming that the government agencies he requested information from to author his book largely ignored the Freedom of Information Act in releasing documents in a timely manner. 12:07:58 Footage transitions back to Chairman Zeliff who invites panelist, Mr. Wright, to make his opening remarks. 12:08:43 Mr. Wright begins by testifying to his support of the Brady Bill and the ban on assault weapons. He then states how the then coming millennium marks a pivotal point in many religious sects, including the BD. Continuing, he presents an outline which concludes that another Waco styled event is possible if reforms are not made within the involved law enforcement agencies. He states the ATF used excessive force and improperly labeled the BD as a cult. Following, Wright discusses how the FBI is not capable in dealing with apoplectic groups. He closes by presenting a series of questions, he thinks, need to answered if the hearings are to be a success. . 12:24:47 Footage transitions back to Chairman Zeliff who recesses the hearing. 12:25:04 Various camera shots show the chamber in recess. 12:31:55 TAPE OUT.
Universal Newsreels
Swimsuit Fashion show. Several young women model the latest in swimsuit fashion from 1929. The show takes place outside and a large crowd appears to be dining in the background while the girls awkwardly turn and pose in front of a fountain.