Painting the Town Red: Spies & Secret Agents in London Restaurants & Hotels in the 1920s | cabinetroom

If you were wanting to learn about the history of London’s bars, restaurants and hotels – or indeed just to choose somewhere nice for dinner – you might not immediately think to look in the MI5 archives. These files, which the British government has gradually been declassifying and which are held at the National Archives in Kew, are full of unexpected details about…

Source: Painting the Town Red: Spies & Secret Agents in London Restaurants & Hotels in the 1920s | cabinetroom

The Tango Foot: 1914

Mrs Daffodil Digresses

Tango boots, c. 1895 Tango boots, c. 1895


The following dispatch from Berlin confirms the worst fears, says The Indianapolis News:
“Dr. Boehme, of this city, announces that he has discovered a new disease, which he describes in a medical periodical under the name of the ‘tango foot.’”

For months we have lived in dread of the striking of the evil hour when disease would suddenly stalk among us on the dance hall floor and turn the laughter of our joyous revelry to groans of dismal pain. Dance now as mildly as we may, dip as carefully as we can, Boston, gavotte, grapevine, chasse, kitchen sink and scissors with due caution and restraint, we never again feel the same old thrill and keen delight and blissful abandon. Ever henceforth as we tango, hesitate and Maxie, there will be this grim, grinning, mocking terror of the “tango foot” to obtrude upon…

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The Danseuse Electrique: 1893

Mrs Daffodil Digresses

Loie Fuller at Folies Bergeres.,-France,-1897.html Loie Fuller at Folies Bergeres.–Loie-Fuller,-France,-1897.html

The latest stage development is the danseuse electrique, the title given the youthful corphyee who, to enhance her grace and pedal dexterity, invokes the aid of science and appears at times in a blaze of varied coloured lights that rival in brilliancy and splendour the gems of the Eastern monarchs who figure in Arabian story. The latest contrivance must be regarded as more wonderful than all its predecessors. First for the effect; then for the explanations. The lady, usually a pretty one, runs upon the stage attired as if for the serpentine dance, and about her skirts and the folds of her dress dash sparks and lights of every possible hue. She dances, kicks and turns while the lights continue to corruscate. Revolving wheels, fountains and prisms of light play about her, appearing and disappearing ab every undulation of her form. She is…

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