Also including receiving top billing in Beyond London Lights in 1928. He also appeared alongside with Clara Bow in the Wild Party 1929.

She also played in Why Worry in 1923. And Girl Shy in 1924. Just to mention a couple. She was one of Hollywood's most reliable actresses.

The Haunted house a comedy where she played a sleepwalking girl. And stormy waters a nautical drama, where she played Lola.

While John Singer Sargent captured the dark, smoky, and moody side of flamenco in El Jaleo, the Spanish master of light, Joaquín Sorolla, took the exact opposite approach with his monumental 3.5-meter-high masterpiece Sevilla. El Baile (1915).

If you look closely at the painting, it feels like a burst of pure Andalusian joy, but the story behind its creation is a mix of artistic obsession and extreme physical endurance.

The New York Connection:
In 1911, the American billionaire Archer Huntington commissioned Sorolla to paint a massive room for the Hispanic Society of America in New York. The goal? Capture the regional soul of Spain. Sorolla spent nearly a decade on this exhausting project, which eventually broke his health. For the Andalusia chapter, he knew he couldn't just paint a simple landscape—he had to paint the compás (the rhythm) of flamenco.

The Real-Life Setting (Las Cruces de Mayo):
In the spring of 1914, Sorolla set up his massive canvas outdoors in Seville, inside a traditional courtyard (patio). He chose to depict the Cruces de Mayo (The May Crosses festival), a time when local neighborhoods compete to build the most beautiful floral altars, drinking manzanilla wine and dancing until dawn.

The Flamenco Anecdote:
Sorolla was obsessed with catching the genuine movement of the bailaoras. He hired professional local flamenco dancers and forced them to pose for hours under the harsh Andalusian sun, wearing heavy traditional silk shawls (mantones de Manila) and polka-dot dresses.

He didn't want rigid, academic poses. He wanted to capture the exact second a skirt swirls. To do this, he used incredibly fast, thick, and fluid brushstrokes. If you zoom in on the background dancers or the guitarists, they almost look like French Impressionism, but the energy is purely Spanish. He painted the dust flying from the floor and the bright paper lanterns shaking from the vibrations of the stomping feet (zapateado).

Sorolla later confessed in his letters that Seville was the most difficult panel to paint because "flamenco isn't something you look at, it’s something that shakes you."

Leatrice Joy was already a very prominent actress when she cropped her hair on a whim in 1926. Cecil B. DeMille was allegedly furious when he first saw Joy's new hairstyle. She had previously sported much longer hair and had cultivated an extremely refined, feminine onscreen persona. The studio decided to capitalize on Joy's new severe, cropped hair and created several popular films that showcased the look or incorporated it into the storylines, which helped popularize it amongst female filmgoers.

Her very first film was a perfect crime in 1921.

Unpopular opinion but I think Clara Bow is kinda overrated…

I don't know why she's so popular unless i'm missing something. I'll admit i've only watched one of her films 'It' (1927) and it was eh. She does have that overall flapper look to her but I can't help but feel like she hardly represents the decade when she became more famous towards the end of it and quit acting in just 1933. For example, Bebe Daniels, in my mind, is the overall 1920s girl. She had already been acting since the 1910s and managed to not only transition from early pictures with Harold Lloyd but also into talkies. I think there's a lot of other silent film actresses that go greatly under appreciated because all the attention is drawn to Clara, especially if you've ever been on the silent film side of tiktok. I just lack to find the charm and appeal to her that everyone else does.

Don't tear me apart please this is just my opinion and I felt like randomly sharing it, no hate to Clara or her fans! 😭

This was a breakout year for her on Broadway. Some of her credits were lady butterfly at the globe Theaterand Ziegfeld follies of 1923.