Index #1 - Articles from the RTHS "Courier" Newsletter

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You have probably read the news and are already aware that the Ringling Brothers Barnum & Bailey Circus performed their final show on May 21, 2017.  After 146 years, “The Greatest Show on Earth” is no more.

It began in 1871 as P.T. Barnum’s Grand Traveling Museum, Menagerie, Caravan & Hippodrome. It survived the Depression, two world wars and the news media of its time. But on May 21st, the world’s most historic circus, Ringling Brothers Barnum & Bailey shut down after failing to sufficiently dazzle the children of the smartphone & video game age and overcome the fierce opposition of the animal-rights movement, which does not want to see animals in the circus.

Were you aware of the little-known fact that a 1966 RHS Alumna and long-time member of the Reynoldsburg-Truro Historical Society was a performer in the circus? As a showgirl for Ringling Bros. Barnum & Bailey Circus, Sharon Cosner Sellitto rode the elephants, performed aerial ballet, danced, flew on the trapeze, and was the ‘Bluebird of Happiness.’

Many baby-boomers dreamed of running away with the circus, but Sellitto actually DID tour with Ringling Bros. for several seasons during the 1970s. “My mother seems to have saved every letter I wrote during those years,” Sellitto said recently, sitting at her kitchen table, covered with scrapbooks and memorabilia of her circus years.

“In one letter, I wrote I was getting ready to climb 40 feet in the air — in high heels, in the dark — to hang by my knee. Isn’t it nice to know that’s why you sent me to college?”

As a showgirl, she performed high above the rest of the acts an average of three shows a day, suspended by not only her knee, but her wrists or ankles while doing various forms of aerial ballet.

She said she took dancing her entire life, but added some gymnastics and dancing classes at Ohio University. After heading out West, Sharon danced with the Ballet Celeste in San Francisco for a couple of years. Eventually, she moved farther north and was dancing in the casinos at Lake Tahoe. Sharon also worked dancing in Bob Hope’s shows when he was in the area. One day, she spotted an advertisement that Ringling Bros. was having auditions. She and a friend tried out, and four months later she got a call asking if she could come to Florida to start training.

It was the start of an adventure that would last several years. “It was so painful at first, climbing a rope,” she said. Performing in heels and with a plumed headdress that could sometimes weigh as much as 30 pounds made it all the more challenging.

Eventually, she learned a little trapeze work and still has a trapeze from the circus in her collection of memorabilia. Sharon said that the scariest thing she did in the circus was swinging out and releasing hold of the trapeze to fall 50 feet into a safety net below, then bounce around until somersaulting from the edge of the net to the floor.

Each season would last about ten months, she said, taking her across the United States and Canada, living in a train car with other performers, including the legendary Mihaley “Michu” Meszaros, the “world’s smallest man,” standing 33 inches tall, according to his 2016 obituary. “We would sit in the vestibule between the train cars and watch the world go by,” she remembered. “We went places on trains where the roads don’t go, and you’d see things you’d never see otherwise.

“When you went into a town, there were 250 of you, so someone always had your back, and you always had friends. Probably ten showgirls and two clowns are still my best friends. It really was a big, happy family, and everyone watched out for everyone.”

From venues in Los Angeles, California, to Quebec City in Canada, and Madison Square Garden, celebrities would often stop by the show, she said, including Sonny and Cher, actor Jimmy Stewart, and Paul McCartney and the Beatles.

As the Bluebird of Happiness, Sharon donned a bright blue costume that included a heavy headdress and a 17-foot blue ostrich feather train. Wearing high heels, she would climb a 30-foot ladder, in the dark, with the train wrapped around her arm. When she reached the top of the ladder, the spotlight would come on. At that point, Sharon released the plumage, and it would gracefully float downward. As the feathers headed towards the floor, she grabbed a rope above her head and would then hang by her wrist with one leg wrapped around the ladder until all the acts on the floor of the arena were finished.

One season, while the circus was at Madison Square Garden for a few weeks, one of the tigers had two cubs named Bonnie & Clyde. Their mother rejected them, so the cubs were moved to the home of the animal trainer, which happened to be a railroad car. Every night, Sharon would go to that car to bottle-feed and play with the cubs. The newborn cubs were already the size of a small dog. Sharon said that they were too big to hold in your arms to feed, so the cubs were propped on their backs on her thighs facing up as they were fed with a baby bottle. Their bellies had to be rubbed to aid digestion, and they made little noises of satisfaction. When the cubs reached about 30 pounds, they were moved to the tiger quarters and began training for the big top!

“One of the best things was riding elephants,” she said. “My elephant's name was Targa, and she was so gentle and so smart. She loved having her tongue rubbed and being fed whole loaves of bread. To 'board' her, you just put your foot on her leg, and she would gently throw you straight up in the air to her back.”

The elephants performed their last show in 2016.

The fact that 2017 saw the complete closure of “The Greatest Show on Earth,” leaves Sellitto feeling very sad. “I'm in mourning about the Ringling Bros. Barnum & Bailey Circus pulling up its three rings and going dark,” she said. “I'm so proud to have been a Ringling Brothers showgirl, and part of the history of the greatest circus in the world; the train pulling in, unloading the animals, riding the elephants to the building, hanging the rigging, setting the three rings. And the Ringmaster calling out “Ladies and Gentlemen, Children of All Ages, Welcome to the Ringling Brothers, Barnum and Bailey Circus! The Greatest Show on Earth!”

Would you like to meet an actual performer from the circus? You might have the opportunity! Sharon will be bringing a trunk full of Ringling Brothers Barnum & Bailey Circus memorabilia to share with all of us at one of our Open House events this coming year. Watch our "Calendar of Events" page to see when it is scheduled! Bring your children and grandchildren! Sharon will be setting up in the lower level of the Reynoldsburg-Truro Historical Society Museum accessible directly from our parking lot in the rear of the building at 1485 Jackson Street (across the street from the Hannah J. Ashton Middle School). 

The Museum Open House hours are from 10:00 am to 2:00 pm.

Contributors: Max Garland (The Charleston Gazette), Craig McDonald (Granville News), Lizette Alvarez (The New York Times)

While rearranging some books in my living room, I ran across the 1960 Reynolian. As I leafed through it, I noticed that there were pictures of current Reynoldsburg-Truro Historical Society (RTHS) members in the book. It seemed like it would be fun to have a look at these current members as they looked 60 years ago! As a disclaimer, I’m sure I haven’t included all of our current members that appeared in that Reynolian in this article, but here is a small sampling. I also included a few teachers and other groups.

I’ll start with a couple of the Senior class members. 

CAROLYN JEANNE ASHTON (HILL) has been an RTHS member for many years. Next to her picture it read: The boys with this gal really rate, But Texas is still her favorite state, Jerry…”Rave on”…blue…favorite pastime---writing letters…ice skating. Nickname “Tod”. Her “Last Will and Testament” read: I, Carolyn Ashton, bequeath my experience of going steady with a boy in Texas to Mary Burkey. In the “Future Times” where predictions were written for 20 years in the future, Carolyn’s sentence said, “Mrs. Jerry King (Tod) of the King Ranch in Texas sent one of her Cadillacs to nationally known comedienne, Pat Krumm.”

JAMES “JIM” WESLEY SHARPS was also a 1960 senior. His photo tag was: “Good-natured and well-liked is he, He’ll have a gay life – that’s plain to see. Ginny… “Oh no!”…bowling… “77”… football …steak…red. Jim’s Last Will read: I, Jim Sharps, bequeath my uniform number 77, to Dan Young, and my little blocking ability to Charles Woods. In the “Future Letter” Jim was listed as the president of the Reynoldsburg Bank.

There were many teachers and support staff who influenced hundreds of Reynoldsburg High School students over the years. I’m sure you will recognize the names and photos of these people.

HANNAH ASHTON was the High School Principal. 

MISS MARGUERIETE CLICK went to Capital University, Ohio State University, and Bliss Business College. She was a Reynoldsburg native who taught English X and XII, Speech, Latin I, and Latin II. Miss Click also was the Advisor for the Reynolian, Senior Class, and Latin Club, in addition to being the Director of the Senior Play. She is in the middle of the photo with the watering can in her hands. What do you want to bet the photo was taken in her classroom?

MISS MARY ESWINE (left) went to Ohio State University and Ohio University with B.S., B.A., and M.S.C. degrees. She was from Etna, Ohio and taught Shorthand, Typing I and Typing II while being the Junior Red Cross Sponsor and Senior Advisor. 

MRS. LENA MOWERY from Mt. Sterling, Ohio, went to Wilmington and Marshall Colleges and had a B.S. in Education. Lena was School Librarian, Senior Advisor, and also taught Physical Education. 

BETTY BARTLETT was the school nurse for many years. She was always available to patch up or send home students. 

CONNIE PARKINSON, a current RTHS member, was the secretary to Mr. Heischman, who was the Superintendent of Schools.

MRS. DOROTHEA (DOT) MARSHALL went to Wittenburg, Ithaca, and Capital University. She was from Newcomerstown, Ohio, with a degree in A.B. Mrs. Marshall taught Home Economics and ran the school Cafeteria while advising the Home Ec. Club. Mrs. Marshall always “bustled” into a room and on Wednesdays she would say, “Hump Day!” It seems strange to see her in dress clothes rather than her bright, white uniform!

GENE SHEPARD went to Ohio State University with a B.S. in Ed. He was from Cleveland, Ohio. Gene taught P.O.D., Bookkeeping, and Drivers Ed. While being the Sophomore and Student Council Advisor. Mr. Shepard would say, “Do you really believe that?” after a student had pulled a blooper. How many of you learned to drive under his tutelage?

DONNA AND HARRY WOLFORD are current members of RTHS. Donna went to Marshall College and received her A.B. degree. Her hometown is Buffalo, West Virginia. Donna taught Physical Education and English X while being the Cheerleader and Y-Teens Advisor. (Note: I remember sitting in Donna’s English class when President Kennedy was shot. She had us write a theme paper on the event) 

HARRY WOLFORD went to West Virginia State with a B.S. in Education. His hometown is Charleston, West Virginia. Harry taught Industrial Arts and Mechanical Drawing. He was also head Basketball Coach.

The Varsity Football Managers were MIKE GRAYEM and JOHN EVANS. John was in the RHS Class of 1961 and is a current RTHS member. John was also in the Honor Society and in the Student Council. 

The JUNIOR CLASS OFFICERS were: President, Dick Stockdale; Vice President, Dianna Francis; Secretary, Janet Skeen; and Treasurer, John Evans.

The SOPHOMORE OFFICERS were: President, Bob Marshall; Vice President, Polly Heischman; Secretary Diane Hlad; and Treasurer, Cassie Parkinson.

I have included a photo of the STUDENT COUNCIL which includes various class grades. In the picture are current RTHS members CASSIE PARKINSON (ADAMS), JOHN EVANS, AND DIANNA FRANCIS (VAN BUREN).

There are a few 8TH GRADE CLASSMATES shown in the 1960 Reynolian who are current members of the Reynoldsburg-Truro Historical Society. These members are in the photo gallery above and include: WANDA (WENDY) WHEATLEY (RAFTERY), STEVEN WOLLAM, MARK GILES, MARY WESTERWILLER (MERRINGER), ROBERTA MCELHINNEY (SILVERMAN), CONNIE PACK (OWEN), and TOM MCCRAY

I know that I have missed many current Reynoldsburg-Truro Historical Society members who appeared in the 1960 Reynolian and I apologize for that. I want to encourage our members to consider volunteering and attending future events. The time has come to renew your memberships and possibly consider donating to the museum upkeep. It won’t be long before things open up again and we need to re-establish our close human connections.

Take this holiday time period to get close to your families and connect with past friends and neighbors. I know I have had some interesting calls in the past few months that have reconnected me with the Old Burg even if I haven’t been able to visit. You can see the class composite picture for the class of 1960 at the museum by contacting us by phone at (614) 902-2831.

The RTHS Board wishes everyone a HAPPY THANKSGIVING and a MERRY CHRISTMAS.

Many of us who have whispered permanent sayonara to forty can remember when our grandmothers (and mothers) kept children in line by horrible threats, scarcely any of which could actually happen. But a child can hardly tell a threat from a promise. Since we didn’t know for sure, we “shinnied on our own side,” straightened up and flew right.

The Gramma I’m thinking of was nearly 70 when I was born, so her patience with the didoes of two combat-oriented siblings was limited. She had reared three boys, which caused her to have a very creative imagination. Mostly, we behaved. Mostly, she just wished we’d ever.

For a mild offense, like wading out into the deep water, Gramma would threaten, “If you ever do that again, I’ll tan you!” She did not mean she’d make us stay out in the sunshine a while. Saying she would “tan your hide” was more serious, and she really might do it. When she threatened “a taste of the cat,” we knew we were home free. She did not own any such implement of torture as a cat-o’-nine tails [ancient whip].

Or she would say, “If you don’t get out of that cookie jar, I’m going to skin you alive!” Like many kids who don’t entirely understand what’s going on, I once asked, “Gramma, what are you going to do with the skin?” (hoping I’d get it to play with). That was a mistake. Gramma nearly skinned me alive for that one.

Gramma’s s pedestrian threats were to “jerk you up into a peak,” or “knock you galley west,” or “shake you ‘til your teeth rattle.” Her most gruesome threats concerned nonfeasance and consequence, like, “If you don’t get up off your kidneys and bring in that bucket of water right now, you’re going to wake up sleeping in a marble orchard!” Once we figured out what a marble orchard was, our obedience took a headstart. If she was really mad, she might say, “I’m gonna kick your backside so hard you’ll have to open your mouth to shine your shoes!” Even my dreaded first grade teacher never made a threat that vivid.

Once Gramma said, “I’ll whack you so hard it’ll make your shirttail pop up your back like a window shade!” Anyone who has ever lost control of a window blind knows how swiftly that could happen. Confronted by my brother Fred’s bloody knee, Gramma would threaten (me) to “snatch you baldheaded” before diving in to lend aid and comfort to the wounded. But let my mother, may she R.I.P., say the same, and Fred and I “got out of her road,” so she’d forget she’d said it. Another thing Gramma specialized in was saying she’d “spank you ‘til your toes curl.” She never did, but our toes curled just the same. After all, one of these days she might mean it when she said she’d “pinch your head off,” or “pinch your neck off,” and then where would we be? It wasn’t worth the risk to find out.

One of Gramma’s most extravagant and delicious threats was to “reach down your throat, grab your toenails, and pull! Getting hold of your toenails was so plainly impossible it was good for a giggle -- out of Gramma’s hearing.

But in spite of her inventive declarations, Gramma was basically good-natured and put up with a lot -- unless you hinted at criticizing her. You’d say, “Gramma, why don’t you do thus and such?” Promptly she would round on you with a tart, “Well, ditto, Brother Cabbagehead!” which disarmed every-one, including herself. I’m grown up now, so I know that all Gramma was doing was exercising her wits to soften things up, to make us laugh when the situation got beyond her tolerance level. 

Yep, Gramma, I “gave my brain pan a stir,” “put that in my pipe and smoked it,” “let the penny drop,” and finally “got that through my noble knot.”

 Fashion is a thing used and dropped, changed a bit then used - and again dropped, over and over. Fashion might have started when Eve asked Adam, "Does this fig leaf make me look fat?" and the exasperated male, not sure what she wanted him to say, answered, "No, little darlin', it's those caramel apples." We don't know for certain that they wore anything but birthday suits, for long-ago artists' depiction of that First Couple sporting leaves could be mere artistic license hoping not to offend either peasanty or gentry.

Garments in general could have been intended as much to increase intergender speculation as to protect the wearer from weather, or to draw attention by revealing and/or concealing features the owner is proud of or never got any of. On a scorching 1930s summer day our neighbor, a slender older woman, said to my mother, "The only reason I wear this corset is to stay warm."

Artful revealment has always been in fashion. Men with suitable figures favored tight-fitting

breeches to the knee, with silken stockings to show off a manly calf. The Scots have a saying about the kilt [a man's pleated tartan "skirt"]: "He has/hasn't the leg for it." For women, the bustle [a seriously enlarged backside] was briefly popular as an added attraction. Maybe men lost interest, but women weary of dragging around that extra weight were relieved when by 1870 the bustle had flown the fashion coop. The expression "hustle your bustle" was used in a previous Courier article.

One mystery feature of men's trousers was no fly, no front opening. However, a V-shaped

flap, open from the waist down several inches, solved that problem. It was held up by three buttons, and generally concealed by the vest or frock coat. [You may have read about frock coats but haven't a clue what they looked like. We would call them a suit jacket, nicely fitted, with the long front tails cut away or else buttoned back for convenience when a-horseback.]

A woman's waist was supposed to be tiny, even after you were a matron who had borne the

10 children that, for centuries, made up the family. Scarlett O'Hara, small though she was,

complained about her corset so tight that it might make her belch. In my early teens I knew a tall girl who had a 16" waistline, and loved to brag about it. Not knowing her for long, I cannot say if the passage of years and the bearing of children could have expanded that desirable number.

To accentuate the waist, skirts were extremely full, made more so by several heavily starched

and ironed petticoats worn underneath. Or/ also hoops, made of whalebone, pleasant to behold but a blasted nuisance to wearer and observer alike, as they took up a big space that could not be condensed, and when a gentleman encountered a hoop-skirted lady on a narrow walkway, it was he who had to step aside - often into the mud -- to make room for her to pass.

In this connection, a few centuries after, “circle skirts" [a full circle of material that swung

enticingly when the wearer was walking] did not need, but were often worn with, a stiffened

petticoat. Costumes for one 1950s Minstrel Show chorus, Jane Spencer directing, were coral-colored cotton circle skirts and a black-and-white striped blouse. The skirts were pretty, but endless to iron.

One great, everlasting fashion offense was committed by the royal person who introduced the Empire waist. The waistline was raised to rest directly under the bosom, giving every wearer the

look of a five-month pregnancy. I never found this style attractive, even when the lady was at that stage. But, along that line, let us discuss the codpiece, also previously whispered of. This was a fairly short-lived male fashion designed to call attention to and exaggerate the male endowment. The Peasant Wedding, a 1568 painting by Pieter Bruegel The Elder (1520- 1569) showed all the men wearing codpieces, which led one viewer, 450 years later, to ask if it were everyone's wedding night. 

Yes, we are slowly approaching the subject of hemlines. They were floor-length for so many

decades that a gown revealing the ankle was scandalous. Fashion was offensive enough when

women ceased to wear dress gloves and hats -- and any gown that outlined the figure underneath was just outrageous. [We are not talking here about ancient Egyptians and Greeks -- they lived in hot countries and were sensible enough to dress accordingly.]

How did anyone know what was in fashion? You attended indoor neighborhood events such

as quilting parties [house] and husking bees [barn], paying attention to what others wore. Or

someone might travel abroad and bring back, if not the latest fashion, a drawing whose style you could copy in fine fabric. You gladly attended fancy dress balls. For the first two occasions you wore less than best because work was involved. A fancy dress ball or dance called for exactly that: your rootin'-tootin' eye-poppin' best. If you were single, your potential mate might show up. If you were married but fooled around some, the same applied. If you were married and sticking to it, you could still feast your eyes. There were subtle advantages to whatever state you were in.

The subject of extra fabric in women's clothes was addressed by Sarah Josepha Hale, the

Liberated editor of * Godey's Lady's Book [more later], and writer of "Mary Had a little Lamb." She was directly influential in the erecting of the Bunker Hill Monument, the first public playground, and day nurseries; she suggested the admission of women into medical practice, and the uniform celebration of Thanksgiving Day [President Lincoln listened, and acted], while herself remaining a model of fashion and gracious dignity.

With interim compromises such as pantalets worn with a mid-calf skirt [tut-tut, the scandal

of women wearing men's clothing!] long dresses crippled along in popularity until the late 19-teens and World War I. This applied even to little girls, whose suffered fashions like Mama's. Since history fails to document the problems presented by the tomboy who climbed trees and got down on her knees to play marbles and jacks with the boys, or straddled a horse and rode around the pasture, we might suppose it never happened - though of course it did. For a long time, girls were protected from any physical activity not having to do with housework – but there was plenty of that every day, to keep young feminine muscles toned.

We're still discussing fashion, not your everyday outfit that gave a tug o' the forelock to

fashion but a more realistic curtsey to necessity. The major concession to hot weather for women was lighter-weight fabrics and short puffy sleeves that just covered the shoulder points. Britain's Queen Victoria who despite bearing eight children remained prudishly strict, might have grown faint at the notion of exposing flesh in the daytime. In the evening the proper lady exhibited a shocking acreage of bare chest, back and arm -- although she often wore long "elbow gloves" that nearly reached the puffed sleeve. The blessing of thin fabrics was defeated by the quantity of underwear decreed by propriety: corset, corset cover or chemise, panties, and -- naturally -- several starched and ironed petticoats.

The petticoat was replaced later on by a slip, still worn but not by very many. Having narrow

shoulder straps and no sleeves, a slip is a full-length shaped undergarment reaching barely to the hem of the dress and once a great embarrassment if it showed. Now many women wear slacks, so they don't need a slip. Or shorter skirts, no underpinnings desired. Most males already know that females have limbs.

Men were not given much summertime relief either, being required to don a full suit

including tie and vest. The fabric might be lightweight, but there was still an awful lot of it. Men

too had to wear underwear. For both genders, everything was layers. Got to cover all that skin.

I must be extremely old-fashioned even to think this, but there is no more delightful eye

candy than a good-looking man dressed in a white shirt, suit and tie - and his shoes shining. It

shows pride and self-respect, even when no one speaks a word of approval. The formality of it may account for the attraction of the military uniform, where all the parts are kept neat and sparkling.

World War I -- or perhaps in equal degree, the Industrial Revolution of the 1800s -- deserves

a lot of credit for liberating women from layers and from excessive use of fabric. As machines came into use, the working woman's clothing had to be cut closer to her body and frills eliminated, to prevent catching in the machine. And certainly, women were weary of garmental constriction.

This viewpoint was upheld by *Godey's Lady's Book, a Philadelphia-printed magazine with,

for many years, one illustration, hand-colored, in every issue. [This was so often torn out and framed that museums wishing to display whole copies had a hard time finding any.] One writer, who wrote an entire book about it, still called Godey’s"mediocre," though it used illustrations by famous American artists, plus poetry, fiction, period jokes we wouldn't "get” today, social advice and comment, and essays by such as Ralph Waldo Emerson, Horace Greeley, Edgar Allen Poe, Harriet Beecher Stowe, Herman Melville, and Nathaniel Hawthorne. Circulation reached 150,000, dwindling to 100,000 at the end. The magazine, $3 yearly, lasted from 1830 to 1898, when it was shoved into oblivion by other publications such as Graham's and Peterson's.

Hemlines were like an elevator -- up, then down, then up. In the Depression years of the

1930s into World War II years, hemlines were more or less stable at the kneecap. This was a

comfortable length, appropriate on most women. Everything was in short supply, so wartime

manufacturers patriotically “saved fabric" by keeping skirts at that length. Right after that war

ended, skirts used yards more material in the “New Look," slightly A-shaped, the hem at mid-calf. I used to be a seamstress, and a woman bought a coat of the New Look and had me shorten it to mid-knee, throwing herself out of the fashion loop. She hadn't liked the feel of the coat skirts brushing her legs with every step. The A-line skirt was popular only with some, for as one wearer said, it made her look as if she had a big A.

On the other hand, you might or might not like the hampering feel of a "pencil line" skirt that

went straight down from hip to knee or lower. The longer ones were hard to walk in, and the shorter ones slithered right up to show your stocking tops when you sat down. You had to be very careful about that style.

Fashions in general eased away from the too-much-prettiness of pre-1900 until the decoration

diminished and the cut of the dress or coat was most all the decoration anybody got.

But! There was the Zoot Suit, for men. This splendid example of exaggerated cut came into

being around 1940 and, with few exceptions such as entertainers who perpetuated it, went out so fast it never got shiny. The Zoot Suit was WIDE. Wide padded shoulders, wide lapels that went east and west to cover nearly the entire chest, gaunt waistline, and wide-cut trousers that tapered down to the ankle. The cut was even more effective in a vertical chalkstripe fabric. A tall, comely local man, RTHS member in life, whose name I recall but will not sully, was seen dancing to the juke box at the Blue Bonnet café wearing a Zoot Suit complete with flowing tie and knee-length golden watch chain heavy enough to hold a mad bull at the starting gate. I have to say it, girls - yumm!

For teenage femmes' leisure wear there were two designs that occurred in my youth: the

farmerette and the broomstick skirt. The broomstick skirt was a dirndl (full-ish, gathered onto a

waistband) that to follow the intention was wrapped spirally around a broomstick and dried. Cottons of that era wrinkled, more so when you didn't want them to, so you had that IN look without much effort. Or the skirt could be ironed, making a proper dirndl. The farmerette was a jeans-fabric overall for girls, with heavy shoulder straps and buckles, cut knee length. It was meant to be worn with a blouse. One girl I knew wore hers without, not a style everyone could emulate, though the boys seemed to think it was pretty hot stuff. Earlier on, there were "beach pyjamas," sort of what you'd expect, in daytime fabrics. For a while, shorts sets included matching blouse, shorts, and overskirt. Then came in short shorts which, like the Zoot suit, inspired a song. These have entered the hall of permanent fashion, shown off by many a female who “hasn't the leg for it." I remember being taken to a burlesque show at the Gaiety Theatre in Washington DC, and being surprised that one tall dancer wore a costume that revealed the bottom curves of her, er, bottom.

Another fashion statement left best unspoken: the waist-to-ankle leotard, or tights, of many

colors and designs, too often worn, surely not by popular request, by females who haven't believed a mirror in the past twenty years.

Currently in vogue is whatever you want. If you like your skirts long, you pick the length. If you like the mini-est of minis, that's it. If you like to flaunt your pregnancy, you wear a stretch top too small and it's right out there for all to view. You can go to church or a party or on a date in

T-shirts and jeans. Women who have discovered the convenience of slacks and some sort of top

have adopted it for all occasions. Yet men still dress up every day and would not dream otherwise.

Women wear a nice dress, or a skirted suit, to business. That is a pleasure to see. A lot of

companies have designated Friday as dress-down day, when more casual outfits are acceptable.

Teachers used to wear nice clothing Monday through Friday, but now appear in whatever outfit they threw on for the day. I know one middle-school lady teacher who dresses well every day. The students call her "fancy." Like the rest of us, she too is wearing whatever she wants.