1910

1910-1914
From 1910 to 1920 fashion became a huge issue. French designers were starting to put a new image
in people's minds. These ideas got women to throw away their corsets and create a new style. The
corset controlled how the woman walked, moved, stood and held herself. If the corset got too tight it
could get in her way of eating and breathing. In 1910, women usually ore their hair up hiding it in their
hats of having it cut short, close to their heads. Their skirts were becoming narrower and were getting
short due to the fact they were starting to work in gardens and drive automobiles.
Men wore regular suits and didn't do anything special to their hair, just dressed appropriately. Two
types of dresses categorized in this period were the Gibson Girl and La Bell Epoque. The Gibson Girl
made women look at high collars, upswept hair, tiny waists and an S-shaped silhouette. Between
1910 and 1912 hats hit their ultimate stage. They were huge and heavy with stuffed birds, flowers,
veils, feathers, fruits, and ribbons. At this time women wanted their hair to have a soft look. They
would leave curls in their hair to add elegance. On a special occasion they would add beads, feathers,
ribbons or headbands.

1912-1913
In 1912 the women wore huge hats, their dresses would have high waistlines and a loose fit bodice.
They wore their skirts tight and straight in other words called a "hobble skirt". With their dresses they
wore long black jackets over their blouses. The imitation of male suits is becoming normal. The
women in 1913 wore dresses that had a longer hem, and included unique "u" shaped folds at the
bottom. Their jackets were starting to get longer and hats smaller.

The 1910's were a lot different from today, but in some ways they were the same. There were lots of
inventions being created back then, wars, and other occurrences. One of the similarities was people
could just sit down and read anytime they wanted to just like today. Their books were quite different
from what they are today though. Some of the most popular best selling books were:
1910: (fiction)
The Rosary by Florence L. Barclay, The Wild Olive by Basil King, The Window at the White Cat by
Mary Rinehart, Molly-Make Believe by Eleanor Abbott
1911:(fiction)
The Iron Woman by Margaret Deland, The Long Roll by Mary Johnston, The Harvester by Gene
Porter, TheWinning of Barbra Worth by Harold Wright
1912:(fiction)
The Street Called Straight by Basil King, The Melting of Molly by Maria Daviess, The Net by Rex
Beach, The Just and The Unjust by Vaughan Jester, and more.

The 1910's were filled with all types of arts, from music to
film. In this century music became very popular. This century
is also the time when the film industry shifted from New York to
Hollywood. Cubism a new style of painting became the style of
the century. This decade was filled with all new types of arts.

MUSIC :- The Peerless Quartet was an American vocal group that recorded in the early years of

the twentieth century. They originally formed to record for Columbia Records, where they were
credited as the Columbia Quartet or Columbia Male Quartet. From about 1907, when they
began to record for labels other than Columbia, they were more widely known as the Peerless
Quartet.
The Peerless Quartet was the most commercially successful group of the acoustic era, and
made hundreds of recordings, including popular versions of songs such as "Sweet Adeline", "By
the Light of the Silvery Moon", "Let Me Call You Sweetheart", and "I Want A Girl (Just Like The
Girl That Married Dear Old Dad)". The group continued to record until 1928, with many changes
of personnel. They were led until 1910 by Frank C. Stanley, and thereafter by tenor Henry Burr.
Louise Homer (April 30, 1871 May 6, 1947) was an American operatic contralto who had an
active international career in concert halls and opera houses from 1895 until her retirement in
1932.
After a brief stint as a vaudeville entertainer in New England, she made her professional opera
debut in France in 1898. She then became a member of the Metropolitan Opera from 1900 to
1919 and again from 1927 to 1929.[1][2] She was also active as an opera singer in Boston,
Chicago, and California. She recorded extensively for Victor Records and Columbia Records in
the early decades of the 20th century. She sang at the Met for 19 consecutive seasons, often
singing opposite such acclaimed singers as Enrico Caruso, Geraldine Farrar, andErnestine
Schumann-Heink.[2] At the Met, she created roles in two world premieres: the witch in Engelbert
Humperdinck's Knigskinder(1910) and the title role in Horatio Parker's Mona (1912). She also
sang in the American premieres of Ignacy Jan Paderewski's Manru(1902, Hedwig), Richard
Wagner's Parsifal (1903, the Voice from Above), Christoph Willibald Gluck's Armide (1910, Hate),
The Balkan Princess London production opened at the Prince of Wales Theatre on February 19
and ran for 176 performances. The Balkan Princess is a British musical in three acts
by Frederick Lonsdale and Frank Curzon, with lyrics by Paul Rubens andArthur Wimperis, and
music by Paul Rubens. It opened at the Prince of Wales Theatre on 19 February 1910. The cast
includedIsabel Jay and Bertram Wallis. There was a successful Broadway run in 1911, and the
show toured widely thereafter. Princess Stephanie of Balaria is bound by the laws of her country
to marry one of six nobles, or abdicate. When the time comes to select her husband she finds

that only five have arrived. Count Boethy, the Prime Minister, tells her that Grand Duke Sergius,
the missing noble, has refused to enter the palace. That misguided person prefers to
writesocialistic articles in the press with such headlines as "Why the people of Balaria could
dispense with their Princess." The Princess is piqued at these treasonable insults, but admires
the Duke's independence. She thinks out a scheme very quickly. She will find him and compel
him to come to the Palace.
Hearing that the Duke frequents a certain Bohemian restaurant, she goes there, incognito.
Almost the first man she sets eyes on is the Duke, but she doesn't know him. They fall in love
with each other. At the end of a happy evening, Sergius proposes a toast, "The downfall of the
Princess." The Princess is amazed. "I am the Princess; arrest that man!" Duke Sergius is taken
to the Palace as a prisoner. Still, the Princess loves him, and rather than marry one of the
remaining nobles she signs the document abdicating the throne of Balaria. Now she is only an
ordinary woman, and not bound by the matrimonial laws as a Princess. She is free to marry
whom she pleases. Duke Sergius, however, having seen how noble and good she is, destroys
the document, takes his stand with the others, and the curtain falls upon the happy couple

The Chocolate Soldier (Rudolf Friml) London production opened at the Lyric Theatre on
September 10 and ran for 500 performances. Music by Oscar Straus. Book & Lyrics by Stanislaus
Stange. Adaptation by Agnes Bernelle, Adam Carstairs and Ronald Hanmer. Based on the play Arms and the
Man by George Bernard Shaw
Lyric Theatre, New York - 13 September, 1909 (296 perfs)
Lyric Theatre, London - 10 September, 1910

The Chocolate Soldier (German title: Der tapfere Soldat or Der Pralin-Soldat) is
an operetta composed in 1908 by Oscar Straus(18701954) based on George Bernard Shaw's
1894 play, Arms and the Man. The German language libretto is by Rudolf Bernauerand Leopold
Jacobson.[1][2] It premiered on 14 November 1908 at the Theater an der Wien.
English versions were successful on Broadway and in London, beginning in 1909. The first film
adaptation was in 1915. The 1941 film of the same name enlists much of Straus's music but is
otherwise unrelated, using a plot based on Ferenc Molnr's play Testr

Synopsis
When Lieutenant Bummerli, a Swiss mercenary in the Serbian army, takes refuge from his Bulgarian enemies in
the house of a Bulgarian general - to be precise, in the daughter's bedroom - he sets hearts a-flutter, almost
compromises three ladies and then ruins the daughter's wedding to a Bulgarian soldier-hero by being recognised
as the fugitive! This is just as well because he and Nadina, the daughter, were destined for each other anyway.
This new English version should help to restore this formerly well-loved operetta to the repertoire.