Total Pageviews

Wednesday, June 3, 2026

RETRO FILES / THE CHORUS GIRL WHO BROUGHT DOWN DOWNING STREET.


C
hristine Keeler: A Brief Life of Rise and Fall Christine Keeler (1942–2017) was one of the most famous—and tragic—figures of 1960s Britain, her life defined by sudden notoriety, political scandal, and a long, uneven aftermath. 

Born in Uxbridge and raised in poverty, Keeler endured a harsh childhood marked by instability and abuse. As a teenager she moved to London, where her looks and poise landed her work as a model and showgirl at Murray’s Cabaret Club in Soho. 

There she entered a fast, glamorous orbit of aristocrats, entertainers, and power brokers—an ascent that would prove both intoxicating and dangerous. Her life changed abruptly in 1961 when she met osteopath and society fixer Stephen Ward, who introduced her to powerful men, including British Secretary of State for War John Profumo. 

Keeler also had contact with a Soviet naval attaché at the height of the Cold War. 

When her relationships became public, the resulting scandal—the Profumo Affair—rocked the British government and forced Profumo’s resignation. 

The upswing of Keeler’s sudden fame quickly turned into a steep fall. She became a tabloid obsession and a scapegoat for wider anxieties about class, sex, and national security. In 1963 she was convicted of perjury in an unrelated case and served time in prison. 

Meanwhile, Stephen Ward was prosecuted in a controversial trial and died before sentencing. After prison, Keeler struggled to rebuild her life. She married twice, had children, and wrote several memoirs attempting to reclaim her narrative, though financial instability and public scrutiny persisted. 

In later years, she came to be viewed with more sympathy—a young woman caught in forces far larger than herself, used and discarded by the powerful circles she briefly inhabited. Christine Keeler died in 2017 at the age of 75. 

Her story remains a touchstone in British cultural history: a cautionary tale of glamour, class collision, and the brutal cost of becoming the face of a national scandal. 

THOSE PHOTOS! 

Shortly after ‘The Profumo Affair’ was exposed in the newspapers, Christine Keeler was brought to Lewis Morley’s Studio located above The Establishment satirical night club in Soho. 

A film company was intending to make a film about the scandal and required some publicity photographs. 


Keeler had initially agreed to being photographed nude but, when she arrived at the studio, felt reluctant to do so. Still photographer Lewis Morley began the photo session by taking photographs of Keeler in her clothes but the representatives of the film company insisted that she pose nude. 

The photographer, sensing Keeler’s distress, suggested a way in which the matter could be resolved. He made the others present leave, and, turning his back while Keeler undressed, suggested that she posed on the studio chair placed back to front. 

 The contact sheet (top of this blog) is from Lewis Morley’s original negatives from the photographic session. They were printed for his first retrospective exhibition held at the National Portrait Gallery in 1989. 

PillartoPost.org managed to pull out two shots from the flames of notoriety. The shot below is the one that lit the tabloid firestorm in the Mother Country in 1963


Meanwhile after she left prison she wasn't as shy about posing nude for photographers.  The test sheet shows Christine posing for a photog named Duffy, who was on assignment to provide King Magazine (Brit's 60s version of Playboy) images of the once shy 19-year-old siren.



Tuesday, June 2, 2026

A PRIMER / HOW TO BEHAVE IN THE JUNGLE

 


LESSON #1 [Be warned more to come] 

 Because manners, good sense and a clever amount of chivalry has gone to hell in a hand basket, this online magazine has entrusted Clive Boomer & Associates to prepare an occasional guide to how to behave in a world dominated by idiots (no offense to those who are true idiots). Ignoring these posts will only encourage Clive (and fellow Boomers) to post more of these correctionary tales penned by him or a favored associate. 

 WHEN TO PROPERLY SOUND YOUR HORN 

By Brae Canlen 

Five reasons to honk at another vehicle: 

1. The vehicle looks like it might rear-end or crash into you. 

 2. The vehicle is about to hit a pedestrian 

 3. The vehicle is about to hit a dog, cat, nun, rabbit, or row of marching ducks. 

 4. A meteor, plane, or other flying object is descending rapidly, threatening life and limb. 

 5. The light has turned green and the vehicle in front of you is not moving. After a three-second delay, a tap on the horn is appropriate. A full blast of the horn is simply rude. 

 Five reasons NOT to honk at another vehicle 

 1. The driver in front of you is too slow and this annoys you. 

 2. The driver in front of you is waiting for pedestrians at a crosswalk and this annoys you. 

 3. The driver in front of you slows down to make a turn and this annoys you. 

 4. The driver in front of you slows down or stops to park his or her vehicle and this annoys you. 

 5. The other drivers at a four-way stop sign make you wait your turn and this annoys you. 

 ### 

 The author is a Southern California freelance writer stuck between generational portals.