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Pomade is an oil-based or water-based product designed for slick and tight hairstyles. Unlike hair spray and hair gel, pomade does not dry and often takes several washes to remove. Grease-cutting shampoos and deep-cleansing conditioners can be used to quicken the removal process.
Popular music and film stars had a major influence on 1950s hairstyles and fashion. Elvis Presley and James Dean had a great influence on the high quiff-pompadour greased-up style or slicked-back style for men with heavy use of Brylcreem or pomade. The pompadour was a fashion trend in the 1950s, especially among male rockabilly artists and actors.
A tin of Royal Crown Hair Dressing Sweet Georgia Brown Hair Dressing Pomade from 1947. Pomade is a greasy, waxy, or water-based substance that is used to style hair. It generally gives the user's hair a shiny, slick appearance. It lasts longer than most hair-care products, and often requires repeated washes for complete removal.
The style was in vogue for women once again in the 1940s. The men's version appeared in the 1950s and early 1960s, worn by early country, rock and roll, and movie stars such as Elvis Presley, Johnny Cash, Chuck Berry, Ritchie Valens, James Dean, and Tony Curtis, and enjoyed a renaissance in the mid 2000s. The style has been worn by men and ...
A style similar to the Devilock was sported earlier - for instance the elephant trunk hairstyle of the 1950s, the Surfari's cover picture of 'Gum-dipped Slicks' (1964) shows a member of the band with a devilock-like quiff, [2] as did the guitarist from the contemporaneous Tornadoes of Bustin' Surfboards fame. [3]
Usually seen wearing a leather jacket, white t-shirt (or black if not wearing a jacket), blue jeans, and a slick hairdo with generous amounts of pomade. Frequently has a thick Northeastern ethnic accent, a love of rock and roll, cigarette smoking, motorcycle or hot rod riding and customizing, and a "tough guy" or "cool" demeanor.
Forging Connections. A one-time New York City hotelier who began renting out rooms to prisoners in 1989, Slattery has established a dominant perch in the juvenile corrections business through an astute cultivation of political connections and a crafty gaming of the private contracting system.
Crime scene photographer, Johnny Scardino (aka Johnny Skidmarks), is working on the side for a group of blackmailers, photographing wealthy guys in seedy motels with prostitutes. One such assignment turns the wrong way and the blackmailers he works for start dying one by one in more and more brutal ways. Is Johnny the next on the list?
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