Ginger Rogers dines at the Beverly Hills Hotel in Hollywood, 1940s
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Ginger Rogers dines at the Beverly Hills Hotel in Hollywood, 1940s

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Ginger Rogers photographed in promotional picture for Carefree (1938)
Ginger Rogers at Cannes Film Festivals, 1956.
Ginger Rogers in Tales of Manhattan (1942) dir.Julien DuvivierÂ
Ginger Rogers (1933)

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âThe night of the Academy Awards, I dressed in a black lace and gray peau-de-soie gown dressed by Irene and was ministered by Louise, my hairdresser. Eddie Rubin, my dear friend and publicist, also helped prepare me for the ordeal by bolstering my morale. I wish deep inside me that I didnât have to be a part of this parade. However, I bit my tongue and pulled up my long silk stockings, along with my courage.â  â Ginger: My Story.
May 6,1940: Ginger Rogers attend a Polo Match in Los Angeles, California. (Photo by William Grimes/Michael Ochs Archives)
Update: accurate year is dated 1938. Getty lists it as 1940. I was wondering really hard why was her hair blonde in 1940.
Ginger Rogers frame by frame: Carefree (1938)
Ginger Rogers in a grecian evening gown, photographed by Horst P. Horst for Vogue Paris, 1936.
Cary Grant and Ginger Rogers in Once Upon a Honeymoon (1942)

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"Ginger Rogers was grace and endurance. She has achieved celluloid immortality, dancing always in beauty, present tense. And she was a fine gal." -- Maureen Dowd writes for The New York Times (1995)
Happy Heavenly Birthday Ginger!Â
Ginger Rogers frame by frame: Iâll Be Seeing You (1944)
Every Fred Astaire & Ginger Rogers Dance Number âLetâs Call the Whole Thing Offâ in SHALL WE DANCE (1937)
Ginger Rogers in promotional photos for Primrose Path (1940)
May 6,1940: Ginger Rogers attend a Polo Match in Los Angeles, California. (Photo by William Grimes/Michael Ochs Archives)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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âAs for Ginger Rogers, her lips are like a rose in full bloom. They are full and reflect her joy in living and her exuberance. Because most of her parts are of the joyous type, we give her lips a little more up-tilt than they naturally have so her mouth will be in harmony with her roleâ (x)
KATHERINE HEPBURN and GINGER ROGERS in STAGE DOOR (1937)
âDonât you ever get tired of quarreling?
âWhatâs the matter, canât you take it?
âOh yes, I can take it, if you want it that way.