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    Dolores Rosedale, Sidekick on ‘Beat the Clock,’ Dies at 95

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    The model and actress, who went by Roxanne, had a modest role on the game show, appeared on numerous magazine covers and inspired the creation of a doll.Dolores Rosedale, a model known as Roxanne whose burst of fame in the early 1950s as the hostess of the wacky game show “Beat the Clock” led to the creation of a doll in her image and to appearances on the covers of magazines like Life and TV Guide, died on May 2 in Spring Park, Minn., near Minneapolis. She was 95.Her daughter Ann Roddy confirmed the death, at an assisted living facility.Roxanne joined “Beat the Clock” in 1950 when it made its transition to television from radio. Bud Collyer, the host, presided over the weekly program, in which contestants raced to finish stunts against time limits.Roxanne’s role didn’t require her to say much at first. She posed with the prizes and took pictures of contestants as they carried out their stunts. She later gave introductions of the contestants.Ms. Rosedale, second from left, with Bud Collyer, left, the host of “Beat the Clock.” On the show, she posed with prizes, took pictures of contestants and gave introductions.CBS, via Everett CollectionBut her poise and glamour — and, perhaps, the polka-dot ballet costume she sometimes wore — helped her break out.In 1951, she donned a costume for a Life magazine cover story about chorus girls. Inside, a photograph that identified her as the show’s “stunt mistress” showed her guiding a blindfolded Boy Scout as he tried to identify an elephant.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Jaime King Is On a Journey

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      Jaime King had been feeling that something was off. “There’s this strange, volatile energy,” the actress, director and model said on a recent Saturday. She perched on the hearth of a fireplace at her home in Los Angeles, knees to her chest, gaze flitting between the fire and the view beyond a sliding-glass door. “If I’m not looking at you, it’s because I’m listening,” she said to a reporter.“I was nervous earlier, and then I was like, shaky, and then I was like, whoa, what is this vibration?”The premiere of her latest film, “Lights Out,” in which she plays a morally corrupt police officer, might have had something to do with her apprehension. Ms. King, a self-described introvert, was about to embark on a promotional blitz that would take her from the hillsides of Hollywood to the scrum of New York.“Socially speaking, I don’t really go a lot of places,” she said. “Once in a blue moon, I’ll go to the Bungalows,” meaning San Vicente Bungalows, the members-only club that has replaced the Soho House as L.A.’s premier venue for people of means. Besides that, “I’ve been keeping my circle very tight.”As a teenage model for labels like Christian Dior and Chanel, Ms. King, now 44, graced the covers of magazines, including a 1996 cover story for The New York Times Magazine called “James Is a Girl,” by Jennifer Egan and photographed by Nan Goldin.Ms. King choosing a card from Angie Banicki, a publicist turned tarot reader. “I’m used to doing readings where I have to bring the other person into it,” said Ms. Banicki. “But I came in, and the portal was open.”Damien Maloney for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Beverly Johnson, ‘the Model With the Big Mouth’

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      In her new one-woman show, she details her 50-year modeling career, her tumultuous relationships — and an unsettling encounter with Bill Cosby.She was 18, new to New York, a tenderfoot in an industry said to eat its young. But Beverly Johnson was not short on brass.She had been quick in the early 1970s to sign with the formidable model agent Eileen Ford — and just as swift, at 19, to inform her, “I want to be on the cover of American Vogue.” When Ms. Ford asked her curtly, “Who do you think you are, Cleopatra?” Ms. Johnson was as curt with a comeback, murmuring, audibly enough, “That’s exactly who I think I am.”Ms. Johnson revisits that moment in “In Vogue,” her one-woman show set to open in Manhattan on Sunday. The play, largely derived from her 2015 memoir, “Beverly Johnson: The Face That Changed It All,” and written with the playwright Josh Ravetch, is by turns an upbeat and cautionary account of Ms. Johnson’s adventures — and hairy misadventures — in the mannequin trade.Onstage she tells of defying expectations and defecting to a competing modeling agency, despite the warnings of peers that such a move would amount to professional ruin.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      in Movies

      ‘Anna Nicole Smith: You Don’t Know Me’ Review: Mistreated

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      The tumultuous life and death of the model, actress and tabloid superstar is related with little insight in this facile Netflix documentary.“Anna Nicole Smith: You Don’t Know Me,” a new documentary about the model, actress and ’90s tabloid sensation, follows a trend established by other nonfiction portraits of démodé stars released in recent years, such as “Britney vs Spears” and “Pamela, a Love Story.” Half biography, half supercilious media studies essay, these films are intended to be sort of pop-cultural correctives, ones which deconstruct the popular image of celebrity by demonstrating (not unfairly) that their subjects were vilified and callously misjudged in their times.This movie’s director, Ursula Macfarlane, tries to show the real Smith — who was born Vickie Lynn Hogan and raised in Texas — through a combination of cruel archival news clips (The National Enquirer calls her “dumb,” Howard Stern mocks her weight); moody, true-crime-esque B-roll; and interviews with Smith’s uncle, her brother and her former bodyguard, plus a number of tabloid journalists, reality-TV producers and members of the paparazzi.The interviews are short on insights. We hear both that Smith “craved attention” and “always liked being the center of attention.” We learn that she sometimes acquired that attention in savvy ways, willing herself to superstardom through a public image she meticulously styled, and later attracted attention despite efforts to escape it, at great cost to her privacy and mental health. But the solemn excavation of Smith’s life and death — she died at 39 of a drug overdose, in 2007 — ultimately brings the movie, despite Macfarlane’s well-meaning efforts, squarely into the territory of what it’s attempting to condemn: lurid voyeurism. Smith’s contentious inheritance case, the disputed paternity of her daughter, the tragic death of her son: The movie cannot help but sensationalize these events, even though it relates them in a self-consciously plaintive register rather than a gawking one. Smith deserved better than how she was treated. And she deserves better than this.Anna Nicole Smith: You Don’t Know MeNot rated. Running time: 1 hour 56 minutes. Watch on Netflix. More

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      in Music

      Hawa’s Hip-Hop Journey from the Philharmonic to Fashion

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      The classically trained rapper has modeled for Telfar, Burberry and North Face.Name: HawaAge: 21Hometown: Born in Berlin, and grew up in Guinea-Conakry and New York CityNow Lives: In a sunny, two-bedroom apartment in the Prospect Heights neighborhood of BrooklynClaim to Fame: Hawa is a classically trained queer rapper and sometimes fashion model, who is perhaps best known for her 2019 song “My Love,” which was featured in an emotional scene in Michaela Coel’s HBO series “I May Destroy You.” The placement not only brought her exposure, but aligned with her art as a queer Black woman. “I love being a part of things that are impactful in a sense, and things that change people’s perception, so that’s why it’s important to me,” she said.Big Break: Hawa was accepted into the New York Philharmonic Very Young Composers Program at 10 and became its youngest composer. She quit at 15 because she wanted to focus on R&B and indie music as a way of expressing her sexuality. Two years later, she posted a snippet of her music to Instagram, which caught the attention of Keenan MacWilliam, a creative director and artist in New York. Through Ms. MacWilliam, Hawa got signed with the record label 4AD. In 2020, she released her debut EP “The One.”Latest Project: In 2020, Hawa made a splash on the fashion scene when she performed at Telfar Clemens’s show at Pitti Uomo and created an original score for Telfar. TV, its online storytelling platform. She has also been featured in recent advertising campaigns for Burberry and North Face, and walked in Collina Strada’s runway show in 2021.Next Thing: Hawa is finishing up her debut album, “Hadja Bangoura,” set for release this summer. She enlisted the producer Tony Seltzer to help her craft an experimental mélange of R&B, soul, indie, pop, trap and New York drill rap. The album was inspired by her great-grandmother, who died earlier this year. “She’s the person who made all the women in my family the strong, educated people that they are, and turned all of them into amazing human beings,” she said. “So losing her is like losing a part of myself.”Model Moves: For Hawa, fashion and music “go hand in hand, like eggs and bacon,” she said. “When it came to me branching out into the fashion industry, it was really a bunch of designers who were fans of my art before we got to meet,” she said. “Now, they’re fans of not only my art at this point but fans of me as a person.” More