Kind Girls

Kind Girls
Published September 26, 2017 4:53pm EDT

By
Stephanie Nolasco , | Fox News
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Sofia Vergara recently turned 45 on July 10th and she’s proudly flaunting her birthday suit.
The “Modern Family” star posed completely nude for Women’s Health’s Naked 2017 issue. And the highest-paid television star in the world claimed flaunting her curves was a breeze.
“I’ve always been very comfortable with my body,” the actress told the magazine . “You know, I’m Latin so we grow up going to the beach in a G-string. I used to do work for the Latin market in my 20s. Like I would do calendar shoots, very sexy and everything. And you know things have changed… how much you take care of yourself is a reality. We all age and you have to embrace it.”
However, Vergara admitted she was a bit nervous about the upcoming photo shoot. Right before, Vergara was filming “Bent” in Rome and “ate like an animal.” She wasn’t exercising and then two days before the shoot, she came home with pneumonia. Looking over at photos of potential poses sent by the creative team also didn’t help.
“They’re all of tall models holding their boobs with one arm,” she said. “But I can barely cover my boobs with two arms — I’m a 32-triple-D! My boobs are real, and I had a baby. If I grab them, I can’t even cover the nipple!”
These days, Vergara is attempting to have a regular fitness routine, but even she gets tempted to stay in bed.
“Like I find any excuse not to do it,” she said. “[I’m] Taking a couple of yoga classes. I’m very bad at it. I don’t have much patience. So I’m always trying to find something that I can do."
She also added, "I don't know if I'm strong. I have bad knees and very thin bones; I can barely do a pushup. I wish I could be a little more athletic, but when you're born with these gigantic boobs... I've had them since I was 13 and they've gotten bigger when I was pregnant and had the baby."
And even though her husband, "Magic Mike" actor Joe Manganiello, is a lifelong athlete, she still can't seem to enjoy any workout sessions, either alone or with her beau.
"It's like torture for me," she explained. "I'm in a bad mood two hours before, I'm in a bad mood while I'm doing it, I'm in a bad mood at the end because I have to schedule the next class."
Vergara did say it’s gotten easier for women like her to proudly embrace their shape in front of cameras.
“It’s not just the Barbie doll on the cover,” she said. “It’s real women. So it’s getting better. I think before it was a little bit more strict to how women were supposed to look... It's not about having muscle or cut abs. I don't have abs because I'm not 'I need to be a fit model with the perfect body.' That would take too much effort!"
The September 2017 issue of Women’s Health hits newsstands August 8.
Stephanie Nolasco covers entertainment at Foxnews.com.
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This material may not be published, broadcast, rewritten, or redistributed. ©2022 FOX News Network, LLC. All rights reserved. Quotes displayed in real-time or delayed by at least 15 minutes. Market data provided by Factset . Powered and implemented by FactSet Digital Solutions . Legal Statement . Mutual Fund and ETF data provided by Refinitiv Lipper .

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Published: 09:52 BST, 29 September 2017 | Updated: 12:41 BST, 14 December 2017
It might be getting colder outside, but these female rugby players have decided it's the perfect time of year for baring all on the pitch.
The all-women Hitchin Ladies Rugby Club squad have once again stripped off for charity to raise money for the club after their funding was slashed and to promote female players in the sport.
Wearing just their club socks and boots - and nothing else - the ladies rugby tackled each other, ran through the field and hid their modesty behind practice bags in photographs for a fundraising calendar.
The women have stripped off for their second nude calendar to raise money and promote women in rugby
The saucy snaps capture scrummy rugby players stripping off for charity to promote women in the sport (pictured, one of last year's snaps)
The photos from this year's calendar sees the women getting into action despite their lack of kit once again
The 2018 calendar by Hitchin Ladies Rugby Club will hit the shelves in November after their inaugural effort last year attracted fans from around the world.
Rapper 50 Cent even shared their steamy snaps to his 40 million Facebook fans.
The pictures released for this year's calendar are taken at the secluded grounds of their Hertfordshire club and capture the girls training.
One shot shows two teammates practicing their tackling without their kit and another shows the girls high-fiving under the posts.
The team have been going strong since 2003 and train together every Tuesday evening so have a close bond (one of this year's pictures from the new calendar)
Bottom's up! The Hitchin ladies bare all for their fundraising calendar - the second year they have posed nude to raise money and promote the sport (pictured, a photo from last year's calendar)
The women weren't afraid to pose in the nude for the naked calendar the first time round, with the photographer even following them into the shower
The women got into a scrum completely naked, wearing just socks and their boots, as one woman attempted to reach for the ball in a snap from last year's calendar
This is one of the only shots from last year's calendar where the women wear any clothes, as one player is being lifted into the air
The women agreed that they weren't embarrassed to get naked as they regularly see each other in the shower (pictured, one of last year's snaps)
Another still shows two girls laying on the grass posed to leap up into practice bags, that are protecting their mates' modesty.
Organiser and inside centre Claire Crompton , 28, said: 'We were never expecting the success we got last year but it'll be nice if it happens again.
'We want to build on our success and we had a recruitment boost due to it as well.
'Even if people look at it and don't want to play rugby it gets the brand out there.
'Someone else might see it too if its hanging up and see if they want to get involved with the sport.
Of the Hitchin Ladies' 28-strong squad, 12 players took part in the shoot including both group and solo shots last year
Photographer and team member Amy Haughton said that she wanted to make the shoot empowering and didn't use photoshop last year
By doing the daring shoot the squad hopes that they will raise the profile of the Hitchin Ladies rugby team (pictured, a snap from last year's calendar)
'Our club is a lot of fun and we like to play good rugby - hopefully people looking at the calendar will see that we like to have fun.'
This year the ladies will be raising cash for the club and money for GB Wheelchair Rugby, after their funding was slashed.
The event worker from Stevenage added: 'We were looking to fund a charity as well this year and we heard on the radio that Team GB wheelchair rugby lost it's funding and I thought it was wrong.
'Rugby is rugby to us, it's important to get the message out there and raise cash.
'I hope people get a calendar as it is for a really good cause and if they liked last years they'll love this years.'
The calendars are on sale for £10 and are available from http://shop.hitchinrugby.com.
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'Disarmingly intimate' photos of women
(Image credit: Susan Meiselas / Magnum Photos )
An exhibition at the Rencontres d’Arles festival features work by three female photographers who each capture revealing and rarely seen images of women.
When you look at them today, you realise how topical and relevant they are now – Clara Bouveresse
You see the variety of bodies, the flesh, the skin, the hair, the wrinkles, the scars – Clara Bouveresse
Heyman’s images show us, again and again, how rarely women are portrayed as they really are in the media, even now
The US photographer Susan Meiselas first began shooting women who took their clothes off for a living in 1972, when she was in her mid-20s. Travelling around New England, she’d encountered the country fairs that toured rural parts of the northeastern US; many had a ‘girl show’ tent, where women danced in striptease acts. Meiselas was fascinated. Over the course of three summers, she haunted the fairgrounds, befriending dancers and sneaking backstage to capture what their lives were really like . She also recorded hundreds of hours of interviews. In order to blend into the crowd and get the shots she needed, she sometimes dressed like a man.
The book Meiselas eventually produced, Carnival Strippers (1976), has become a classic . Unsparing but sympathetic, both humane and abjectly sad, it showed a world many at the time preferred to ignore: one in which women danced nude for handfuls of dollars, in tawdry, spit-and-sawdust tents erected in one-horse towns. Yet perhaps the most remarkable thing about the work is that Meiselas gives the story a complicating twist. We might expect a sob story – a tale of exploited, objectified women in an exploitative, objectifying industry. Yet Meiselas finds nuance in the biographies of the women who danced, along with remarkable amounts of self-awareness and courage. One says that performing is her path to financial independence; another that the carnival has given her a home when she had nowhere else to go.
“It was a complex story, and I wanted to show it in its complexity,” Meiselas tells BBC Culture. “Not everyone was expecting that.”
Forty-three years after it came out, Carnival Strippers is the centrepiece of an exhibition at this year’s Rencontres d’Arles photography festival . Entitled Unretouched Women , it reunites Meiselas’s photo essay with two other books from the same period by American female photographers, both canonical in their way. One is the publication that gives the show its title, The Unretouched Woman (published the same year, 1976), in which Eve Arnold, a pioneering photojournalist, compiled portraits she had taken of women around the world over the previous quarter-century. The third is Abigail Heyman’s Growing Up Female (1974), which describes itself as “about women, and their lives as women, from one feminist’s point of view”.
All three books were their authors’ first: a chance to make their own creative selections and tell the story in their own terms, rather than dealing with the whims of magazine picture editors (usually male). And in their different ways, all three paint a portrait of a tumultuous and convulsive era. Second-wave feminists were campaigning for issues such as abortion rights, workplace equality and an end to sexual harassment; female photographers were challenging the male gaze and questions about how women should be represented. Four decades ago this might be, but walking through the show, you feel you’re not so much stepping into history as peering at a mirror of the present day.
Susan Meiselas, Shortie on the Bally, Barton, Vermont, USA (Credit: Susan Meiselas / Magnum Photos)
“Back then, these issues were only just starting to filter into photography,” says the curator, Clara Bouveresse. “But when you look at them today, you realise how topical and relevant they are now.”
When Meiselas and I speak, I ask her for her memories of the mid-70s, and how Carnival Strippers fitted into the debates of the time. She recalls that opting to turn her lens on women who stripped felt like a controversial act: some of her fellow feminists were appalled that she was attempting to document and understand this world rather than condemn it outright.
Susan Meiselas, Tunbridge, Vermont, USA, 1974 (Credit: Susan Meiselas / Magnum Photos)
“A lot of women regarded the girl shows as straightforwardly exploitative,” she says. “That was the debate that was going on. But I wanted the book to be part of a dialogue. When one of the women I photographed, Lena, says she found performing a revolutionary experience, that for the first time she'd got men eating out of her hand, who could deny her that feeling? She was acting in defiance against what the world she’d grown up in expected her to be.”
The pictures in Carnival Strippers are disarmingly intimate. We do see the dancers in their carefully crafted public roles, gyrating on makeshift stages in tasseled bikinis or posing for mobs of gawping, baying men. One particularly uncomfortable shot shows a woman in a semi-transparent twin piece perching on the ‘bally box’ outside the tent to drum up business, as if she’s a prize animal on show.
Susan Meiselas, Debbie and Renee, Rockland, Maine, USA, 1972 (Credit: Susan Meiselas / Magnum Photos)
But we also glimpse the strippers in private moments: lounging in dressing rooms playing cards; horsing around; swigging beer; collapsed on motel beds. For women who spend their lives on show, these times, captured by Meiselas in grainy, low-light photographs drenched in shadow and atmosphere, must have been particularly precious. In contrast to the bodies they put on display for paying customers, artfully costumed and made up, their real bodies – scarred, sweaty, dirty, sometimes bruised – are finally visible. It is a different and altogether more revealing kind of nakedness.
Bouveresse agrees: “There’s an empowerment of sorts in these pictures: you see the variety of bodies, the flesh, the skin, the hair, the wrinkles, the scars.”
Susan Meiselas, New Girl, Tunbridge, Vermont, USA (Credit: Susan Meiselas / Magnum Photos)
Complexity is everywhere you look. A shot of Lena undercuts – or at least complicates – her words about revolution by depicting her after the show, naked and plainly exhausted, pressing a towel to her face in what looks like desperation. Yet elsewhere you sense something more defiant: a sense that these women are attempting to control how we look at them (Meiselas made sure to share her contact sheets with her subjects, often asking them to choose which pictures they liked). For all the tattiness of the fairs, what comes through is the sense of a close backstage community – solidarity, perhaps sisterhood.
Meiselas says, as a women watching these women, she felt it too. “I was like them and not like them,” she says. “That’s why the project was so interesting to me, in a way.”
Eve Arnold’s pictures are revealing in a different sense. Born in Philadelphia in 1912, Arnold shattered nearly every glass ceiling placed in her way: one of the first full members of the prestigious Magnum photo agency in the late 1950s, she managed to make a career as an independent photojournalist in an era when that trade was almost exclusively male (she once observed that “it’s the frustration that drives you” ).
Eve Arnold, Marlene Dietrich at the Recording Studios of Columbia Records, New York, November 1952 (Credit: Eve Arnold / Magnum Photos)
A self-confessed workaholic, she had pictures printed in nearly every major photography publication of the 60s and 70s, among them the Sunday Times Magazine, Esquire, Harper’s Bazaar, and Life magazine, and became especially renowned for candid shots of celebrities such as Joan Crawford, James Dean, Andy Warhol and Paul Newman. Despite the astonishing range of her work – South African townships in the apartheid era alongside confessional portraits of Marilyn Monroe, whom she shadowed for nearly a decade – she always had an eye for female subjects. In the early 1960s, she shot a pioneering photo essay on birth, and in 1971 made a film, Women Behind the Veil, which stepped inside the closeted world of Arab hammams and harems.
Even so, she waited until her 60s to produce The Unretouched Woman. “It was a way of looking back at her career as a photographer, saying who she was,” says Bouveresse.
Eve Arnold, Actress Joan Crawford, Los Angeles, 1959 (Credit: Eve Arnold / Magnum Photos)
Though some of the images in the book feel a little uninvolved – pitch-perfect, pin-sharp pictures gathered by a globetrotting pro – they nonetheless speak to the democracy of Arnold’s way of looking at the world, especially the women in it. Next to an image of pregnant Zulu women in a labour ward in South Africa there is a melancholy portrait of an elderly woman in a care home in the Cotswolds in England. Yes, here’s Marilyn, probably the most photographed face of her era, but there are also women from Afghanistan, their own features obscured by flowing chadors.
Perhaps the most moving images in the Arles exhibition are those shot by Abigail Heyman. A neglected figure now, Heyman’s attempt to capture female experience in Growing Up Female (subtitle: A Personal Photojournal) is more inward-looking than the other books: a living-out of the mantra that the personal is political. Combining unstaged, stripped-back photographs with handwritten comments, it echoes another canonical feminist text of the era, the bestselling study of female health and sexuality, Our Bodies, Ourselves . Where that book – which included guidance on everything from sexual orientation and gender identity to birth control – encouraged women to take control of their destiny, Heyman’s images show us, again and again, how rarely women are portrayed in the media as they really are, even now.
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