illegal immigrants? you mean white people
except that white people didn’t immigrate into the united states… they funded the united states. you can’t illegally immigrate into a society you created.
did you actually just say white people created society in america
some freaky friday shenanigans
Sherlock Holmes exhibition launch party
Sir Ian McKellen:
On the first day of the new exhibition at the Museum of London — SHERLOCK HOLMES - The Man who never Lived and will never Die, I was introduced as the latest actor to play Sherlock Holmes and I replied:
“Now you know why I was asked to open this wondrous exhibition which tells us so much about the fictional detective’s life in literature and drama and about the London of the Holmes era. I’m not a Londoner any more than Arthur Conan Doyle was, although I do now live here, close by the original Chinatown where Holmes took opium in the course of his investigations.
“Sir Arthur was educated in my home county of Lancashire up north, attending Stonyhurst College, on which he based his Baskerville Hall where the Hound terrified the locals. Interesting to me that J.R.R. Tolkien later stayed at the same College when his son was teaching there and seems to have based elements of The Shire on the environs.
“I’m often greeted by film-fans with ‘You are exactly as I’d always imagined Gandalf to be.’ Well hardly ‘exactly’ : Tolkien described Gandalf’s eyebrows stretching beyond the wide brim of his pointy hat, which mine didn’t in the movies. Nor did I wear the black boots of Tolkien’s description. What I did look like, was the image of Gandalf that Alan Lee and John Howe had imagined in their illustrations to the books.
“It’s the same with Mr Holmes. Just as he never said ‘Elementary my dear Watson,’ (that was first spoken, in a film, by the actor Clive Brook) he did not definitely wear a deerstalker (and certainly NEVER in London). What he wore, at least according to his biographer Dr Watson, was an ‘ear-flapped travelling cap.’ The deerstalker was invented by the first illustrator Sidney Paget and then adopted by the American star William Gillette in his 1,300 stage performances as the detective. It was Gillette, the first actor to play him, who introduced the curving calabash pipe into the Holmesian mythology, probably because a briar would have obscured his face from the orchestra stalls. Holmes (unlike Gandalf) did not smoke exclusively a pipe — he also enjoyed cigars and cigarettes.
“Playing these iconic fictional icons isn’t as alarming as you might think. How to follow memories of Basil Rathbone on film, Jeremy Brett and Peter Cushing on television or John Gielgud on radio? Just as when you play Richard 111, King Lear or Hamlet, it’s best not to worry about the actors who preceded you. Be your own Hamlet and take courage in that you rarely see a bad one. Nor a bad Sherlock Holmes come to that.
“Now I am the latest to play the part. There have been many wondrous manifestations of Mr Holmes. My job was eased because I am the oldest by far of my predecessors, 93, balding, with a big nose (as Conan Doyle wrote); with a stick and a stoop and certainly no deerstalker.
“Our film Mr Holmes reveals Sherlock in retirement, tackling one last unsolved case. We filmed much of it on location in London, where it is still possible to evoke times gone by: the London represented in part of this exhibition. Here you can examine the Baker Street where Holmes and Watson never lived, any more than Peter Pan ever flew from Kensington Gardens, or Sir John Falstaff drank in Eastcheap, or Sweeney Todd slit throats in Fleet Street.
“Those are for exhibitions of the future. For now I’m delighted to declare this one OPEN!” (X)
Happy Birthday, Andrew Scott!
Depictions of Lesbianism by Henri Toulouse Lautrec
During his life, Lautrec spent a lot of time in Montmarte, the bohemian centre of 19th century Paris and home to artists, philosophers, writers, performers, and prostitutes. He spent a lot of time with the sex workers there, and discovered that many of them had intimate relationships with one another.
Lautrec’s depiction of lesbianism is particularly notable because it doesn’t fetishise sexual intimacy between women or present it as spectacle for the male gaze. Lautrec was trying to capture small, tender moments in the lives of the women he met, and he did so with humanity and sensitivity. In a world of constructed sexuality and fantasy, he finds the real relationships, and reveals to us the hidden lives of queer women in the 19th century.
Fin-de-siècle Paris was the capital of lesbianism. However, until the mid century, and despite the acknowledgment of male homosexuality, female homosexuality had been considered absurd. This scepticism was grounded in the fact that many nineteenth-century psychologists and medical professionals did not believe in female sexual impulse. Thus, when instances of lesbianism were reported in Alexandre Parent-Duchâtelet’s 1836 study of prostitution in Paris, lesbianism came to be understood as an activity associated with the Montmartre counterculture and, in particular, with prostitution. Indeed, deluxe houses of tolerance often functioned as specialty brothels that catered for a clientele with particular fetishes, such as tableaux vivants where ‘inmates, entirely naked, abandon themselves to homosexual practices on a large black velvet carpet or in rooms hung with black satin to bring out the whiteness of their bodies’. This was lesbianism as commercial spectacle, performed within a closed environment for male consumption.
Lesbianism in the public realm was a sexual preference that, while common, was negatively judged by French conservative society and for this reason was conducted with subtlety and partially obscured. In fact, many of the biggest stars of the Parisian circuses, dance halls and café-concerts were lesbian or bisexual, including Jane Avril and May Milton (whom, it is generally agreed, had a short-lived love affair), Sarah Bernhardt, Cha-u-ka-o and La Goulue. Whilst these Montmartre celebrities were depicted on multiple occasions by Lautrec, the artist chose to represent them as skilled professionals, never exploiting their sexual preference as the main focus of his compositions. So subtle was Lautrec in his treatment of these themes that art historians such as David Sweetman have gone so far as to argue that ‘It comes as something of a shock to realise that most of the women … were in fact lesbians and that quite a few were lovers. So many, in fact, that it is possible to argue that lesbianism is the hidden subtext of much of the art of Henri’s mature years.’
- from nga.gov.au
1. At the Moulin Rouge: The Women Dancing
2. In Bed
3. The Kiss
4. Two Friends
5. Les Deux Amies
pretty much my work ethic
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