/ Gordon Parks, Pianist Glenn Gould soaks his Hands in the Sink to limber up his Fingers before performing, 1955

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/ Gordon Parks, Pianist Glenn Gould soaks his Hands in the Sink to limber up his Fingers before performing, 1955

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Lauren Bacall, September 16, 1924 – August 12, 2014.
With Humphrey Bogart on the studio lot during the filming of Howard Hawks’s To Have and Have Not (1944).
John Singer Sargent, ‘Gassed’ and ‘Six Studies for Gassed’ (1918)
In Gassed there is little suffering. Or rather, what suffering there is is outweighed by the painting’s compassion. In spite of the vomiting figure the scene has almost nothing in common with Owen’s vision of the gas victim whose blood comes ‘gargling from the froth-corrupted lungs’. What Sargent has depicted, instead, is the solace of the blind: the comfort of putting your trust in someone, of being safely led.
— geoff dyer, the missing of the somme
he may murder cops, burn stacks of cash, and kill people with chopsticks… but that’s babygirl 🫶

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The Dutch have always hated penalties and considered the shoot-out an abomination. But its merciless, made-for-TV melodrama has its admirers. In his book On Penalties Andrew Anthony argues that, ‘The shoot-out is as near perfect an allegory of the human condition as sport offers. Of course, the field is rich in experiential metaphors, with all the triumphs and disasters, winners and losers, and countless other stupefying clichés that make up the world of competitive games. The beauty of the penalty, though, is that it powerfully represents the fear and the hope, the regret or relief that are compressed into the meaningful junctures of life. The football penalty is unique in sport because of the emphasis it places on conscious choice. For a brief period, the game stops and the penalty taker enters his own chamber of truth, a place where actions have ineluctable consequences. The penalty shoot-out goes even further. In its combination of individual choice and collective responsibility it attains an almost moral significance.’
He’s right about the ‘ineluctable consequences’, but wrong about the moral aspect. It is precisely the amoral consequences of the shoot-out that are the problem. The term ‘shoot-out’ comes from the Hollywood Western where, in the climactic final scene, the good guys in white hats invariably killed the bad guys in black hats. Even in Sergio Leone’s cynical spaghetti variations on the genre, shoot-out victory went to the more morally deserving. The Good killed The Bad and let The Ugly live. Football shoot-outs disrupt and subvert this moral universe, for The Bad and The Ugly often kill The Good. Think of West Germany’s scandalous victory over France in 1982, or Argentina’s triumph against Italy in 1990. The Italy–Holland shoot-out produced a result that, whatever it revealed about the two countries’ penalty skills, was a bizarre travesty of the game that preceded it. As an Italian journalist in the Arena joked: ‘Zoff is a tactical genius: he pinned the Dutch into our half for two hours. Then they were cooked.’
The football shoot-out is really much closer in spirit to Russian roulette or that scene in Spartacus where sadistic Roman general Laurence Olivier forces Kirk Douglas and Tony Curtis to fight to the death for his own amusement. No ritual could be better designed for crushing individual players. After Clarence Seedorf’s decisive miss in the Euro ’96 quarter final, his friend the French midfielder Christian Karembeu, who finished on the winning side, observed of the shoot-out: ‘It is loading a bullet into the chamber of a gun and asking everyone to pull the trigger. Someone will get the bullet; you know that. And it will reduce them to nothing. Fair? Fairness is not even an issue.’ Michel Platini, a great penalty taker in his day and now a senior bureaucrat has said, ‘The player who misses a decisive penalty suffers a lifelong trauma. He is branded as if he had killed his colleagues and parents.’
David Winner, Brilliant Orange: The Neurotic Genius of Dutch Football
My Beautiful Laundrette (1985) dir. Stephen Frears
can we send up a quick thank you to pdf uploaders, torrent seeders, copy sharers, scanlators, fansubbers, digitizers, paywall dodgers, and various other internet archivers for making niche art and information more accessible in a media landscape where all but the most profitable mainstream are often tossed aside and left to rot
Louise Bourgeois, Maman, 1999.
same bro

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Tonight's performance of Waiting for Godot has been cancelled. We apologize for the inconvenience. Please see the box office for a complimentary voucher to tomorrow night's performance.
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Relationships that have real king/lionheart energy, that whole “I have sworn myself wholly to you, I am your sword arm, I am your dog” to someone else’s “you are the one person in this world I can rely on, and I am both bolstered and burdened by your absolute faith in me” vibe, but it’s in circumstances that are like. so low stakes. Manager of a movie theater/the one usher who doesn’t smoke weed at work.
Everything around you

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in the 19th century i would've gotten diagnosed with ghosts in my brain
Pretend, for example, that you were born in Chicago and have never had the remotest desire to visit Hong Kong, which is only a name on a map for you; pretend that some convulsion, sometimes called accident, throws you into connection with a man or a woman who lives in Hong Kong; and that you fall in love. Hong Kong will immediately cease to be a name and become the center of your life. And you may never know how many people live in Hong Kong. But you will know that one man or one woman lives there without whom you cannot live. And this is how our lives are changed, and this is how we are redeemed.
What a journey this life is! Dependent, entirely, on things unseen. If your lover lives in Hong Kong and cannot get to Chicago, it will be necessary for you to go to Hong Kong. Perhaps you will spend your life there, and never see Chicago again. And you will, I assure you, as long as space and time divide you from anyone you love, discover a great deal about shipping routes, airlines, earth quake, famine, disease, and war. And you will always know what time it is in Hong Kong, for you love someone who lives there. And love will simply have no choice but to go into battle with space and time and, furthermore, to win.
—James Baldwin, The Price of the Ticket