bougez les hanches @bougezleshanches - Tumblr Blog

Colossal bust of Antinous, 130/138 AD. From Villa Adriana.

Sala Rotonda, Pio Clementino Museum, Vatican

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katadesmoi

Elektra after John Collier's painting of Klytaimnestra, bc i am thinking about sophocles and the physical building that is the house of atreus and the fact that eugene o'neill made ONE good point in Mourning Becomes Electra and that is to have electra/lavinia walk back into the house at the end to live out the rest of her life with the family ghosts

allthingseurope

Bruges, Belgium (by Thierry Lemaitre)

autumntoken

Tucked away in Germany...

soaveintermezzo

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ariweinklephotography

reeT

featherwhisper

☙ | 𝓈𝒶𝒸𝓇𝒶𝓁𝓊𝓃𝒶 𝓋𝒾𝒶 𝒾𝓃𝓈𝓉𝒶𝑔𝓇𝒶𝓂

almondfae-deactivated20220208

just a little peace and quiet

fashionpack

Khadija Adams @ Yves Saint Laurent Haute Couture F/W 1990

nutnoce

“Look! he would prick his thumb and press out ocher-colored drops that sizzled when they hit the plate- Volcano blood! Claimed the temperature of his body was a continuous 130 degrees and let people touch his skin for 75 cents”

Anne Carson, Autobiography of Red, XVIII. She

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levourdalak

Disney failed so hard at doing punk (and I'm so glad they did) that they put monarchist symbols in their Cruella merch.

levourdalak

Although Disney makes the 1970s punk scene a selling point, the most punk the film gets is young Estella drawing on, cutting up, and sticking safety pins through her school uniform, both visually, and in terms of rebelling against an authority figure.

levourdalak

Present day (mid-1970s Estella) meets consignment shop owner Artie and she comments on his outfit, which might look out there to a modern audience, but despite its glam rock influence, it’s fairly tame compared to the psychedelic prints and the Peacock Revolution of the late 1960s (London was a major cultural hub of the era, if not the cultural hub). The makeup and frilly shirt wouldn’t stick out all that much.

levourdalak

These styles are several decades old (see 1940s and 1950s Charles James, Dior, and Balenciaga designs). By the 1970s, even the most high-end snooty conservative designers had moved on.

Charles James gowns photographed by Cecil Beaton, 1948.

levourdalak

But what of the “punk show” in the park? It was actually New Romantic fashion, which is a late 1970s-early 1980s movement that responded to the anti-fashion austerity of punk with the decadence of styles that recalled the 18th and 19th centuries and the 1920s. Softer hair and silhouettes, and more Romantic.

Is Cruella the future? Sure, but only a little bit later, and in a way that rejects punk.

tobermoriansass

i keep thinking about that specific scene with artie and the overall loaded implications of it - disney sort of teeheeing about him being gay because he dresses "flamboyantly" and gets abuse for it, is sort of how we're meant to read this scene and it is just. such a fucking half-arsed cop-out on so many levels not least because there's so much revisionism going on in here to suggest that this is "flamboyant" and therefore unusual, or freakish, or odd

but like, the main events of the film from what i can tell take place around 1974-75 or so and that was the zenith of glam rock in the UK: david bowie, marc bolan, slade, mott the hoople, elton john, freddie mercury, alice cooper. the rolling stones, led zeppelin and the who were performing in and wearing far more exuberant outfits as a matter of course while singing happily about loving women, fucking women, being with women. even the far more sober wilds of prog rock still produced extraordinary fashion: emerson, lake & palmer, jethro tull, yes. peter gabriel was just out there doing his own thing, wearing a red dress and a fox head on stage in 1972. probably the only soberly dressed band in 1974-1975 was pink floyd, and they definitely weren't soberly dressed c. 1968 (I am inordinately fond of the scan i have of roger waters, that paragon of sobriety in dressing by the 70s, in a bright pink frilly satin shirt and a shag coat). i'm not even touching nascent disco cultures or icons like marvin gaye, at this point.

and the reason i bring this up is because all these bands were at the height of their popularity and careers in the mid-70s. they were icons of "masculinity" for huge swathes of youth culture and counterculture. the definition of "masculinity" was entirely different. and it just feels like with this specific thing with artie that we're applying our standards of masculinity, retrospectively, and then trying to pat ourselves on the back for being so terribly edgy and provocative - but its only edgy and provocative in how we think of masculinity and what counts as "masculine" outfits today, what would invite ridicule today. it barely even provokes a contemporary audience the way the image of like, peter gabriel in a red dress and a fox head still manages to do. and he did that in 1972.

i feel like we lose something with this kind of weird cultural erasure and amnesia when a big film like this obliterates the past, retrospectively pastes our values onto it and then demands accolades for being edgy, when in many ways we've actually gone backwards in what we're "chill" with as far as "male" dressing goes - the idea that if you wear large flower prints on your shirts is somehow metrosexual, or something. it does feel as though its part of a very specific liberal tendency to flatten history into a story of constant linear progress, but through some pretty insidious actions like this deliberate reproduction of cultural amnesia and erasure on film. it just feels fucking offensive that this is supposed to be edgy. put him in a fucking dress with a fox head in a completely serious, unabashed, artistic celebration way and then we'll talk, disney.

soracities

“My months fill themselves with milk and laundry and dishes, with nursery rhymes and bedtime stories, with split grocery bags, dented tins, birthday parties, hangovers, and bills. I coax many small joys from my world: clean sheets snapping on the line, laughing myself breathless in the arms of my husband, a garden slide bought for a song from the classifieds, a picnic on the beach, three small heads of hair washed to a shine, shopping list after completed shopping list — tick, tick, tick — all my miniscule victories.”

Doireann Ní Ghríofa, A Ghost in the Throat

utwo

Lake Garda Italy by :

Lake Garda is a heavenly place on earth, with lovely towns, restaurants, activities on the lake (boating and sailing) and in the mountains (Mont Balo: trekking and cycling), great car drives, history,… Lovely place to walk and enjoy stunning views, typical Italian atmosphere with food, gelato, shopping and enjoy the typical hand painted art.

honnibri

Touch.

bellsandforks

“It’s the nation that does not permit you to live.”

Death by Hanging (1968), dir. Nagisa Ōshima

filmantidote

The context of the film is vital as it is relevant more than ever. The film is about an ethnic Korean in Japan who is set to be executed by hanging. Koreans have historically lived as marginalized members in Japan and have been heavily discriminated against despite many of them having all the makings of citizenship by being born and brought up in Japan. Oshima examines how the state legitimizes violence and racism as it permeates in the Japanese conscious of who is deemed worthy of life and who is not. An underlying theme is that guilty or innocent by state-set terms of criminality, marginalized people are guilty at birth.

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soracities

John Banville, The Sea

[Text ID: “The past beats inside me like a second heart.”]

antigonick

“Red is a thing I can trust—a monster and her wings, cattle grazing the sandstone hills like flames.”

— Natalie Diaz, excerpt of “Isn’t the Air Also a Body, Moving?”, in Postcolonial Love Poem

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