“A brush, the one dependable thing in a world of strife, ruin, chaos — that one should not play with, knowingly even”
To The Lighthouse
“He (Duncan Grant) is so incredibly full of charm, his genius as an artist seems to overflow so into his life and character & he is so amusing too and odd and unaccountable that lots of people I think don’t see clearly what to me is really his most adorable quality – his honesty – disinterestedness absolute sincerity & simplicity of character which make me depend upon him always.”
Letter from Vanessa Bell to his son Julian Bell, 7 Mar 1937
Duncan Grant and Vanessa Bell worked closely on artistic projects and, though Grant would have many parallel relationships with men, they remained close companions for the rest of their lives. In 1918 Vanessa gave birth to Duncan’s child, Angelica.
A group at Garsington Manor, country home of Lady Ottoline Morrell, near Oxford. Left to right: Lady Ottoline Morrell, Maria Nys (neither members of Bloomsbury), Lytton Strachey, Duncan Grant, and Vanessa Bell. By Unknown photographer, vintage snapshot print, July 1915
“To the garden the world anew ascending,
Potent mates, daughters, sons, preluding,
The love, the life of their bodies, meaning and being,
Curious here behold my resurrection after slumber,
The revolving cycles in their wide sweep having brought me again,
Amorous, mature, all beautiful to me, all wondrous,
My limbs and the quivering fire that ever plays through them, for
reasons, most wondrous,
Existing I peer and penetrate still,
Content with the present, content with the past,
By my side or back of me Eve following,
Or in front, and I following her just the same.”
Stardust is an American popular song composed in 1927 by Hoagy Carmichael with lyrics added in 1929 by Mitchell Parish. Carmichael first recorded the song, originally titled “Star Dust”, at the Gennett Records studio in Richmond, Indiana. It is “a song about a song about love”, and it’s played in an idiosyncratic melody in medium tempo. It became an American standard, and is one of the most recorded songs of the 20th century, with over 1,500 total recordings.
According to Carmichael, the inspiration for Stardust came to him while he was on the campus of his alma mater, Indiana University, in Bloomington, Indiana. He began whistling the tune then rushed to the Book Nook, a popular student hangout, and started composing. He worked to refine the melody over the course of the next several months, likely in Bloomington or Indianapolis (sources cite various locations, and Carmichael himself liked to embellish the facts about the song’s origins).
Isham Jones‘s recording became the first of many hit versions of the tune. Young baritone sensation Bing Crosby released a version in 1931, and by the following year, over two dozen bands had recorded Stardust. It was then covered by almost every prominent band of that era. Versions have been recorded by Artie Shaw, Billy Butterfield, Louis Armstrong, Dave Brubeck, (on the 1956 album Dave Brubeck Quartet) Tommy Dorsey, Tex Beneke with The Glenn Miller Orchestra, Frank Sinatra, Doris Day, Jan Garber, Fumio Nanri, Dizzy Gillespie, Nat King Cole (considered by many to be the best), Mel Tormé, Connie Francis, Jean Sablon, Keely Smith, Terumasa Hino, Harry Connick Jr, Hank Crawford, Ella Fitzgerald, Olavi Virta, The Peanuts, Django Reinhardt, Barry Manilow, Art Tatum, John Coltrane, Earl Grant, Willie Nelson, Billy Ward and His Dominoes, George Benson, Mina, Ken Hirai, Al Hirt, and many others.
Sometimes I wonder why I spend
The lonely nights dreaming of a song
The melody haunts my reverie
And I am once again with you
When our love was new
And each kiss an inspiration
Ah but that was long ago
Now my consolation is in the stardust of a song
Beside the garden wall
When stars are bright, you are in my arms
The nightingale tells his fairy tale
Of paradise where roses grew
Though I dream in vain
In my heart it will remain
My stardust melody
The memory of love’s refrain
To listen to Nat King Cole and John Coltrane´s versions of this song, please take a gander at The Genealogy of Style’s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228
Out of the many prominent motifs Alfred Hitchcock uses in his films, staircases are the key to understanding his view of the world. Coming from a lower-middle class family himself, Hitchcock uses stairs to indicate differences in societal class. In the 1927 film The Lodger, Ivor Novello’s character lives above the family who rents the house out, indicating to the audience that he is of higher societal stature than the rest of the family. The lodger’s class is also indicated when he purchases a very expensive dress Daisy, the landlady’s daughter, models for him. The viewer must pay careful attention to visual clues, like the staircase, which hint at the lodger’s class in Hitchcock’s early silent films.
Then, adding sound, in his 1929 film Blackmail, Hitchcock uses an elaborately created staircase set design to show their important significance. In this film, the stairs to Crewe’s apartment are like venturing into another world, where everything delves into chaos. Hitchcock shows us the long walk up with Alice and Crewe using a side angle, and then Alice’s lone journey back into the real world after she has defended herself against Crewe. Hitchcock gives us a downward view of Alice running down the staircase, an angle which he will be known for in his 1958 film Vertigo.
Overall, in Hitchcock’s films, stairs are a tool to build suspense and dramatic effect, and to symbolize a journey for the characters.
Mouth to Mouth is the debut album by disco act Lipps Inc with Cynthia Johnson on lead vocals. Lipps Inc was formed in Minneapolis, Minnesota and was most known for the Double-Platinum-selling 1980 chart-topping hit Funkytown, which hit #1 in 28 different countries around the world. It consisted of a changing lineup of session musicians, including guitarist David Rivkin, guitarist Tom Riopelle and bassist Terry Grant. Steven Greenberg, the creator of the act, wrote and produced most of the group’s music.Lipps Inc.’s first release was a 1979 single, Rock It, on Greenberg’s own Flight imprint.
Funkytown, the second single from Mouth to Mouth, is often considered to be one of the last massive hits of the disco genre. This single held a unique record for reaching number one in 28 countries, more than any other single release until Madonna‘s Hung Up hit number one in 41 countries in 2005. Hung Up prominently features a sample of pop group ABBA‘s hit single Gimme! Gimme! Gimme! (A Man After Midnight), for which Madonna personally sought permission from ABBA songwriters Benny Andersson and Björn Ulvaeus.
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Sorry. The, uh…
mic’s not… work–working. Ahem.
welcome to the launch of “Kafka’s Motorbike”…
“The Greatest Book of OurTime.”
Obviously exceptfor your books, Mr. Rushdie…
which are also very good.
And Lord Archer…
yours aren’tbad, either.
[Clears throat] Anyway…
uh, what I mean is, uh…
welcome, ladies and gentlemen.
Thank you for coming to the launch of…
one of the top thirty books of ourtime.
Anyway, at least.
And here to introduce it is the man we all call…Titspervert.
Titspervert….Fitzherbert, because that…is his name.
When Helen Fielding wrote the novel Bridget Jones’s Diary, she based the character of Mark Darcy on Colin Firth‘s depiction of Mr. Darcy in Pride and Prejudice (Simon Langton, 1995). In addition to the inside-joke casting of Colin Firth as Mark Darcy, there are several other allusions to Jane Austen‘s story: Mark disparages Bridget to his mother within earshot of Bridget. In Pride and Prejudice, Mr. Darcy disparages Elizabeth to his friend Mr. Bingley within earshot of Elizabeth. Daniel Cleaver lies to Bridget about a dispute between him and Mark, claiming Mark stole his fiancée; in fact, it was the other way around. In Pride and Prejudice, it’s a dispute between Mr. Wickham and Mr. Darcy, and Wickham lies about who’s at fault. The Darcy in both stories fails to disabuse the heroine’s misinformed notion until it’s almost too late. Bridget works at Pemberley Press; Mr. Darcy lives at Pemberley estate. Crispin Bonham-Carter was in both productions (his scenes were cut out of the film, although he can still be seen in the job-quitting scene and can also be seen at the Kafka book launch where Bridget asks Salman Rushdie where the toilets are – he is seen as the man on the left in the conversation). When Bridget stops at a mall to see her mother, she begins the scene by saying (in a voice over) that, “It is a truth universally acknowledged that as soon as one part of your life starts looking up, another part falls to pieces.” This is an update of the famous opening lines of Pride and Prejudice: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
“In her childhood Virginia Woolf was a keen hunter of butterflies and moths. With her brothers and sister she would smear tree trunks with treacle to attract and capture the insects, and then pin their lifelike corpses to cork boards, their wings outspread. It was an interest that persisted into her adult life, and when she discovered that I too was a bug hunter, she insisted that we go hunting together in the fields around Long Barn, our house in Kent, two miles from Knole, my mother’s birthplace. I was nine years old.
One summer’s afternoon when we were sweeping the tall grass with our nets and catching nothing, she suddenly paused, leaning on her bamboo cane as a savage might lean on his assegai, and said to me: “What’s it like to be a child?” I, taken aback, replied, “Well, Virginia, you know what it’s like. You’ve been a child yourself. I don’t know what it’s like to be you, because I’ve never been grownup.” It was the only occasion when I got the better of her, dialectically.
I believe that her motive was to gather copy for her portrait of James in To the Lighthouse, which she was writing at the time, and James was about my own age. She told me that it was not much use thinking back into her own childhood, because little girls are different from little boys. “But were you happy as a child?” I asked.
Excerpt from Virginia Woolf by Nigel Nicolson
“Dovunque al mondo lo Yankee vagabondo
si gode e traffica
Affonda l’áncora alla ventura…
Affonda l’áncora alla ventura
finchè una raffica
scompigli nave e ormeggi, alberatura.
La vita ei non appaga
se non fa suo tesor
i fiori d’ogni plaga,…
…d’ogni bella gli amor.”
(The whole world over,
on business and pleasure,
the Yankee travels all danger scorning.
His anchor boldly he casts at random…
…His anchor boldly he casts at random,
until a sudden squall
upsets his ship, then up go sails and rigging.
And life is not worth living
if he can’t win the best
and fairest of each country,…
…and the heart of each maid.)
Dovunque al mondo (Throughout the world).
Aria From Act I
Madama Butterfly (Madame Butterfly) is an opera in three acts (originally two acts) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. The libretto of the opera is based in part on the short story Madame Butterfly (1898) by John Luther Long – which in turn was based partially on stories told to Long by his sister Jennie Correll and partially on the semi-autographical 1887 French novel Madame Chrysanthème by Pierre Loti.
Long’s short story was dramatized by David Belasco as a one-act play, Madame Butterfly: A Tragedy of Japan (1900). After premiering in New York, Belasco’s play moved to London, where Puccini saw it in the summer of 1900.
Puccini wrote five versions of the opera. The original version in two-acts, which was presented at the world premiere at La Scala on 17 February 1904, was withdrawn after the disasterous premiere. Puccini then substantially rewrote it, this time in three acts. This second version was performed on 28 May 1904 in Brescia, where it was a great success. It was this second version that premiered in the United States in 1906, first in Washington, D.C., in October, and then in New York in November, performed by Henry Savage‘s New English Opera Company (so named because it performed in English-language translations). Madama Butterfly is a staple of the standard operatic repertoire for companies around the world, ranking 7th in the Operabase list of the most-performed operas worldwide.
In 1904, a U.S. Naval officer named Pinkerton rents a house on a hill in Nagasaki, Japan, for him and his soon-to-be wife, “Butterfly”. Her real name is Ciocio-san, (cio-cio, pronounced “chocho”: the Japanese word for “butterfly” is chō 蝶). She is a 15-year-old Japanese girl whom he is marrying for convenience, since he intends to leave her once he finds a proper American wife, and since Japanese divorce laws are very lax. The wedding is to take place at the house. Butterfly had been so excited to marry an American that she had earlier secretly converted to Christianity. After the wedding ceremony, her uninvited uncle, a bonze, who has found out about her conversion, comes to the house, curses her and orders all the guests to leave, which they do while renouncing her. Pinkerton and Butterfly sing a love duet and prepare to spend their first night together.
Three years later, Butterfly is still waiting for Pinkerton to return, as he had left shortly after their wedding. Her maid Suzuki keeps trying to convince her that he is not coming back, but Butterfly will not listen to her. Goro, the marriage broker who arranged her marriage, keeps trying to marry her off again, but she won’t listen to him either. The American Consul, Sharpless, comes to the house with a letter which he has received from Pinkerton which asks him to break some news to Butterfly, that Pinkerton is coming back to Japan, but Sharpless cannot bring himself to finish it because Butterfly becomes very excited to hear that Pinkerton is coming back. Sharpless asks Butterfly what she would do if Pinkerton were not to return. She then reveals that she gave birth to Pinkerton’s son after he had left and asks Sharpless to tell him.
Suzuki wakes up in the morning and Butterfly finally falls asleep. Sharpless and Pinkerton arrive at the house, along with Pinkerton’s new American wife, Kate. They have come because Kate has agreed to raise the child. But, as Pinkerton sees how Butterfly has decorated the house for his return, he realizes he has made a huge mistake. He admits that he is a coward and cannot face her, leaving Suzuki, Sharpless and Kate to break the news to Butterfly. Agreeing to give up her child if Pinkerton comes himself to see her, she then prays to statues of her ancestral gods, says goodbye to her son, and blindfolds him. She places a small American flag into his hands and goes behind a screen, cutting her throat with her father’s hara-kiri knife. Pinkerton rushes in. He is too late.
From the hill house, Butterfly sees Pinkerton’s ship arriving in the harbour. She and Suzuki prepare for his arrival, and then they wait. Suzuki and the child fall asleep, but Butterfly stays up all night waiting for him to arrive.
Although almost no singing occurs during the film, much of the underscoring is from or based on Puccini’s opera Madama Butterfly, and much of it in the corresponding places of where it would occur in the opera
Mary Pickford, wearing a peacock feather printed kimono, writing at a desk. Silent film version of Madame Butterfly (Sidney Olcott, 1915). Olcott, reportedly wanted Pickford to be more reserved and Oriental and walked off the set in protest of her too Americanized Cio Cio San
The Toll of the Sea (Chester M. Franklin, 1922). The plot was a variation of the Madama Butterfly story, set in China instead of Japan. It was the second two-color Technicolor motion picture ever released and the first film made using Technicolor Process 2
Madame Butterfly (Marion Gering, 1932). A non-singing drama made by Paramount starring Sylvia Sidney and Cary Grant in black and white. Although almost no singing occurs during the film, much of the underscoring is from or based on Puccini’s opera Madama Butterfly, and much of it in the corresponding places of where it would occur in the opera
The film Fatal Attraction (Adrian Lyne, 1987) starring Michael Douglas and Glenn Close makes several references to Madame Butterfly, and the soundtrack features extracts from the opera. Scorned and dangerously obsessed former lover Alex Forrest (Close) finds comfort in and identifies heavily with Cio-Cio San. The original, abandoned ending of the film shows Alex committing suicide in an identical fashion as Cio-Cio San while Un bel dì plays in the background
Miss Saigon is a musical by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby, Jr. premièred at the Theatre Royal, Drury Lane, London, on 20 September 1989. It is based on Giacomo Puccini’s opera Madame Butterfly, and similarly tells the tragic tale of a doomed romance involving an Asian woman abandoned by her American lover. The setting of the plot is relocated to the 1970s Saigon during the Vietnam War, and Madame Butterfly’s story of marriage between an American lieutenant and Japanese girl is replaced by a romance between an American GI and a Vietnamese bar girl
Pinkerton is the second studio album by the American alternative rock band Weezer, released on September 24, 1996. the album is named after the character BF Pinkerton from Giacomo Puccini’s 1904 opera Madama Butterfly, whom Rivers Cuomo described as an “asshole American sailor similar to a touring rock star”. Like the opera, the album contains references to Japan and Japanese culture
Behind the album’s CD tray is a map with the title “Isola della farfalla e penisola di cane” (Italian for “Island of the Butterfly and Peninsula of Dog”). On the map are a ship named USS Pinkerton and “Mykel and Carli Island”, an allusion to Weezer’s fan club founders. In a 2005 appearance on The Howard Stern Show, Cuomo explained that the names listed on the map are those who influenced him during the writing of the album, with Howard Stern being one of those influences
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“Here on this ring of grass we have sat together, bound by the tremendous power of some inner compulsion. The trees wave, the clouds pass. The time approaches when these soliloquies shall be shared.”
The Bloomsbury Group—or Bloomsbury Set—was an influential group of associated English writers, intellectuals, philosophers and artists,the best known members of which included Virginia Woolf, John Maynard Keynes, E. M. Forster and Lytton Strachey. This loose collective of friends and relatives lived, worked or studied together near Bloomsbury, London, during the first half of the 20th century. According to Ian Ousby, “although its members denied being a group in any formal sense, they were united by an abiding belief in the importance of the arts”. Their works and outlook deeply influenced literature, aesthetics, criticism, and economics as well as modern attitudes towards feminism, pacifism, and sexuality.
“All history, all our experience, teaches us that no human relationship is constant, it is as unstable as the living beings who compose it, and they must balance like jugglers if it is to remain; if it is constant it is no longer a human relationship but a social habit, the emphasis in it has passed from love to marriage.”
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