Record Store Day

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The White Album by Flickr user Fab.C.

April 17th is Record Store Day in the UK and the US, a celebration of the importance of small record shops. In the spirit of this {feuilleton} encourages you to show some love to your local music merchant if you can. There’s a website for the US side of things with details of special releases that bands have produced in support of the day. FACT Mag ran an A–Z of similar releases which will be available in the UK and the Guardian has an article interviewing Johnny Marr, Tracey Thorn, Jon Savage and others about their favourite places past and present. No surprise to see Manchester shops highlighted given the contributors; Johnny Marr plugs Piccadilly Records and Beatin’ Rhythm (the latter a great source for obscure psychedelia, among other things) while Mr Savage also recommends Kingbee out in the wilds of Chorlton, the place where he discovered The Tornados’ Do You Come Here Often, one of the songs on his Queer Noises compilation.

Weekend links 10

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One of a number of vintage ads and ephemeral items at this Flickr set.

• From 1971: The Anthony Balch/William Burroughs/Jan Herman video experiment.

• The NYT reports on World on a Wire, a neglected science fiction drama by Rainer Werner Fassbinder.

• “While some of the technology industry’s brightest minds were inventing the first PCs and developing groundbreaking software, they were also feeding their heads with LSD.”

• The archive of author and illustrator Mervyn Peake has been acquired by the British Library for £410,000.

• Thames & Hudson are publishing I Wonder, a book by the wonderful Marian Bantjes, later in the year. Her site has a preview. I want.

• The gays: It’s election season in the UK so My Gay Vote looks at how the three main parties have supported LGB issues. (No data for the graphs, however.) Is theatre finally glad to be gay? Yet more Tumblrs: I heart skinny boys & Cute boys with cats.

• Trend-spotter, “svengali”, Situationist and the man who named the Sex Pistols: RIP Malcolm McLaren. The Guardian ran a number of memorial pages. Related: Anarchy in Gardenstown.

• Dublin’s One City, One Book choice for April 2010 is The Picture of Dorian Gray.

The Catastrophist: Christopher Hitchens on JG Ballard.

Steampunk Taxidermy by Lisa Black.

• LIFE looks back at Aleister Crowley.

• Groovy songs of the week: Julie Driscoll (with Brian Auger & The Trinity), a pair of songs by Bob Dylan—This Wheel’s On Fire—and Donovan—Season Of The Witch—and sets which look like a collaboration between Verner Panton and Marcel Duchamp. Amazing.

The recurrent pose 33

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A double helping of that pose today. The photo above was a tip from commenter Jeremiah Q. Oxterwhiff and is credited on its Tumblr source as being by gay photographer Fred Holland Day (1864–1933). I can’t definitely confirm this but I’m fairly sure I’ve seen it credited to Day before. It’s also the case that another of the photographer’s pictures used the same pose and happens to be part of the first post in this series.

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This depiction of Superman’s day off is by Worth1000 contributor jbuck43701 and was another tip from Evan Peterson. Thanks Evan!

Elsewhere on { feuilleton }
The recurrent pose archive

Previously on { feuilleton }
Fred Holland Day

Salome’s Last Dance

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More Wildeana. It’s taken me over two decades to watch this film, and while I can’t really say it was worth the wait it was more entertaining than I expected. Salome’s Last Dance was directed in 1988 by Ken Russell and is his own typically mannered adaptation of the Wilde play. It appeared around the same time as his adaptation of another Victorian work, Bram Stoker’s The Lair of the White Worm, and it was the latter film which caused me to lose my patience with Russell’s excesses and so ignore this one. In Salome’s Last Dance we have Oscar Wilde and Lord Alfred Douglas visiting Alfred Taylor’s London brothel one night in 1892 where Taylor and company stage a performance of Wilde’s banned play.

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Aubrey Beardsley’s illustrations appear in the title sequence.

If you’re a Wilde enthusiast there are at least two ways you may take this; you can be appalled by Russell’s “translation” of Wilde’s words (Salomé was written in French then translated for English publication in 1894; there’s no reason to re-translate a version the author approved), a translation which is really more of an adaptation, with much of the poetic monologue removed and the tone lowered for a general audience—Wilde’s “Iokannen” is vulgarised to “John the Baptist” throughout. Or you can try and enjoy what is at least a complete performance of the play, even though it more often resembles Carry On Salomé than anything one might have expected Sarah Bernhardt to perform. Injecting a Symbolist drama with slapstick and grotesquery is probably inevitable given the director (Russell is also co-writer and he plays—badly—the role of the Cappadocian). I found it impossible to decide whether Russell was sending up the play because he found it too pompous or whether he felt that an audience wouldn’t sit still for it otherwise. Whatever his intention, the premise is intriguing enough to inspire speculation as to how it might have been treated by other hands.

Continue reading “Salome’s Last Dance”

The Oscar Wilde Galop

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When Oscar Wilde arrived in America to begin his lecture tour in 1882 the excursion provoked considerable comment on both sides of the Atlantic. Wilde was there in his capacity as an ambassador for Aestheticism, a position which had already made him a figure of fun in the pages of Punch magazine while the Aesthetes generally and Wilde in particular had been caricatured the year before by Gilbert & Sullivan in their opera, Patience. The Oscar Wilde Galop was one of a number of topical dance pieces which capitalised on Wilde’s arrival in America, the full score of which can be seen in the Levy Sheet Music Collection at Johns Hopkins University. No one seems to give the name of the composer of these works for some reason, but this piece and others like it can be found on a CD, To Oscar: A Collection of Aesthetic Melodies.

I suspect Oscar would have been flattered by his portrayal on the sheet music, it’s milder than the Punch cartoons and gives him a wasp waist he never possessed even in his youth. Wilde enjoyed his lecture tour, and was always happy to be the centre of attention, of course, but America (and others) paid the price for the ribbing later on, as in this exchange from The Picture of Dorian Gray:

“I am told, on excellent authority, that her father keeps an American dry-goods store,” said Sir Thomas Burdon, looking supercilious.

“My uncle has already suggested pork-packing Sir Thomas.”

“Dry-goods! What are American dry-goods?” asked the duchess, raising her large hands in wonder and accentuating the verb.

“American novels,” answered Lord Henry, helping himself to some quail.

The duchess looked puzzled.

“Don’t mind him, my dear,” whispered Lady Agatha. “He never means anything that he says.”

“When America was discovered,” said the Radical member—and he began to give some wearisome facts. Like all people who try to exhaust a subject, he exhausted his listeners. The duchess sighed and exercised her privilege of interruption. “I wish to goodness it never had been discovered at all!” she exclaimed. “Really, our girls have no chance nowadays. It is most unfair.”

“Perhaps, after all, America never has been discovered,” said Mr. Erskine; “I myself would say that it had merely been detected.”

“Oh! but I have seen specimens of the inhabitants,” answered the duchess vaguely. “I must confess that most of them are extremely pretty. And they dress well, too. They get all their dresses in Paris. I wish I could afford to do the same.”

“They say that when good Americans die they go to Paris,” chuckled Sir Thomas, who had a large wardrobe of Humour’s cast-off clothes.

“Really! And where do bad Americans go to when they die?” inquired the duchess.

“They go to America,” murmured Lord Henry.

Elsewhere on { feuilleton }
The Oscar Wilde archive