Posts Tagged ‘London’
May 13, 2015 | by James McWilliams
The complicated sex drive of William Byrd II.
William Byrd II was a colonial Virginia gentleman who, on occasion, was no gentleman at all. Writing about himself in the third person, in 1723, he bemoaned “the combustible manner in his constitution”; he cursed the innate passions that “broke out upon him before his beard,” making him a “swain” before all women. Byrd’s carnal drive underscored the eyebrow-raising vigor of his lust. On a trip to London in 1719, according to his secret diary, he “rogered”—an easy enough euphemism—no fewer than six women in nine days. Of one woman, he (proudly) recorded having “rogered her three times” in a single evening. That same night, Byrd, aged forty-four, noted with a tinge of sadness that he had “neglected my prayers.”
When he wasn’t on a whore-chasing jag in the metropolis, Byrd was back on his Virginia estate, called Westover, with his wife, Lucy. At Westover, his sexual proclivities certainly raged with similar, singleminded intensity—he wrote in his diary about having urgent sex with Lucy on a billiards table—but it was also tempered by a healthy desire to achieve mutual pleasure with her. He was just as inclined to “give my wife a flourish”—bring her to orgasm—as he was to “roger” her, a semantic shift suggesting that Lucy’s response to their sexual union mattered as much to Byrd as his own physical gratification. On April 30, 1711, he noted in his diary that although he discovered his wife in a “melancholy” mood, the “powerful flourish” he delivered filled her with “great ecstasy and refreshment.” He recalled one morning during which “I lay in my wife’s arms” while, during another, his wife “kept me so long in bed” that “I rogered her.” That evening he got around to saying his prayers—before rogering her again. The man could be a virtuous, even tender, Tidewater lover when he wasn’t being a London sleazebag. Read More »
February 20, 2015 | by Dan Piepenbring
Tomorrow’s the last day to catch Djordje Ozbolt’s show “More paintings about poets and food”—a welcome nod to Talking Heads’ 1978 album More Songs About Buildings and Food—at Hauser & Wirth.
Ozbolt grew up in Belgrade and now works in London, where he’s lived for many years; though he denies any kind of “East-meets-West” tensions in his work, his paintings evoke the kind of rambunctious, vivid satire of Western culture that comes best from outsiders. Ryan Steadman, writing in the New York Observer, calls Ozbolt “a master of the deadpan historical zinger … While an artist like John Currin seems to begin from a kitschified American view of classical painting (think Norman Rockwell), Mr. Ozbolt pointedly razzes the medium’s deeper history (a history that reflects our own) in a way that a New-Worlder never fully could.” It would be easier to shrug off his paintings as jokes if they didn’t reappear, some hours after seeing them, in one’s nightmares. I don’t know how Ozbolt burrows so deep into his subconscious, but I applaud him for it; he’s found a labyrinthine, underground network of our bugbears and bêtes noires. In Delivery, for example, a raven makes a brisk descent with a glazed donut in its beak—it took me a while to make the connection, but eventually I was brought back to the scene in David Lynch’s Twin Peaks wherein Waldo the Myna Bird is executed above a tray of jelly donuts. This is America, people: whenever birds and baked goods meet, suffering is sure to follow. Read More »
October 17, 2014 | by Dan Piepenbring
Fact: two hundred years ago today, eight Londoners drowned in a flood of beer.
I don’t know what else to say.
I guess I can tell you a little about it: how it began at the Meux and Company Brewery on Tottenham Court Road, where an enormous vat ruptured, unleashing more than a hundred thousand imperial gallons of beer; how the force of that gushing beer apparently caused the brewery’s other vats to rupture, thus sending some 1,470,000 liters of beer into the streets; and how that beer washed through a nearby home, killing a mother and daughter as they took tea. The Times reported that “inhabitants had to save themselves from drowning by mounting their highest pieces of furniture.” And the story goes that that the beer deluged right through a living room where a wake was in progress, killing a few mourners with intoxicating irony.
When I learned of the flood, my first question wasn’t “How many people died?” It was “What kind of beer was it?” And according to no less reputable a source than FunLondonTours.com, the answer is porter. Porters tend to be pretty strong, so anyone who managed to gulp down a few mouthfuls as he or she was enveloped by the beer wave … well, you can see where I’m going with this.
For more on the flood, check out Atlas Obscura.
September 3, 2014 | by Sarah Moroz
Quentin Blake at the House of Illustration.
Located somewhat improbably behind King’s Cross St. Pancras, the thrumming London tube and train stations, is the cheery House of Illustration, which opened in early July. The path leading to it is lined with illustrated panels, a showcase of the visual treasures to come: advertisements and poster art, medical and botanical sketches, children’s books and fashion illustrations. The center’s present exhibition, “Inside Stories,” features original work by the beloved illustrator Quentin Blake, one of the House’s trustees and now an octogenarian, whose drawings have enchanted young readers for nearly half a century.
Blake is perhaps best known for his work with Roald Dahl, but no matter who he’s collaborating with, his illustrations retain a buoyant, often impish air. His first drawings were published in the magazine Punch when he was still in high school. He began illustrating children's books in 1960, and taught for more than twenty years at the Royal College of Art. Since the nineties, he’s worked as exhibition curator, and has more recently created larger-scale works for health care wards and communal spaces.
Claudia Zeff, a publishing industry art director who has spent twenty years designing book jackets, curated “Inside Stories.” Zeff’s collaborative process with Blake was already comfortable—the two have worked together for more than a decade. The ideas for the exhibition “evolved quite gradually,” Zeff said. “Quentin came up with the idea of using the story behind the books as the theme … and expressed the different approaches/techniques he uses to illustrate to different types of narrative.” Read More »
June 12, 2014 | by Rowan Ricardo Phillips & Jonathan Wilson
The World Cup begins now. Jonathan Wilson and Rowan Ricardo Phillips will write dispatches for The Daily; here, they introduce themselves and the games.
Jonathan Wilson, from London:
“All the new thinking is about loss. In this it resembles all the old thinking.” That’s Robert Hass, in the opening of his great poem “Meditation at Lagunitas.” The lines resonate: earlier this week, before departing for the World Cup in Brazil, the U.S. national team coach Jurgen Klinsmann, who is German, asserted, “We cannot win the World Cup,” and it didn’t go down well. At least one pundit suggested that he should “get out of America.”
In soccer-saturated London, where I arrived last week, Klinsmann’s remarks might have elicited a more sympathetic response. England hasn’t won the World Cup since 1966, and this year’s team is generally considered transitional, unformed, untested. However, with the kind of twisted logic that applies to soccer supporters worldwide, the dominant “not a hope” take on England’s chances has subtly transformed in recent days to a “well, there are no expectations, so the pressure’s off, so in fact that could translate into improved performance, so hmm, well maybe, just maybe…”
England’s manager, Roy Hodgson—who’s a bit grumpy, has interesting hair, is undoubtedly the most literary figure England has ever employed (The Guardian reported that he read Laurent Binet’s novel HHhH on the flight to Rio), and likes to rib the press about their obsessions with certain players and the hysterical pressure they exert on him to play them—recently succumbed to the dangerous new optimism. He announced that England was indeed capable of winning. Even so, (almost) all the new thinking is still about loss, and in this it resembles the thinking of populations in participating countries worldwide, unless you happen to be from Brazil or Argentina, or maybe Germany— although not so much now that their star midfielder, Marco Reus, has torn his ankle ligaments and is out for the duration.
This isn’t to say that Brazil or Argentina must triumph, although no team from outside South America has ever won the World Cup when it has been played there, but simply that when it comes to international soccer, American over-optimism is rarely in evidence except for, as you might expect, in the minds and hearts of Americans. Nobody, of course, who knows anything at all about soccer, thinks that the U.S. can win the World Cup, and to compound matters the team is in a group of death with Ghana, Portugal, and Germany. In the furor over Klinsmann’s remarks and his subsequent refusal to back down, I was reminded of the time that Ronald Reagan came on TV after he’d traded arms for hostages and announced that even though it looked like he’d done exactly that, in his heart he knew that he hadn’t. American hearts can be frequently, powerfully, and touchingly resistant to reality. Read More »
April 23, 2014 | by John Paul Rollert
Reclaiming the Bard for the common man.
There was a time when attending a motion picture was not an occasion but an event. Most of the great movie houses that might remind us—the Roxy in Times Square, Fox Theater in San Francisco, the Loews Palace in DC—are long gone, but the Music Box remains. A local landmark on Chicago’s North Side, the theater still has its Austrian curtains, house organ, and even a hoary legend: the ghost of Whitey, the house manager who ran the theater from opening night in 1929 until Thanksgiving eve, 1977, when he lay down for a cat nap and passed away in the lobby.
The Music Box is an 800-seat theater, more than three times the size of Donmar Warehouse, another theater nearly four thousand miles away in London. What brought the two houses together was Shakespeare’s Coriolanus. A recent performance at the Donmar was beamed live, and later rerun, to cinemas all over the world as part of Britain’s National Theatre Live series. It was the first time the Music Box telecasted a production that completely sold out.
In Shakespeare’s canon, Coriolanus sits somewhere between rarely remembered plays like Pericles and Two Gentlemen of Verona and stock selections like King Lear and Romeo and Juliet. A story of pride and political intrigue plucked from Plutarch’s Lives, the play is a little like an olive: a bitter fruit from Rome and something of an acquired taste. Its title character is one of Shakespeare’s great creations—for an accomplished actor, a role almost as inevitable as Iago or Macbeth. T.S. Eliot called the play “Shakespeare’s most assured artistic success;” he admired it so much he wrote two “Coriolan” poems with an eye toward an unfinished tetralogy.
It’s unlikely enough that an art-house movie theater would sell so many tickets to a telecast of Coriolanus—but I should add that this was a morning matinee in Chicago on a frigid Sunday in February. When I arrived, then, I wasn’t exactly worried about finding a place to sit—but I was bewildered to discover a packed house where I expected an acre of open seats. Read More »