proudofmygeneration

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Shark and octopus tiles

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Jane Austen really said ‘I respect the “I can fix him” movement but that’s just not me. He’ll fix himself if knows what’s good for him’ and that’s why her works are still calling the shots today.

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The Michelin stars for fancy restaurants are handed out by Michelin reviewers. In order that the restaurant does not know that they have a Michelin reviewer dining with them that night the traditional French way of covering this up is for the Michelin reviewers to become anonymous.

Three Michelin reviewers (above) unmasked. Note the cigars in the mouths of the heads. These were removable while dining, but the cigars allowed the reviewers to blend in in fine dining establishments all over France, in the days when people smoked in restaurants.

Six top reviewers setting out to dine anonymously.

Differences of opinion between Michelin reviewers were always settled the old fashioned way.

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Two Victorian ladies making a Snow Lady in 1891

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Notable Cats, 1932

Lucky Fishbreath, Tommy Topper, "The Professor"

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“I think Matty is a deeply sincere person, who can, at different points, be misunderstood because of how much he enjoys a bit. If you don’t know him, if you don’t get him, because you’re not really tuned in to the work, you might assume a cynicism that is literally not there. That to me is the most exciting part of him and his work. That the façade of it can beg so many questions, but that the heart is still so obvious—that it’s this deep sincerity, and a longing for love, to love, to be loved.”

— Jack Antonoff to Jia Tolentino for The New Yorker's Who Is Matty Healy (May 29 2023)

#the 1975 #matty healy

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Taro Tasaki Demon God

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Abandoned Winter Garden Of An Abandoned Mansion, Paris, France ~ jonjonkkkk

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DORIS DOWLING and ALAN LADD in The Blue Dahlia (1946) dir. George Marshall

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"Alright. Ladies and gentlemen, ladies and gentlemen. Okay. Unfortunately for you guys, Dallas you’ve drawn the short straw. You’ve gotten the show where I’ve genuinely just stopped caring. And - ah you see, this show has kind of bled off the stage into loads of different environments, and I don’t mind hollow shallow accusations of being racist or stuff like that, it kind of allows the show to do what it’s designed to do - expose inconsistencies and hypocrisies, I use myself to do that. But I don’t know how familiar you all are with the lore of this band, but we got banned from Malaysia this year. And it has nothing to do with you guys, but unfortunately there’s so many incredibly stupid people on the internet that I’ve just cracked. And everyone keeps telling me that you can’t talk about Malaysia, don’t talk about what happened in Malaysia, so I’m gonna talk about it at length. And unfortunately you have to listen to it. And this is long, so. You’ll be all right. But I am pissed off, to be frank. I’m gonna read from my phone what I have to say about this situation, regardless of whether you care or not because the internet needs to hear this.

The 1975 did not waltz into Malaysia unannounced, they were invited to headline a festival by a government who had full knowledge of the band with its well-publicized political views and its routine stage show. Malaysian festival organizers’ familiarity with the band was the basis of our invitation. Me kissing Ross was not a stunt simply meant to provoke the government, it was an ongoing part of The 1975 stage show which had been performed many times prior. Similarly, we did not change our set that night to play, you know, pro-freedom of speech or pro-gay songs. To eliminate any routine part of the show in an effort to appease the Malaysian authorities’ bigoted views of LGBTQ people would be a passive endorsement of those politics. As liberals are so fond of saying, “silence equals violence, use your platform”, so we did that. And that is where things got complicated. Naturally. the Malaysian authorities were irate because homosexuality is criminalized and punishable by death in their authoritarian theocracy. That is the violent reality obscured by the more friendly term “cultural customs”. But it was the liberal outrage against our band for remaining consistent with our pro-LGBTQ stage show which was the most puzzling thing. Lots of people, liberal people, contended that the performance was “an insensitive display of hostility against the cultural customs of the Malaysian government, and that the kiss was a performative gesture of allyship”. To start, the idea of calling out a performer for being performative is mind-numbingly redundant as an exercise. Performing is a performer’s job. The stage is a place for creating artists’ expressions, which are inherently dramatized. That’s why audiences go to fucking shows. Other people, other apparent liberal people, contended that the kiss was itself a form of colonialism. That The 1975, in the rich tradition of evil white men past, was forcing its Western beliefs on the Eastern world. My how the West has fallen, ladies and gentlemen. The East India Company could have saved a fortune on weaponry if they knew that all they had to do was make out with each other to forcibly subjugate the people that they exploited. To call The 1975’s performance colonialism is a complete inversion of the word’s meaning. Colonialism is the practice of forcible occupation and economic exploitation. Once again, The 1975 was INVITED into the country to headline Malaysia’s music festival in an effort to capitalize on our popularity so they could make money. Despite the band being amateur jiu-jitsu enthusiasts, we’re not very good, we have no power at all to enforce our will on anyone in Malaysia. In fact, it was the Malaysian authorities who briefly imprisoned us. So for performers like Julian Casablancas, who took to Twitter to criticize us, this bizarre mangling of colonial identity politics merely served as an expedient way to express their own disappointment with the festivals cancellation because it would be in poor taste, surely, to lament a loss of performance. So these are the types of mental gymnastics that are employed by celebrities to save face with their liberal-appearing audiences who delight in having their favorite academic catch phrases parroted back at them. I’m not waiting for applause, I’m just calming down.

Levying the accusation of colonialism against Western critics is, by now, a standard PR procedure in the authoritarian theocracy playbook. Just last summer, amidst criticism of human rights abuses against the enslaved workers who built their soccer facilities, the UAE’s representatives contended that Western journalists who highlighted this fact were guilty of enforcing their colonial games on their local, religiously-armed customers. But the fact that the UAE employs the Western consultant McKinsey to write this kind of perverted relativism is a great stroke of irony. And the fact that the UAE was the first country to kick The 1975 out for being gay is the cherry on top. There’s a contradiction at the heart of liberals’ outrage over our supposed cultural insensitivity. Their unconditional belief in inclusivity and tolerance has led them to indirectly support a government which is intolerance of their own existence. What responsibility do liberals have to be ideologically chivalrous to those who wish them death?

If you truly believe that artists have a responsibility to uphold their liberal virtues by using their massive platforms, then those artists should be judged by the danger and the inconvenience that they face for doing so, not by the rewards that they receive for parroting consensus. There’s nothing particularly stunning or brave about changing your fucking profile picture whilst you’re sat in your house in Los Angeles. I’m really fucking pissed off with this shit. Malaysia’s militarized enforcement of laws against public displays of homosexuality creates a clear line in the sand for what artists are allowed and expected to do. But elsewhere, this line isn’t so defined. Even here in America, there’s loads of states which uphold illiberal laws that restrict people’s bodily autonomy and gender expression. I don’t know why you’re cheering. But I suspect, I’ve got an inkling, that those who took to Twitter to voice their outrage over The 1975’s unwillingness to cater to Malaysian customs would find it appalling if The 1975 were to acquiesce to, let’s say, Mississippi’s respective bullshit abortion or trans laws. The idea that it’s incumbent upon artists to cater to the local cultural sensitivities of wherever they’ve been invited to perform sets a very dangerous precedent. It should be expected that if you invite dozens of Western performers into your country, they’ll bring their Western values with them. If doing the same things which made you aware of them could land them in jail in your country, you’re not actually inviting them to perform - you’re indirectly commanding them to reflect your country’s policies by omission. This kind of statement criticism goes against the very idea of a site of cultural exchange where differences are allowed to coexist. This, that, is a more valuable idea to protect than the bigoted sensitive of those that wish its demise. Yeah. Don’t forget who wrote this."

— Matty Healy before singing Love It If We Made It in Fort Worth, Texas (October 9, 2023)

#The 1975

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perhaps some will disagree, but i think the world got worse when we changed the colour of the night

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Donkey with a chauffeur, England, 1976 - by John Drysdale, English