Theme
12:45am November 12, 2010

projectgutenberg:

It was what is called a literary and theatrical club, the Scufflers. It was literary in so far that the majority of its members lay down at night with unrealised dreams of authorship. It was theatrical to the extent that many a one was the possessor of an unacted drama coiled up in his breast coat-pocket, and was to be seen surging about managers’ doors, only waiting the glance of favour to fall upon author and manuscript.

- Julian Sharman, A Cursory History of Swearing (1884) [full text]

12:42am November 12, 2010
naehliesl:

… *O*

naehliesl:

… *O*

12:41am November 12, 2010
12:40am November 12, 2010
eroticeye:

Maya Hansen Ivory Grace

eroticeye:

Maya Hansen Ivory Grace

12:40am November 12, 2010
12:39am November 12, 2010

projectgutenberg:

The whole French nation has always lived for the present time, in actuality, deriving from life more of what may be called social pleasure than any other nation. It has been a universal characteristic among French people since the sixteenth century to love to please, to make themselves agreeable, to bring joy and happiness to others, and to be loved and admired as well.

Hugo Paul Thieme, Women of Modern France (1907), vol XII of Women: In all ages and in all countries [full text]

9:25pm November 11, 2010
  • Plays: 5,849
  • Artist: Queen
  • Album: Greatest Hits [We Will Rock You Edition]
  • Track Name: Bohemian Rhapsody

madziontist:

Queen - Bohemian Rhapsody

Obligatory reblog.

9:24pm November 11, 2010

mhsteger:

The Pompe funèbre, from the Suite pour violes de gambe No. 2 in A, composed in the late 1720s by François Couperin (born 10 November, 1668; died 11 September, 1733); performed here by Wieland Kuijken, playing a 1690 viola da gamba; Kaori Uemura, playing a 1700 viola da gamba; and robert Kohnen, playing a harpsichord manufactured in 1755

Couperin, a great keyboardist, published his two suites for the viola de gamba in 1728, the year his good friend, Marin Marais, unexpectedly died.

‘The funeral [i.e. the Pompe funèbre] is often interpreted as a tombeau for Marais, but Couperin could not have known that Marais was to die so suddenly and he would probably have preferred it if the master had been able to play the suites to him.  However, maybe it was indeed an adieu, a farewell to the great period of the viol—and therefore also to Marais.’

—Pieter Andriessen, in the liner notes for the above-referenced CD

Couperin, in a portrait made c. 1730 by a painter now unknown (Chateau de Versailles)

9:21pm November 11, 2010
  • Plays: 173

zveneczi:

W.A. Mozart (1756-1791): Requiem in D minor K 626 - IV. Offertorium

(completed by Franz Xaver Süßmayr and Maximilian Stadler)

Singers of the Accademia di Montegral, Orchester der Tiroler Festspiele, Gustav Kuhn (2001 in concert)

9:17pm November 11, 2010
boxofshiny:

PEACE. 1918.
From the Los Angeles Times Photographs collection at UCLA.

boxofshiny:

PEACE. 1918.

From the Los Angeles Times Photographs collection at UCLA.