BUCK LOVE

my longtime doll of a freind- BUCK, circa 1987?

photo courtesy buck- hawaiian/antebellum corespondent

JULIA MARGARET CAMERON

one of my favorite photographers was the late/great/classic- JULIA MARGARET CAMERON.
she was so ahead of her time, the public even considered her a witch.

Julia Margaret Cameron (11 June 1815 – 26 January 1879) was a British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary themes.
Cameron's photographic career was short, spanning eleven years of her life (1864–1875). She took up photography at the relatively late age of 48, when she was given a camera as a present.
Although her style was not widely appreciated in her own day, her work has had an impact on modern photographers, especially her closely cropped portraits. Her house, Dimbola Lodge, on the Isle of Wight is open to the public.



Julia Margaret Cameron was born Julia Margaret Pattle in Calcutta, India, to James Pattle, a British official of the East India Company, and Adeline de l'Etang, a daughter of French aristocrats. Julia was from a family of celebrated beauties, and was considered an ugly duckling among her sisters. As her great-niece Virginia Woolf wrote in the 1926 introduction to the Hogarth Press collection of Cameron's photographs, "In the trio [of sisters] where...[one] was Beauty; and [one] Dash; Mrs. Cameron was undoubtedly Talent".



Cameron was educated in France, but returned to India, and in 1838 married Charles Hay Cameron, a jurist and member of the Law Commission stationed in Calcutta, who was twenty years her senior.



In 1863, when Cameron was 48 years old, her daughter gave her a camera as a present, thereby starting her career as a photographer. Within a year, Cameron became a member of the Photographic Societies of London and Scotland. In her photography, Cameron strove to capture beauty. She wrote, "I longed to arrest all the beauty that came before me and at length the longing has been satisfied."



Cameron was sometimes obsessive about her new occupation, with subjects sitting for countless exposures in the blinding light as she laboriously coated, exposed, and processed each wet plate. The results were, in fact, unconventional in their intimacy and their particular visual habit of created blur through both long exposures, where the subject moved and by leaving the lens intentionally out of focus. This led some of her contemporaries to complain and even ridicule the work, but her friends and family were supportive, and she was one of the most prolific and advanced of amateurs in her time. Her enthusiasm for her craft meant that her children and others sometimes tired of her endless photographing, but it also means that we are left with some of the best of records of her children and of the many notable figures of the time who visited her.
During her career, Cameron registered each of her photographs with the copyright office and kept detailed records. Her shrewd business sense is one reason that so many of her works survive today. Another reason that many of Cameron's portraits are significant is because they are often the only existing photograph of historical figures. Many paintings and drawings exist, but, at the time, photography was still a new and challenging medium for someone outside a typical portrait studio.
The bulk of Cameron's photographs fit into two categories – closely framed portraits and illustrative allegories based on religious and literary works. In the allegorical works in particular, her artistic influence was clearly Pre-Raphaelite, with far-away looks and limp poses and soft lighting.



Cameron's sister ran the artistic scene at Little Holland House, which gave her many famous subjects for her portraits. Some of her famous subjects include: Charles Darwin, Alfred Lord Tennyson, Robert Browning, John Everett Millais, William Michael Rossetti, Edward Burne-Jones, Ellen Terry and George Frederic Watts. Most of these distinctive portraits are cropped closely around the subject's face and are in soft focus. Cameron was often friends with these Victorian celebrities, and tried to capture their personalities in her photos.

Cameron's posed photographic illustrations represent the other half of her work. In these illustrations, she frequently photographed historical scenes or literary works, which often took the quality of oil paintings. However, she made no attempt in hiding the backgrounds. Cameron's friendship with Tennyson led to him asking her to photograph illustrations for his Idylls of the King. These photographs are designed to look like oil paintings from the same time period, including rich details like historical costumes and intricate draperies.



In 1875, the Camerons moved back to Ceylon (now Sri Lanka). Julia continued to practice photography but complained in letters about the difficulties of getting chemicals and pure water to develop and print photographs. Also, in India, she did not have access to Little Holland House's artistic community. She also did not have a market to distribute her photographs as she had in England. Because of this, Cameron took fewer pictures in India. These pictures were of posed Indian natives, paralleling the posed pictures that Cameron had taken of neighbours in England. Almost none of Cameron's work from India survives. Cameron caught a bad chill and died in Kalutara, Ceylon in 1879.




Cameron's niece Julia Prinsep Stephen (née Jackson; 1846–1895) wrote the biography of Cameron, which appeared in the first edition of the Dictionary of National Biography, 1886. Julia Stephen was the mother of Virginia Woolf, who wrote a comic portrayal of the "Freshwater circle" in her only play Freshwater. Woolf edited, with Roger Fry, a collection of Cameron's photographs.

PIN UP- WOW!

OUR BOTTOMS ARE TOPS!

photo courtesy- jesus lucia, model- luizo vega- soldier to rick castro & barcelona/antebellum corespondent

PIN UP

photo courtesy- Race Cooper

A PRIVATE JET?!

apparently someone thinks i'm doing way better than i am....
i recieved this notice from PRIVATE JET COMPANY the other day-



Hello,
I hope all is well. I'm just checking in. Any upcoming trips to price out for you with no obligation?
Also, don't forget to ask about my 12.5 and 25 hour card programs at the best price points in the industry.



Please contact me directly via email Lauren@jets.com or at my office number undersigned and mention promo code LR2011 in order to receive $1,000 off of any flight over $10,000 or $1,000 - $2,500 off of any Fleet Access Membership Programs.



jets.com ™
401 Broadway
17th Floor
New York, NY 10013
646-961-4456 (direct)
917-295-3261 (available 24/7)
lauren@jets.com

LET'S SIMULATE PENITRATION

two boys bored on evening...

DOGGIE DOWN

how's this for a greeting!

SECOND SKIN

check out this- RUBBER-MADE-TO-LOOK-LIKE-FLESH-BURKA!




how's that for fashion?!
flesh burka by- SKINBAG- designer- OLIVER GOULET

A DOOBIE & FEET

together at last!

photo courtesy- Lupin Dolci- Brescia, italian/antebellum corespondent

FOOT TATTOO

my doll of a neighbor- designer ASHTON HIROTA
had tassels tattooed on his feet today.
now he doesn't have to wear shoes anymore.



Tassels by Kim Saigh @Memoir tattoo

PLASTER MASTER IS A HIT!

barry morse @antebellum art walk- june, 2010

this is becoming popular. antbellian barry morse did a paster demo last year and now i find these!


photo courtesy- Mustafa Sabbagh



photos courtesy- luizo vega- barcelona/antebellum corespondent

FARMHANDS

photos courtesy - scarpucci- seattle/antebellum corespondent

HOLLYWOOD NIGHTS

my longtime friends glen meadmore & lawrence elbert took a strool with me in hollywood the other night.. after all these years i still love this city. it truly has everything.


(high up on hollywood & vine)


(penny & i in love.... or as lawrence says-"having anal sex")


(penny & i on top of carol burnett)


(penny @ the parlour bar on yucca)


(filming a movie on grace street where rick owens used to live)


(the village people top liberace)

photos courtesy- lawrence elbert- hollywood/antebellum corespondent

FARLEY GRANGER

Farley Granger, (July 1, 1925 – March 27, 2011) was an American actor. In a career spanning several decades,
he perhaps was known best for his two collaborations with Alfred Hitchcock, Rope in 1948 and Strangers on a Train in 1951.

Granger was born in San Jose, California, the son of Eva (née Hopkins) and Farley Earle Granger.
His wealthy father owned a Willys-Overland automobile dealership, and the family frequently spent time at their beach house in Capitola. Following the stock market crash in 1929, the Grangers were forced to sell both their homes and most of their personal belongings and move into an apartment above the family business, where they remained for the next two years. As a result of this financial setback and the loss of their social status, both of Granger's parents began to drink heavily. Eventually the remainder of their possessions were sold at auction to settle their debts, and the elder Granger used the last car on his lot to spirit away the family to Los Angeles in the middle of the night.[4]
The family settled in a small apartment in a seedy part of Hollywood, and Granger's parents worked at various temporary jobs. Their drinking increased, and the couple frequently fought. Hoping he might become a tap dancer, Granger was enrolled by his mother at Ethel Meglin's, the dance and drama instruction studio where Judy Garland and Shirley Temple had gotten their starts.


Granger auditioned for producer Goldwyn, screenwriter Lillian Hellman and director Lewis Milestone. Hellman was trying to convince Montgomery Clift to leave the Broadway play in which he was appearing, and when her efforts proved to be futile, the role was given to Granger, and Goldwyn signed him to a seven-year contract for $100 per week.

During his naval stint in Honolulu that Granger had his first sexual experiences, one with a hostess at a private club and the other with an enlisted officer visiting the same venue, both on the same night. He was startled to discover he was attracted to both men and women equally, and in his memoir he observed, "I finally came to the conclusion that for me, everything I had done that night was as natural and as good as it felt . . . I never have felt the need to belong to any exclusive, self-defining, or special group . . . I was never ashamed, and I never felt the need to explain or apologise for my relationships to anyone . . . I have loved men. I have loved women."


IN 1947, Granger was in New York when he was summoned to return to Hollywood and discuss Rope with Hitchcock. The night before their initial meeting, Granger coincidentally met Arthur Laurents, who had written the film's screenplay, which was based on the play Rope's End, a fictionalised account of the Leopold and Loeb murder case. It wasn't until he began reading the script that he connected its author with the man he had met the previous night. Granger and Laurents met again, and Laurents invited the actor to spend the night. He declined, but when the offer was extended again several days later, he accepted. It proved to be the start of a romantic relationship that lasted about a year and a frequently tempestuous friendship that extended for decades beyond their breakup.

ROPE- 1948

In Rope, Granger and John Dall portrayed two highly intelligent friends who commit a thrill killing simply to prove they can get away with it. The two characters and their former professor, played by James Stewart, were supposed to be homosexual, and Granger and Dall discussed the subtext of their scenes, but because The Hays Office was keeping close tabs on the project, the final script was so discreet that Laurents remained uncertain of whether Stewart ever realised that his own character was gay. Hitchcock shot the film in continuous, uninterrupted ten-minute takes, the amount of time a reel of Technicolor film lasted, and as a result technical problems frequently brought the action to a frustrating halt throughout the twenty-one day shoot. The film ultimately received mixed reviews, although most critics were impressed by Granger, who in later years said he was happy to be part of the experience, but wondered "what the film would have been like had [Hitchcock] shot it normally" and "had he not had to worry about censorship."


While filming Side Street on location in Manhattan for Anthony Mann, Granger briefly became involved with Leonard Bernstein, who invited him to join him on his South American tour. By the time Granger completed the film, the composer/conductor had married Chilean pianist and actress Felicia Montealegre. The two men remained friends until Bernstein's death.


Strangers on a Train, in which Granger was cast as amateur tennis player and aspiring politician Guy Haines. He is introduced to psychopathic Bruno Anthony, portrayed by Robert Walker, who suggests they swap murders, with Bruno killing Guy's wife and Guy disposing of Bruno's father. As with Rope, there was a homosexual subtext to the two men's relationship, although it was toned down from Patricia Highsmith's original novel.


On December 31, 1950, Granger picked up close friend Shelley Winters to escort her to Sam Spiegel's traditional New Year's Eve gala. The actress kept him waiting for nearly two hours, and they argued while en route to the party. Once there, they went their separate ways, and Granger met Ava Gardner. The two left to hear Nat King Cole perform at a nearby nightclub and then went to Granger's home, where they began an intense affair that lasted until Gardner began filming Show Boat a month later.

Anxious to work with Vincente Minnelli, Granger willingly accepted a role opposite Leslie Caron and Ethel Barrymore in Mademoiselle, one of three segments in the 1953 MGM film The Story of Three Loves. The film's producer, Gottfried Reinhardt, also directed the other two segments, and he mercilessly edited Mademoiselle in order to give his stories more screen time.
Unhappy with the direction his career was taking, Granger sought solace with Shelley Winters, who was separated from Vittorio Gassman, and the two friends resumed their love affair, which at one point nearly had culminated in marriage. Their relationship was complicated, but Granger felt "it works for us."

Since the 1990s, Granger has appeared in several documentaries discussing Hollywood in general and Alfred Hitchcock in particular. In 1995 he was interviewed on camera for The Celluloid Closet, discussing the depiction of homosexuality in film and the use of subtext in various films, including his own.


In 2007, Granger published the memoir Include Me Out, co-written with domestic partner Robert Calhoun. In the book, named after one of Goldwyn's famous malapropisms, he freely discusses his career and personal life. Calhoun died of lung cancer in New York City on May 24, 2008.

Granger died of natural causes on March 27, 2011, at age 85.

Granger has a star located at 1551 Vine Street on the Hollywood Walk of Fame.

CEE FARROW

my longtime friend's lawrence elbert & glen meadmore brought up CEE FARROW last night.. glen & i even had a debate about the size of his shoulder pads. i hadn't thought about him for years.back in the 80s i would see him almost everynight in weho. he really was very fond of shoulder pads.


Should I Love You
by Cee Farrow
1983 - Dance Pop


Lyrics
Not treating hard
By this dazzling sun
But mocing crazy
Spinning around

Running out
Dancing like a fool
Trying the opposite
Acting cool

Can't keep myself under control
Against my intention
I've lost my soul

The poison of love
Running through my veins
This strange feeling
I can't explain

[CHORUS]
Should I, should I
Love you forever
(Should I love you)
Should I, should I love you
Should I, should I
Love you forever
(Should I love you)
Should I, should I love you

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Everywhere I look
I see your face
Her name is hitting my ear
In every place

From minute to minute
I want you more
You're surrounding me
I can't ignore

Can't take this feeling
More than another week
Touch me, hit me
Or leave me weak

Why has it ?
We're waiting for
Life without you
Seems such a bore

[repeat CHORUS]

Should I, should I
Love you forever
Should I, should I love you
Should I, should I
Love you forever
Should I, should I love you

Now drive me crazy
Do what you will
This overflowing wave
It kills

All these words make even
This soul a sentimental foolish
But don't take me wrong

I asked myself so many times
Give me a reason what means
True love or just another night

Drive me crazy
Do what you will
This overflowing wave
It kills, it kills

Should I, should I
Love you forever
Should I, should I love you
Should I, should I
Love you forever
Should I, should I love you

Should I, should I
Love you forever
(No, no, no)
Should I, should I love you
Should I, should I
Love you forever
(No, no, no)
Should I, should I love you