#Historians say they were roommates/j

[thecluelessdoctor]

IVE MADE ANOTHER ONE.

ANOTHER FREAK OF NATURE!! (another gravity falls oc)

I got bored and wanted to make a lumberjack (as if I don't already have like... 12 lumberjack OCs)

Anyway! Artur/Arthur Kuznetso, a rather silent lumberjack who's lived in Gravity falls for 35 years. He lived in Minnesota before then.

Anyway have doodles of him.

I love himb. I love making OCs that are really big and bulky (all my favorites are...)

ALSO MANLY DAN!!! GRGRGRGRGR HIS DESIGN DOES THINGS IN MY BRAIN AND I DONT KNOW WHY HE HAS LESS THAN 5 MINUTES OF SCREENTIME WITHIN THE ENTIRE SHOW!!

Maybe I just. Like the fact he's Wendy's dad.

Idk.

Also. This is them. They buddies.

[violet-varley]

rule one about me and Gloria's sleepovers is that we don't talk about me and Gloria's sleepovers

[2paclegacynet]

2Pac, Mouse Man, Gerard Young, Darrin Keith Bastfield For Born Busy & East Side Crew

Pictured, from left 2Pac, middle row fifth from right, as a middle school student. Dana Smith aka Mouse Man, bottom left, and 2Pac with family friends. Born Busy is rap group formed in Baltimore with Tupac Shakur, Gerard Young, Darrin Keith Bastfield and Dana Smith aka Mouse Man. At age 13, Tupac moved to Baltimore from New York City in 1984 with his mother, Afeni, and younger sister, Sekyiwa. The family lived in the first-floor apartment of a brick row house at 3955 Greenmount Avenue in the small, North Baltimore neighborhood of Pen Lucy. Tupac went to Roland Park Middle School for the eighth grade. That year’s photo for Mrs. Gee’s class shows him in the second row, near the center. With close-cropped hair and dressed in a light-colored, short-sleeve shirt, he looks lanky, even scrawny, among his classmates. Still, it’s easy to spot him thanks to his thick black eyebrows and dark eyes. And then there’s the mouth. While the other kids sport tight-lipped smiles or teeth-baring “say cheese” grins, Tupac strikes an altogether different pose. Actually, he doesn’t appear posed at all. His mouth is open wide, and he seems engaged, not docile or mindlessly compliant. It looks like he might be talking to the photographer. Dana Smith sits in the front row, to Tupac’s left. Smith, nicknamed “Mouse Man,” forged a musical bond with Tupac and remembers the first time he spoke to him on the bus home from school. That day, in September 1984, the No. 8 bus was nearly full and Tupac took the only open seat, the seat beside Smith, who was itching to get home and listen to WEBB’s Rap Attack show at four o’clock.

“He kicked a rhyme to me, and I was like, ‘Whoa, this is crazy.’”

Smith, a talented beatboxer, asked the newcomer if he was into hip-hop and knew how to rap. “He kicked a rhyme to me, and I was like, ‘Whoa, this is crazy. It was really good.” He later learned the rhyme wasn’t original—it was actually lifted from a Kurtis Blow song Shakur knew from New York, which hadn’t made it to Baltimore yet. Their friendship blossomed, rooted in a shared love of hip-hop acts like Eric B & Rakim and Run DMC and an appreciation of different types of music. As Smith recounts the story, he walks around The Sound Garden, the now venerable Fells Point record store, and points out some of the nonrap music Shakur enjoyed. Kate Bush? “Yes, indeed,” says Smith. “‘Wuthering Heights’ was the song.” Sting? Yup. Steve Winwood? Yup. “Hey, we were also listening to Brian & O’Brien on B104, playing the hits all day long,” he says, referring to the then-popular top 40 radio program. Smith picks up a CD copy of Dire Straits’ Brothers in Arms. It, too, was a favorite, but not for hits like “Money for Nothing.” Smith starts singing lyrics from the title track that resonated: “Through these fields of destruction/Baptisms of fire.” The tune, sung by Brit Mark Knopfler, traces a protagonist who faces death and treasures his comrades’ loyalty—ground Shakur covered in songs he later wrote. When asked about this type of music’s appeal back in the day, Smith claims much of it was practical, a lesson in song craft: “For us, it was all about identifying transitions in songs and how smooth they were.” They would meet up every afternoon to write rhymes, after Smith finished his homework. Sometimes, they’d hang out at a rec center on Old York Road, but Shakur wasn’t into playing basketball or pingpong, because “he sucked at sports, all sports,” says Smith. Most often, the two of them simply composed raps, either sitting inside a plastic bubble on the playground behind Tupac's house—“the acoustics were so good in there,” recalls Smith—or hunkered down in Smith’s basement on nearby 41st Street. Smith’s house was lively, populated by an array of family members including grandparents, his mother, an aunt, and two uncles. Music was always playing. Smith was the youngest of his group of friends, a self-professed “good kid, the freshest kid on the block” who had all the latest fashionable clothes and sneakers, thanks to his uncles, who dealt drugs in the neighborhood. Tupac, on the other hand, came from poverty. His father wasn’t around; his mother had been arrested and charged with conspiracy to bomb New York City landmarks while a member of the Black Panther Party in 1969. A month after being acquitted of the charges, she gave birth to Shakur, on June 16, 1971. Afeni, who passed away in May and was the inspiration behind the song “Dear Mama,” struggled with substance abuse issues (“And even as a crack fiend, mama/You always was a black queen, mama”) and with supporting the family (“You just working with the scraps you was given/And mama made miracles every Thanksgiving”). Tupac wore hand-me-downs, including pants that were so big they had to be stapled. He slept in a small bedroom, while his mother and little sister slept in the dining room Afeni had converted into a bedroom. Smith says the Shakur house was “always dark, dim. They had lights and it was clean, but it was dark with not a lot of stuff in there.” Smith’s family and friends razzed him for befriending the raggedy newcomer. “This guy is cornball—everything about him is corny,” he recalls them saying. “Why are you hanging out with him?” The answer, says Smith, was simple: “We loved to rap.” Darrin Keith Bastfield, CEO of Born Busy Films and BecomeAPatron.com is currently working on developing projects in television and two upcoming theatrical film projects that he’s written and will debut direct such as ‘Shakurspeare’, inspired by Bastfield’s painting ‘Shakurspeare’ that the late Tupac Shakur posed for at age 16 is a romantic comedy/drama that’s centered around the controversial world of art, and ‘Born Busy’, a coming of age true story based on his memoir ‘Back in the Day: my life and times with Tupac Shakur’ published by Randomhouse/Ballantine in 2002 (Hardcopy) and Perseus/Da Capo Press in 2003 (Paperback). Bastfied is also a featured artist in the upcoming ‘Black Artists on Art’ Catalogues Volumes 3 and 4 published by Samella Lewis, renowned Art Historian/Artist/Art Collector. Darrin Keith Bastfield: Although rap was Tupac’s true love, the variety of music he listened to was amazing. This became clear to me one Saturday morning when he, Richard, and I sat around the living room of the apartment in our boxer shorts and undershirts talking about music.

Born Busy (the rap group we formed in Baltimore), with Gerard Young, Tupac Shakur, and Darrin Keith Bastfield  Richard was definitely a cool guy, who had a pleasant disposition and a free-flowing approach to life. His bedroom door was never closed, even when his girlfriend was in there with him. In the mornings I would see them lying on a single mattress on the floor (no box spring underneath), still asleep. I showed him respect, and he was always cool to me. No matter how much time I spent there at the apartment, he never gave me even the slightest hint of a bad vibe. We periodically had chill sessions when he was around (which wasn’t a whole lot). And when I wasn’t there, he and Tupac would bond.

A page from Back in the Day My Life and Times with Tupac Shakur shows photos of the author with Tupac and other friends. In this Saturday morning discussion, Tupac floated along with Richard easily, unmoved by any of his older roommates' detours in various directions that were completely unfamiliar to me. Despite Richard’s dramatically different background and social orientation, Tupac never once lost his footing, and comfortably expounded upon many of the different artists who came up over the course of the conversation which spanned the full spectrum. From LL Cool J to Peter Gabriel, and Sun Ra and Jimi Hendrix to Eric Clapton and Muddy Waters, Tupac had something meaningful to say. I tried to imagine where he had gotten this exposure, how he had become so familiar with all of the divergent artists, but was unsuccessful. The picture of him listening to much of this stuff in his mom’s apartment did not fit, nor could I see it occurring up in New York among his family or friends up there (whom I would later meet). In fact this is still a mystery to me. The best answer I have managed is that he absorbed it all in a few months of his residence at the apartment. There the large collections of the two older roommates (Richard and John’s brother) would have been available to him and played regularly in the apartment. It wasn’t just the variety of music to which Tupac listened that struck me, but the fact that he was genuinely interested in and knowledgeable about the music, and the various artists behind it. Richard played the role of DJ through the discussion, putting on a succession of different records that they would then discuss and critique after hearing only a few bars. I specifically remember Tupac talking about Tracy Chapman. He felt she was a musical genius. After quoting several lyrics from a favorite song of hers, he concluded, “That’s a true poet.”

Cover of 'Back in the Day: My Life and Times with Tupac Shakur' by Darrin Keith Bastfield. Tupac was definitely a sponge of amazing efficacy, particularly with information at all dealing with either of his two loves in life: rap and acting. As an actor, the ease with which Tupac remembered lines was incredible, and his knowledge of craft impressive. When I asked him one afternoon the type of actor he wished to be, his reply was immediate: “A Shakespearean actor.” He said this without emotion, from a windowsill at the fore of the apartment, not breaking his passive yet focused gaze outward. “A what?!” I replied, taken aback. And he repeated himself. “Why?! They don’t make any money.” I was thoroughly confused. The Tupac I knew was destined for far greater things than low budget productions in small playhouses. I envisioned him marching through the entertainment industry to some star-spangled movie or TV career, and untold millions. And I just assumed that his vision for himself was twice as grand as any I could conjure for him. His reply was disappointingly anticlimactic, and downright troubling. Dana Smith aka Mouse Man was Tupac’s friend during his teenage years in Baltimore. Together, they created rap groups East Side Crew & Born Busy. Which is where Tupac’s first recorded audio came from. At the young age of 14 years old, “Born Busy” created their first song “Babies Having Babies. Gerard (High School Friend): "First time I ever saw Tupac, he was in eighth grade. I seen this kid that had this shirt with the old school iron-on letters, MC NEW YORK. And he was rhyming. All these people was around him -- even back then. We was adversaries at first, but we formed a crew. Born Busy and shit, MC New York, DJ Plain Terror, Ace Rocker, and my man D on the beat box. Taking mad peoples out--the invincibles. Then we started writing little rhymes for Jada (Pinkett). Jada was rhyming a little bit too. Don''t Sleep." Songs recorded during 'Born Busy'' era: Babies Having Babies ft Dana Mouse Smith (Acapella) 1987 Produced by Born Busy Check It Out ft Dana Mouse Smith (Acapella) 1987 Produced by Born Busy Terror On The Tables ft Ace Rocker (Acapella) February 1988 Produced by Born Busy That's My Man Throwing Down ft Ace Rocker (Acapella) Februaury 1988 Produced by Born Busy I Saw Your Girl ft Ace Rocker (Acapella) March 1988 Produced by Born Busy Girls Be Tryin To Work A Nigga April 1988 Produced by Born Busy

Mouse Man & 2Pac Songs recorded featuring Mouse Man: N.I.G.G.A., Black Cotton, What goes On & Niggaz in the Pen

Mouse Man, Baba Bojang aka Slick D and MC New York aka 2Pac ''In the mid-1980s, rap wasn’t yet the commercial juggernaut it has become—it was gaining popularity, but hadn’t arrived in the mainstream. The Enoch Pratt Free Library, ahead of the curve, sponsored a youth rap contest in November 1985. Tupac spotted a flier with “Calling All Rappers!” across the top, urging anyone under the age of 18 to “write the best rap about the Pratt Library and be eligible for a cash prize.” All entrants had to submit a written copy in advance (“No Profanity Allowed”), and the finalists performed at the library at Pennsylvania and North avenues.

Mouse Man & MC New York aka 2Pac / 1985 Tupac and Mouse Man created “Library Rap,” which Shakur wrote out in longhand, in black pen, on a piece of lined notebook paper, and Tupac and Mouse Man’s group The East-Side Crew entered the contest. Deborah Taylor, then the Pratt’s young adult services coordinator, organized the contest and remembers Tupac and Mouse Man as “very polite boys. They were nice kids.” She drove them to the contest because they didn’t have transportation. Tupac and Mouse Man’s winning performance opened with Tupac declaring, “Yo’ Enoch Pratt, bust this!” and urging Baltimoreans to get library cards. They told kids to stay in school, learn to read, and “get all the credits that you need.” (Tupac's handwritten verses now reside in the Pratt’s Special Collections archive, alongside works by H.L. Mencken and Edgar Allan Poe.)

Mouse Man & MC New York aka 2Pac Taylor, who still works at the Pratt, recalls all the judges commenting on the same thing: The scrawny kid lit up the room with his rapping. “When Tupac performed,” she says, “you could not take your eyes off him.” Tupac and Mouse Man performed whenever and wherever they could: for the drug dealers working on Old York Road, opening for rap group Mantronix at the Cherry Hill rec center, and even at neighborhood funerals. They also wrote rhymes with titles like “Babies Havin’ Babies” and “Genocide Rap” that reflected the political and social awareness Shakur inherited from his mother.

Mouse Man, 2Pac & Mopreme “Tupac was always conscious of that shit,” says Mouse Man. “He schooled us on those sort of social justice issues, and hip-hop was the perfect outlet. It allowed us to say what was on our mind, and people listened.” sources: baltimoremagazine.com | biography.com Read the full article

[xiucas]

                                       “媽咪, 我哋要去哪裡?”                                   mama, where are we going?

a - “i’m american, actually.”

it’s quite often that people mistake joshua for being foreign by good ol’ fashion assumptions of race. while he was originally born in hong kong, joshua was adopted by an american family when he was four years old. 

b - brave

while he would never consider himself to be as such, joshua is the first person to jump in defense of those he cares for. and on top of that, he goes into haunted buildings for a hobby/living so he isn’t exactly easy to spook.

c - “our last name is clark.”

he was adopted at four years old, raised within a large family of other adopted siblings. it was strange, having to learn a new language and take on a whole new life. and that new life began with a new name. huang li jie became joshua clark.

d - dishi

dishi, a beloved stuffed rabbit he brought to boston with him after the adoption was finalized. it is the only keepsake he possesses that was given to him by this birth mother. it has been repaired so often, joshua has lost count how many times his mom stitched him back together. now that he’s on his own, the young man has taken up the repairs on his own. he plans to die with that rabbit by his side.

e - eight

it was around eight years old that the nightmares finally started to fade, a relief to his family as it had been difficult to endear. years of this tiny soul crawling into beds that he could find, seeking comfort from whomever would give it to him. perhaps not every night, but consistent. the wet streets disappeared, the incoherent rabble of cantonese shouting ebbed away. and the tears evaporated upon a face he had begun to forget.

f - “you are my best friend.”

he had always felt on the outs growing up, always being the weird kid that talked too much and made people question if he was normal or not. it took him ages, but in school he found someone to trust, someone who didn’t treat him like a freak. elliot kelly was there for him through his awkward stages up through his present as he embarks on adulthood with a college degree under his belt and a dream of youtube stardom. if there is one person on earth that he would call his most trusted and best friend, it’s him.

g. “ghosts, man! ghosts!”

it had started as a joke, a passing conversation of what it would be like to have it. and then it became a reality when joshua came home one day with a new expensive camera and a passion to take a chance. who cares if it didn’t pan out, it would be fun just to mess around with the idea and maybe have a good time doing it. besides i mean, ghosts, man! ghosts!

h - “hauntings aren’t always about apparitions and cold spots. sometimes it’s just a feeling.”

during his internship at a tech company, the channel began to pick up traction and with the addition of their mutual friend, percy, they had a full-fledge channel. subscribers were pouring in and suddenly they were making money off of their channel and not just messing around with a camera. soon, people were inviting them to their alleged haunted buildings, and suddenly it wasn’t a hobby anymore. he abandoned his internship to put his focus purely in the channel. and they’ve recently hit their first million subscribers.

i - “i love you.”

romance was fleeting, something that joshua had never put too much effort into. especially considering he never thought he was particularly interesting. attractive, sure, but that was only skin deep. martha parker was the first girl that joshua ever said i love you to. and while it may not have lasted, it never faded but simply evolved into an unbreakable bond. sometimes your first love is meant for more than just a memory.

j - “i actually like jogging.”

by the time high schoo hit, joshua had grown into himself somewhat and the overwhelming awkwardness gave way to a more charming awkward. however, instead of throwing himself into multiple relationships in his teenage years, he spent most of it in the gym with his peers working out. he enjoys fitness and is more often in motion than not. he is the type to suggest going on a hike before going to the movies.

k - kin

family? friends? his entire family is based on you make your family; it isn’t always blood. and it’s with this example that joshua has lived his entire life as making his own family. his friendships are an extension of that body, of that ever evolving nervous system. it is why he only keeps positive influences in his life.

l - last minute snack run

there is no shortage of junk in the kelly/clark household. so much so in fact that he will drop everything if he has a craving something unhealthy for him. he may be a fitness nerd, but you better believe he needs his cheetos or else there will be hell to pay.

m - maya

a twitch goddess, a crush, a friendship. this girl is someone that joshua would likely drop everything for if she ever asked it of him. he may not know it yet but she has ‘love of my life’ radiating off her in waves, in the way she smiles and the way she moves. he may be a fool, but he is determined to not screw it up. maya is a once in a lifetime type of person. even an idiot can see that. 

n - “you’re damn right i’m into that nerd shit!”

growing up joshua often struggled to bond with his peers as he tended to not enjoy the same things as the other kids his age. up until middle school, joshua tended to avoid sports (until he realized he was good at them), and often preferred the company of books and film. that extended to comic books as well, and sometimes got mocked for it while growing up. and even now, as he would consider himself confident in who he is, he will be the first to defend this so called ‘nerd shit’.

o - “ooooooooooh!”

it’s not to say that he’s an idiot, but he can sometimes come off like one because he struggles to pay attention to things. especially on the first time around. often, you might have to repeat yourself before he truly comprehends what you said. he’ll get there, give him a minute.

p - “which parents do you want me to talk about cuz--it’s not that easy.”

joshua is adopted, a member of the extensive clark clan. while he appreciates his family more than he can say; he had a very stable childhood. however, his biological family is something that has been a bit of a mystery for him. his memories are hazy if not filled with faceless people speaking in unintelligible mumbles. he was too young to remember. but joshua is tenacious, and he isn’t willing to let it fade with time.

q - “oh do you remember this quote from--”

this kid is constantly quoting things from books, tv shows, and movies. in fact, it could be argued that the majority of his personality was formed from the media. odds are, he is the one in the group who is snapping his fingers and flailing quite ostentatiously trying to remember the quote from something he watched the other day that is relevant to the conversation. or so he thinks.

r - reason to smile

his happy place is the editing room, listening to music while they attempt to get the best content out of their footage as possible. this is usually all three of them collaborating together so everyone has equal say in what they put out there for everyone to watch. they are a team, and it’s one of the best things in the world for joshua to be a part of it. it’s his favorite thing in the entire world.

s - shelter

never one to waste free time, with what little he has joshua gives it to the local no-kill animal shelter where he spents a few hours a week taking care of the animals and helping them get adopted to good homes. he often begs his roommate if he can bring animals home often met with a negative response. even so, he is the one who is out in the yard playing with the dogs to make sure they get socialized.

t - trust

he may come off fun-loving and without a care in the world, but trust is something that isn’t easily won with him considering his circumstances. if you cross him or someone who he cares for deeply, it is likely you will never possess his earnest trust. it’s just the luck of the draw.

u - "what are you doing with my underwear?”

please, if you think this kid is basic, you haven’t been paying attention to him at all. he may have basics in his drawers, but this kid is the type to go into a store and see spongebob boxer briefs and immediately buy them because its god damn spongebob, guys! he is whimsical with his clothes most of the time, so his underwear can’t be boring either.

v - “we’re on vacay!”

joshua is planning a trip to hong kong to take over the holidays as he continues on his journey to find his birth mother. he’s unaware of the journey is going to take him right to his backyard, but for the time being, he is enjoying the planning portion of the trip. after all, he is learning about where he came from and also going away on location. what could go wrong...

w - “you are the fuckin’ worst!”

he is no saint, and he has his fair share of bad habits. like leaving his dirty clothes all over the place, leaving wet towels on the bathroom floor, and leaving empty energy drink cans all over the place. he is a god damn mess and i feel terrible for people who have to live with him. sorry, elliot.

x - “i still think xena is hot!”

strong women are kind of a thing for joshua, as he has a tendency to crave structure, a thing he has been severely lacking since moving out on his own. women who know what they want and aren’t afraid to admit it are his kink. if you boss him around he will listen like the dutiful young man he is.

y - “youtube is paying us, bro!”

it seems new subscribers come in waves as each day passes and because of this, joshua is spending a lot of his time collaborating with other content providers, local historians, and anyone who will listen to him ramble in order to provide the best content to their audience. he is hardworking to the end, especially considering they are making that youtube cash!

z - “zombies terrify the shit out of me, please don’t--”

that’s it. zombies freak him out. please don’t dress up as one and spook him, he will literally squeal like a girl and throw something at your face. proceed with caution.

! - “oh shit!”

nothing elaborate to put here, the boy just has a terrible mouth and tends to curse more often than not. someone get soap for this child’s mouth, it’s dirty.

, - “listen,”

he often has to explain how much of a trash can he is. trust me, he is well aware of his own shortcomings. 

? - “huh?”

sorry, you are going to have to repeat yourself a lot, but that’s okay, because you never know if he’s playing a prank on you or if he genuinely wasn’t paying attention. can he be trusted? that’s a fair question.

: - “you ARE the father 2: electric boogaloo”

joshua will be meeting his birth father, a rather cataclysmic ending to his birth mother journey that will require a lot of explanations, shouting matches, and trying to come to terms with the fact that sometimes, young people just make mistakes and there is no real rhyme or reason as to why anything happens. parents are people too, kids. don’t forget that.

[thesecretgayhistory]

Ninety years ago, future screen legend Cary Grant shared a Greenwich Village love nest with an Australian man who went on to win three Oscars.

That’s the provocative claim in “Women He’s Undressed,’’ a new documentary about celebrated costume designer Orry-Kelly (released Aug. 9 on DVD and video on demand) that adds a tantalizing new chapter to decades of speculation about Grant’s sexuality.

Between the film and Kelly’s recently published, long-suppressed memoir “Women I’ve Undressed,’’ a vivid portrait emerges of Grant as an ambitious young immigrant vaudevillian who reinvented himself so thoroughly, he ended up denying his true self in a homophobic industry.

“There was such a pressure to conform to what was considered an ordinary, normal life,’’ the documentary’s noted Australian director, Gillian Armstrong, told Out Magazine last year, referring to Grant’s four failed marriages to women. “Orry refused to hide his sexuality with a fake marriage. He had such a great sense of personal integrity, and we wanted to capture that sense of bravery in the film.’’

Kelly, who was seven years older, writes in his memoir that he met the struggling performer Archibald Leach — who would change his name to Cary Grant in 1931 — just before his 21st birthday in January 1925.

Leach had been evicted from a boarding house for nonpayment, and had turned up at Kelly’s artist’s studio at 21 Commerce St. in the West Village with a tin box containing all his worldly possessions. He promptly moved in with Kelly.

“It was a city of bachelors,’’ film historian William J. Mann says in the documentary, arguing that Kelly and Leach were definitely a couple. “You were surrounded by men who were openly living in ways you couldn’t imagine back home.’’

Kelly says in his book that Leach was suffering from an unspecified illness during their first few months of cohabitation, and he paid the younger man’s doctor bills. The “devastatingly handsome” Leach, who had come to America from his native England as a teenager as part of a stilt-walking troupe, was barely scraping by, working occasionally as a carnival barker in Coney Island and donning a threadbare suit as a paid escort for women while seeking work in vaudeville.

Kelly, who was painting murals for speakeasies and trying to break into show business as a set designer, had developed a lucrative sideline of hand-made ties — and Leach volunteered to stencil on designs and sell them backstage at vaudeville houses for a cut of the action.

Branching out a couple of years later, the two men briefly ran their own speakeasy in Manhattan — and had an even more short-lived casino in Nevada before they were shut down by gangsters who demanded money to spare their lives.

Kelly’s memoirs, and the documentary, chronicle his volatile, on-and-off relationship with the actor over three decades. While Kelly stops short of claiming that Leach was his boyfriend — something the documentary states outright — Kelly leaves a clear impression of someone whose heart was broken many times.

He was clearly annoyed with Leach’s obsession with blond women, “though he always comes home to me.’’ And Kelly describes being knocked out cold by Archie “for three hours’’ when he criticized his roommate for ignoring his vaudeville guests (including Jack Benny, George Burns and Gracie Allen) at a party while trying to persuade Charlie Chaplin’s sister-in-law to help him arrange a screen test.

“The physical violence between the men [was] not uncommon between homosexual men of the period,’’ Katherine Thompson, the documentary’s writer, told The Post. “A combination of self-loathing and confusion was manifested in a punch-up or, on another occasion, Grant throwing Kelly out of a moving vehicle.’’

By 1931, both men were pursuing their destiny in Hollywood — the newly renamed Cary Grant had been signed to a $350-a-week contract by Paramount, while Kelly had begun a 12-year tenure as the head of the Warner Bros. costume department, eventually designing Ingrid Bergman’s famous wardrobe for “Casablanca.” They shared quarters again for a few weeks in Tinseltown, enjoying 65-cent drugstore dinners every night.

But there were an increasing number of arguments over the newly christened Grant’s women — and the actor’s demand that Kelly reimburse him $365 for meals and boxing-match tickets that he kept track of in a little red book. Kelly paid off the bills and suggested that Grant move in with another handsome young Paramount contractee, Randolph Scott.

The debate over whether the former Archie Leach was gay, bi or straight has centered for decades around his on-and-off cohabitation with Scott in a beach house in Malibu, which was documented in a famous series of still photographs of them in domestic poses.

When Grant married actress Virginia Cherrill in 1934, Mann says in the documentary, Scott attempted suicide. They were living together again after the end of Grant’s marriage in 1935, and re-reunited once more after Scott’s first marriage (1936-1939) to a duPont heiress ended. (Grant’s 1942 application for US citizenship lists him and Scott — who signs as a witness — as living at the same address.) Around this time, Grant threatened to sue gossip columnist Hedda Hopper for implying he wasn’t “normal.’’ (And in 1980, he actually brought a defamation suit against comedian Chevy Chase, who was forced to issue a retraction of his joking reference to Grant as a “homo.’’)

Grant and Kelly, meanwhile, had drifted apart. “He was adjusting to the mask of Cary Grant,’’ Kelly writes. “A mask that became his career, a career that became Grant.’’

The two crossed paths in 1941, when Grant made “Arsenic and Old Lace’’ at Warner Bros.

“There was quite a bit of tension between the two,’’ Mann says in the documentary. “One day, the radio show ‘Queen for a Day’ had sent a limousine to the studio lot with [its title] emblazoned on its side. Cary turned to Orry and said, ‘Orry, your limo has arrived.’ This was a real low blow from Cary Grant, with whom he had an intimate personal relationship.’’

Kelly had a drinking problem that eventually cost him his job at Warner and landed him in rehab — but he made a remarkable comeback that netted him Oscars for “An American in Paris’’ (1951), “Les Girls’’ (1957) and “Some Like it Hot’’ (1959), for which he designed unforgettable dresses for Marilyn Monroe.

Grant re-entered Kelly’s life in the late 1950s, when he asked if he could visit Kelly’s studio to purchase some paintings as gifts.

Kelly’s book implies that Grant (who Kelly says visited on multiple occasions) was more interested in discouraging Kelly from writing about their relationship — and the film says Grant may have used his influence to block the publication of Kelly’s memoir. (The manuscript was discovered in a pillow case at an Australian relative’s home in 2014 while the documentary was in production; it is available only as an audio book in the US.)

“Cary always told me, ‘Tell them nothing,’ ” Kelly writes. “I don’t know why. There was never really anything to hide.’’

But the cheeky Aussie ends his book with a devastating anecdote about the notoriously cheap Grant. At the time of their final reunion, Kelly was designing costumes for “Auntie Mame’’ (1957) starring Rosalind Russell, Grant’s co-star in “His Girl Friday’’ (1940) and a close friend.

After he and Grant lunched together, they drove over to Russell’s dressing room on the Warner Bros. lot.

“I mentioned his beautiful Rolls Royce outside, and Cary remarked that he had another, just like it, in London. ‘By the way, aren’t you going to London?’ he asked [Russell].

“Roz said, ‘Yes, I’m going over in ten days.’ ‘Why don’t you use my Rolls,’ Cary said.”

Russell was thrilled until Grant added: “I tell you what to do Roz, when you arrive in London, call … my agents. They will give you the rental fee and the cost of the chauffeur.’’

Kelly says there are “too many instances where Cary Grant’s old friends had been disappointed by him.’’ He quotes Russell as saying, “He flits around, hiding from his own shadow, hoping nobody will notice, or [worries] that his shadow may expose the image he has created for himself.’’

The former Archie Leach never publicly acknowledged his relationship with Kelly — but when his old friend died of liver cancer in 1964, Grant was one of the pallbearers. He retired from acting two years later, when his only child was born from his fourth marriage to actress Dyan Cannon.

The enigmatic superstar was five years into his fifth and final marriage when he died, 30 years ago this November. Randolph Scott, whose second marriage endured 43 years and produced two children, died two months later.