#battle of la hogue | Explore Tumblr posts and blogs

manitat · 1 year ago

Text

Tonći Kožul: Najbolji filmovi 70-ih...

The Adventurers

Aguirre, the Wrath of God (Aguirre, der Zorn Gottes)

Airport

Alice Doesn't Live Here Anymore

Alien

Ali: Fear Eats the Soul (Angst essen Seele auf)

All Screwed Up (Tutto a posto e niente in ordine)

All That Jazz

All the President's Men

Amarcord

American Graffiti

The Amityville Horror

The Amusement Park

The Anderson Tapes

...And Justice for All

Annie Hall

Apocalypse Now

The Apprenticeship of Duddy Kravitz

The Ascent (Voskhozhdeniye)

Assault on Precinct 13

At Long Last Love

Autumn Sonata (Höstsonaten)

The Baby

Bad Company

Badlands

The Bad News Bears

The Ballad of Cable Hogue

Bananas

Barry Lyndon

Battle for the Planet of the Apes

A Bay of Blood (Ecologia del delitto)

The Beguiled

Being There

Beneath the Planet of the Apes

Between the Lines

The Big Boss

The Big Bus

The Bird with the Crystal Plumage (L'uccello dalle piume di cristallo)

The Bitter Tears of Petra von Kant

The Black Windmill

Blazing Saddles

Boxcar Bertha

Bound for Glory

The Boy Friend

The Boys in the Band

Breaking Away

Brewster McCloud

A Bridge Too Far

Bring Me the Head of Alfredo Garcia

The Brink's Job

The Brood

Buffalo Bill and the Indians, or Sitting Bull's History Lesson

Cabaret

California Split

California Suite

The Candidate

Carnal Knowledge

Carrie

The Cars That Ate Paris

Car Wash

The Cassandra Crossing

Catch-22

The Cat o' Nine Tails (Il gatto a nove code)

Céline and Julie Go Boating (Céline et Julie vont en bateau)

Charley Varrick

Chilly Scenes of Winter

Chinatown

Chinese Roulette (Chinesisches Roulette)

A Clockwork Orange

Close Encounters of the Third Kind

Coffy

Colossus: The Forbin Project

Coming Home

The Conformist (Il conformista)

Conquest of the Planet of the Apes

The Conversation

Convoy

Cooley High

The Crazies

Cries and Whispers (Viskningar och rop)

Crimes of the Future (1970.)

Cross of Iron

Cry Uncle!

Daisy Miller

Damien: Omen II

Dark Star

Dawn of the Dead

Day for Night (La Nuit américaine)

Days of Heaven

Death on the Nile (1978.)

Death Race 2000

Death Wish

The Deep

Deep Red (Profondo rosso)

The Deer Hunter

Deliverance

Dersu Uzala

Despair

Desperate Living

The Devils

Diamonds Are Forever

Dirty Harry

The Discreet Charm of the Bourgeoisie

Dodes'ka-den

Dog Day Afternoon

Don't Look Now

Dracula (1979.)

The Driver

Duel

Duelle

The Duellists

Dusty and Sweets McGee

Earthquake

Eaten Alive

Effi Briest

The Electric Horseman

El Topo

The Enforcer

The Enigma of Kaspar Hauser (Jeder für sich und Gott gegen alle)

Enter the Dragon

Equus

Eraserhead

Escape from Alcatraz

Escape from the Planet of the Apes

Even Dwarfs Started Small (Auch Zwerge haben klein angefangen)

Everything You Always Wanted to Know About Sex

Every Which Way but Loose

The Exorcist

Exorcist II: The Heretic

Eyes of Laura Mars

Face to Face (Ansikte mot ansikte)

Family Plot

Fantastic Planet (La Planète sauvage)

Fast Company

Fat City

The Fate of Lee Khan

Female Trouble

Fellini's Casanova (Il Casanova di Federico Fellini)

F for Fake

Fiddler on the Roof

F.I.S.T.

Fist of Fury

Four Flies on Grey Velvet (4 mosche di velluto grigio)

The Four Musketeers

Fox and His Friends (Faustrecht der Freiheit)

Foxy Brown

Freebie and the Bean

The French Connection

Frenzy

The Friends of Eddie Coyle

Funny Lady

Fun with Dick and Jane (1977.)

The Fury

Ganja & Hess

Gates of Heaven

The Getaway

Get Carter

Getting Straight

Get to Know Your Rabbit

Gimme Shelter

The Godfather

The Godfather Part II

Gods of the Plague (Götter der Pest)

The Goodbye Girl

Good Guys Wear Black

Go Tell the Spartans

The Great Waldo Pepper

Grease

The Green Room (La Chambre verte)

Grey Gardens

Hair

Halloween

The Harder They Come

Hard Times

Harlan County, USA

Harold and Maude

The Heartbreak Kid

Heart of Glass (Herz aus Glas)

Heaven Can Wait

Hester Street

High Anxiety

The Hills Have Eyes

Hi, Mom!

The Holy Mountain

Home Movies

Hooper

The Hospital

Husbands

I clowns

Images

India Song

The In-Laws

Interiors

Izbavitelj

Jabberwocky

Jaws

Jaws 2

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles

Jeremiah Johnson

The Jerk

Jesus Christ Superstar

Je tu il elle

Joe

Junior Bonner

Kelly's Heroes

The Kentucky Fried Movie

The Killer Elite

Killer of Sheep

The Killing of a Chinese Bookie

King Kong (1976.)

Klute

Kramer vs. Kramer

The Kremlin Letter

The Landlord

The Last Detail

The Last House on the Left

The Last Movie

The Last of Sheila

The Last Picture Show

Last Tango in Paris

The Last Waltz

The Last Wave

The Late Show

Legend of the Mountain

Lenny

Leo the Last

Les Rendez-vous d'Anna

The Life and Times of Judge Roy Bean

The Life of Brian

Lisa and the Devil

Lisice

Little Big Man

A Little Romance

Live and Let Die

The Long Goodbye

Love and Anarchy (Film d'amore e d'anarchia)

Love and Death

Love on the Run (L'amour en fuite)

Love Story

La Luna

Macbeth (1971.)

Magnum Force

Mandingo

Manhattan

The Man Who Fell to Earth

The Man Who Loved Women (L'Homme qui aimait les femmes)

The Man Who Would Be King

The Man with the Golden Gun

The Marriage of Maria Braun (Die Ehe der Maria Braun)

Martin

M*A*S*H

McCabe & Mrs. Miller

Mean Streets

The Mechanic

The Merchant of Four Seasons (Händler der vier Jahreszeiten)

Mikey and Nicky

Minnie and Moskowitz

Mirror (Zerkalo)

Monty Python and the Holy Grail

Moonraker

The Mother and the W*ore (La maman et la putain)

Mother Küsters' Trip to Heaven (Mutter Küsters' Fahrt zum Himmel)

Mr. Majestyk

Multiple Maniacs

The Muppet Movie

Murder on the Orient Express (1974)

My Little Loves (Mes Petites Amoureuses)

Nashville

National Lampoon's Animal House

Network

The New Centurions

A New Leaf

News from Home

New York, New York

Nickelodeon

A Night Full of Rain (La fine del mondo nel nostro...)

Night Moves

Noroît

North Dallas Forty

Nosferatu the Vampyre (Nosferatu: Phantom der Nacht)

Obsession

The Offence

Oh, God!

The Omen

The One and Only

One Flew Over the Cuckoo's Nest

De cierta manera (One Way or Another)

Opening Night

Orchestra Rehearsal (Prova d'orchestra)

Out 1: Noli me tangere

Paper Moon

The Parallax View

The Passenger (Professione: reporter)

Pat Garrett and Billy the Kid

A Perfect Couple

Performance

The Phantom of Liberty (Le Fantôme de la liberté)

Phantom of the Paradise

Picnic at Hanging Rock

Pink Flamingos

The Pink Panther Strikes Again

Play It Again, Sam

The Poseidon Adventure

Predstava Hamleta u Mrduši Donjoj

Quadrophenia

Quintet

Rabid

Raining in the Mountain

The Return of the Pink Panther

Revenge of the Pink Panther

Robin and Marian

Rock 'n' Roll High School

Rocky

Rocky II

The Rocky Horror Picture Show

Rollerball

Roma (1972.)

Saint Jack

Sambizanga

Saturday Night Fever

Schlock

Scrooge

The Seduction of Mimi (Mimì metallurgico ferito nell'onore)

See No Evil

The Sentinel

Serpico

Seven Beauties (Pasqualino Settebellezze)

Shaft

Shaft's Big Score!

Shaft in Africa

Shampoo

Shivers

The Shootist

Silent Movie

Silver Streak

Sisters

Slap Shot

Slaughterhouse-Five

Sleeper

Small Change (L'Argent de poche)

Smile (1975.)

Smokey and the Bandit

Solaris

Soleil Ô

Sorcerer

Soylent Green

The Spirit of the Beehive (El espíritu de la colmena)

The Spy Who Loved Me

Stalker

A Star Is Born (1976.)

Start the Revolution Without Me

Star Trek: The Motion Picture

Star Wars

The Sting

The Story of Adèle H. (L'Histoire d'Adèle H.)

Straw Dogs

Stroszek

The Sugarland Express

The Sunshine Boys

Superman

Suspiria

Sweet Movie

Sweet Sweetback's Baadasssss Song

Swept Away (Travolti da un insolito destino...)

Taking Off

The Taking of Pelham One Two Three

Taxi Driver

Telefon

The Tenant

Tess

The Texas Chain Saw Massacre

That Obscure Object of Desire (French: Cet obscur objet du désir)

Thieves Like Us

The Third Generation (Die Dritte Generation)

Three Days of the Condor

The Three Musketeers (1973.)

Thunderbolt and Lightfoot

THX 1138

Tko pjeva zlo ne misli

Tommy

Tora! Tora! Tora!

A Touch of Zen

Touki Bouki

The Towering Inferno

Tristana

The Turning Point

The Twelve Chairs (1970.)

Two English Girls (Les Deux Anglaises et le Continent)

Two-Lane Blacktop

Two Mules for Sister Sara

Up in Smoke

The Valiant Ones

Vanishing Point

Wake in Fright

Walkabout

Wanda

The Warriors

Watermelon Man

Wattstax

The Way of the Dragon

The Way We Were

A Wedding

West Indies: The Fugitive Slaves of Liberty

What? (Che?)

What's Up, Doc?

Where's Poppa?

White Lightning

Who Is Killing the Great Chefs of Europe?

The Wicker Man

The Wild Child (L'Enfant sauvage)

Willy Wonka & the Chocolate Factory

Wise Blood

The Wiz

A Woman Under the Influence

Woodstock

Woyzeck

W.R. - Misterije organizma

Young Frankenstein

Zabriskie Point

Zardoz

#the best movies of the 1970s

0 notes

mondfahrt · 3 years ago

Text

Mary’s art. Okay, I have Thoughts.

There are several ways to look at Mary’s art, e.g. why it looks the way it looks, why they used this kind of anachronism, what it means to the narrative and Mary’s character, and lastly, what it tells us about the lighthouse painting.

Strap in, everyone, this is gonna be long.

First of all: Mary’s art is very obviously anachronistic. The show takes place in the early 1700s but her paintings are clearly modern art from the early to mid 1900s.

Let’s start with the most obvious (to me at least) aspect: Why did they use this kind of anachronism? I’ve mentioned this in my post on historical accuracy before, but I think mostly Mary’s art looks like this because of the audience, that is, because of us. Now, disclaimer, I’m an art historian but I specialize in contemporary art (art after WW2), so my knowledge on this is a bit wonky but I do know the basics so... Art in the 1700s (in Europe but the colonies were similar or at least heavily influenced) was mostly history painting, which means scenes from history, religion, mythology or literature, which have a narrative, which can tell the viewers heroic stories with ideally moralistic messages. Also, they painted real or fictional scenes with real or fictional people talking to each other or doing other mundane things, called conversation pieces. So, the art back then looked a bit like this, for example

(Arthur Devis, British, 1712 - 1787, Arthur Holdsworth Conversing with Thomas Taylor and Captain Stancombe by the River Dart, 1757, oil on canvas, Paul Mellon Collection.)

You see, this is from 1757, so “from the future” from Mary’s POV. To us, the audience from 2022, however, this looks extremely old-fashioned. Even if Mary had painted a more exciting scene like this...

(Benjamin West, American, 1738 - 1820, The Battle of La Hogue, c. 1778, oil on canvas, Andrew W. Mellon Fund.)

... we probably would’ve said “oh, she’s a good painter” but nothing more. It would’ve dated the show significantly. However, Mary’s art looks very different.

(Two screenshots from episode 1x10 of Our Flag Means Death. Stede is standing in Mary’s painting studio, surrounded by several colourful paintings.)

All of Mary’s paintings are colourful, some show nudity, some seem like they’re from different painters, even, like she’s trying a lot of different styles. I find myself reminded of Cubism, Expressionism, American modernism and Abstract art, from artists like Pablo Picasso, Georgia O’Keefe, or Paul Cézanne. (There are probably better examples but I can’t think of any right now?)

(Paul Cézanne, French, 1839 - 1906, The Bathers, c. 1894 - 1905, oil on canvas, National Gallery Yorck.)

In my opinion, this tells the audience that Mary is ahead of her time. She’s a modern woman, and to a 2022 audience that’s much clearer if you show us a painting that could be from the 1920s than if you show us one from the 1720s.

So, now that the audience knows that Mary is a modern painter, what can the paintings themselves tell us? In the pictures above we see a lot of flowers and nude women. Traditionally, nudes are a very prominent theme in art history, but not painted by women! Since women weren’t allowed to paint nude models in art schools for most of history, that’s actually a pretty bold move. To me, it shows that Mary herself is bold and free, living her best life and not caring about rules or what people think of her. There might also be a comparison to O’Keefe’s life in there, since both of them were in one way or another heavily influenced by the way their husbands treated them. But I actually don’t know that much about O’Keefe, so I’ll leave it here for someone else to pick up.

What I do want to say about O’Keefe: Mary’s flowers look very much like her paintings.

(Georgia O'Keeffe, US-American, 1887 - 1986, Red Canna, 1919, oil on board, High Museum of Art Atlanta.)

O’Keefe herself didn’t want her art to be considered a stand-in for vaginas, but a lot of people think of that when they see her flowers. It would definitely fit with Mary discovering her sexuality now that she’s with Doug. Doug even says that one of the O’Keefe-like paintings (in the second screenshot above, the one in the middle right in front of Stede, who’s hilariously looking at it like he doesn’t understand it/Mary’s art AT ALL) is his favourite, which in my opinion already tells us at this point all we need to know about their relationship.

All in all, I think Mary’s art tells us how independent she’s become.

Also, I think it’s very funny that this implies that Mary invented modern art. Cubism especially is thought to be one of the turning points in modern art by some people, since it completely breaks with some of the rules, not caring anymore about rules of perspective, light and darkness, or about depicting the world how you see it. Mary inventing Cubism or Expressionism really tells us how she doesn’t care about societal rules anymore; Stede leaving her completely changed her perspective and how she sees the world, and she’s showing it to us in her art.

However, there is one painting that doesn’t fit with the rest. It’s this one:

(A screenshot from episode 1x10 of Our Flag Means Death. It shows a painting of a nude figure from the back. The figure has long, brown hair and is carrying a lantern through a very dark, barely moonlit night.)

I’m honestly interested in what other people think about this, because! I love this one! It’s so different from every other painting of Mary’s we’re shown, and it’s not only the biggest painting in her art show but also the very first we’re shown in this episode! Stede is looking at this in the beginning of the scene when Mary’s showing him her studio!

It reminds me a little of this drawing:

(Paula Modersohn-Becker, German, 1876 - 1907, Stehender weiblicher Akt, Rückenansicht, vor dunkler Wand, (Standing female nude, seen from the back, in front of dark wall), 1900, charcoal and brown chalk, Paula-Modersohn-Becker-Stiftung Bremen.)

Modersohn-Becker is considered to be one of the first or the first female artist to paint a nude self-portrait, which is why I like the connection to Mary.

Because I do think this is meant to be a self-portrait. The hairstyle is kind of similar to how she wears her hair when she goes to bed, and I think it would be fitting if this is the painting that shows how she dealt with being abandoned by her husband. A figure shown from the back like this is a very prominent theme throughtout all of art history. Mostly, they’re meant to make the viewer, who’s standing behind them, identify with them. Both the figure and the viewer have the same view (the landscape before them). In Romanticism (a movement during the late 18th, early 19th century), they’re also supposed to be looking out, longing, contemplating life, nature, God, the future.

Now, the figure in Mary’s painting is standing in darkness, so I’m guessing this could mean that she doesn’t see what’s in front of her. The landscape is gloomy, almost scary, it refuses to show itself. This seems more in line with art from the 20th century, e.g. by René Magritte, which also made a point about refusing contemplation and longing, but Mary’s painting is much more emotional in my opinion. I think that’s in part due to the lantern: the figure is carrying a light themselves, so while they can’t see what’s in front of them, they’re able to explore, albeit carefully. Independence is scary but it’s also freeing.

There’s also something to be said about the figure being nude and vulnerable, not showing her face, etc. But I’d rather leave it at that because, as you might have noticed, this is getting rather long and we still haven’t talked about The Lighthouse Painting.

(A screenshot from episode 1x10 of Our Flag Means Death. A painting of a lighthouse, set on a mantel.)

This is the first painting of Mary’s we’re shown in the show at all. She’s obviously very proud of it - and Stede doesn’t understand it or her at all. He doesn’t understand her at any point, really. He thinks the children painted it at first - which is funny because it’s one of these stereotypical things people say about modern and contemporary art: “My child could’ve made this.” When obviously there’s a lot of care and thought put into this. Compared to the paintings in her art show, this piece is much simpler and the colours are much flatter in the lighthouse painting than in any of her later work, showing that she’s grown as an artist, and her subject matters have evolved as well, away from rather tame, predictable landscapes towards more groundbreaking work. But you can already see the cubist/expressionist style!

I love the composition of the lighthouse painting, though. The way the sky is broken into pieces, like a crystal or a kaleidoscope, but interestingly the lighthouse itself doesn’t appear to shine any light! However, the way the sky is broken up, you can see a kind of ray of light coming from the top right corner, maybe hinting at another lighthouse in the distance. This is just my interpretation, of course (the light could also be just the sun), but I do think that it fits with the whole “be lighthouses for each other” narrative. They’re out of reach from each other, because two lighthouses can never meet. But maybe their lights can be a signal in the distance, a sign that they have touched each other, that their relationship is important, but ultimately they’re better of far apart.

I think it’s very sweet that Mary wanted to show Stede this side of her, wanted to share her passion (art) with him, but ultimately she was only able to do that once he was gone, with Doug. (Of course this is mirrored with Stede and the model ship, and Stede and Edward.) But I do love that they both tried this way. And I am obsessed with the fact that Stede, out of all the things he could’ve chosen, took the lighthouse painting with him. He’s still clinging to his old life that way, of course, but I also like to think it shows that he truly cares for her.

Which brings me to Edward, because he clings to this painting as well, just like he can’t let Stede go completely, he doesn’t throw away the lighthouse painting. He stares at it while he cries, instead, like any normal person would. I think, he clings to the idea of Stede, the lighthouse he needs to stay away from but can’t.

There’s also something very queer about a portrait (”We’re meant to be lighthouses...”) that uses an object as a stand-in for a person. Queerness in abstraction is one of my favourite art history topics at the moment, it’s about the possibility of the body where no body is actually shown, it’s about the liberation of the body when you erase any notion of gender or sexuality. While Mary can only paint a self-portrait of her and Stede while NOT painting them at all (note that she does paint a self-portrait and human figures later on! It’s not like she can’t do it!), taking their bodies out of the equation completely, their relationship only existing on paper, Edward and Stede become a lighthouse together. They are in this painting together as one, so Stede’s real absence in Edward’s life is even more painful. Their lighthouse now only exists on paper/canvas.

And on that cheery note! Thanks if you made it through this jumbled mess of a stream of art history thoughts. I love Mary Bonnet forever.

#our flag means death #ofmd #our flag means death meta #mary bonnet #art history #uhmmmmm let me know what you think? this is all just.... some messy thoughts i had lol #i'm sure there's more to be said and i'm sure some of my references don't make any sense at all #but well #you can't take my degree away from me

558 notes · View notes

artist-benjamin-west · 3 years ago

Photo

The Battle of La Hogue, Destruction of the French fleet, May 22, 1692, Benjamin West

Medium: oil,canvas

#benjaminwest #rococo

24 notes · View notes

ltwilliammowett · 2 years ago

Text

The destruction of the Soleil Royal at the Battle of La Hogue, 23 May 1692, by Peter Monamy (1681-1749)

#naval art #battle of la hogue #soleil royal #17th century #age of sail

56 notes · View notes

artofreddit · 5 years ago

Photo

The Battle of La Hogue, 23rd May 1692, during the Nine Years' War painted by Adriaen van Diest [560 x 456] posted by Reddit User: sylvyrfyre Visit artofreddit.com for more art #battlepaintings

1 note · View note

chaotic-historian · 5 years ago

Text

Historical Baes Post #1

Okay, so, apart from being Louis XIV’s birthday, September 5th is also the Danish flag day for all lost and deployed troops. As such, I thought today would be a good time to introduce you all to a new historical Danish military hero each year. This year it is my Best Man, Commodore Iver Huitfeldt.

If you go to his wikipedia profile, it’ll be very short and concise, so let me give you a slightly more emotional account of his final hours on the 4th of October 1710:

It is 8 in the morning, all the ship’s captains have gathered on the flagship of general-admiral Gyldenløve, to have a short status meeting. Just a few days earlier, the entire Dano-Norwegian fleet had been forced to sail out towards Danzig on the orders of King Frederik IV, but less than halfway there they’d been intercepted by storms and forced to seek shelter in Køge Bay, a quite closed-off bay in eastern Denmark. Here they’ve anchored up without plan or purpose, and Commodore Huitfeldt is deeply concerned with this. Almost twenty years earlier, he was present at the battle of La Hogue in 1692, where the French lost their main battle fleet because the English managed to trap them in a bay frighteningly like the one the Dano-Norwegian one is in right now. Huitfeldt has chosen to anchor in a carefully planned position, ready to sail out at any time. His concerns are dismissed. The Swedes, Gyldenløve says, are docked in Carlscrona. He has sources.

But, just as they step out onto the deck to head back to their ships, there is a shout. A sea of masts can be seen on the horizon, and although their nationality cannot be determined yet, Huitfeldt is worried. He hastens back to his ship to prepare, and he is right. It is the enemy. Far from being in Carlscrona, the Swedish general-admiral Wachtmeister heard of the Danish navy’s misfortune with running into a storm, and got the clever idea he would jump them while they were weak. He almost succeeds.

In the nick of time, before any orders are even given, Huitfeldt’s ship Dannebroge sails out to meet the Swedes, alone. Two ships, Mars and Beskiermeren follow behind her, none of which ever get close enough to fire at the enemy. Dannebroge, and Iver Huitfeldt, are facing the entire Swedish battle fleet alone. Wachtmeister’s fleet keeps its course, thundering towards the disheveled Danish navy, which is in utter chaos, desperately trying to get into battle order in the bay, and its lone protector. At the last moment, Huitfeldt’s clever position forces them to break their course and engage him. For more than an hour they ceaselessly fire at each other, one ship against a line of almost 35, but the wind is against the Dannebroge, and the muzzle fire of her raging cannons is blown against her own tackle and side. Soon, the flammable hemp ropes catch fire, and it spreads too fast to be put out. There is 450 men aboard, and one of them is the Commodore. He has a beloved wife and four children at home in Norway, the eldest, a boy, is 12, the youngest, a girl, is just 2 years old. He is 44. His ship is on fire.

What does he do? He looks back, if he allows her to drift and tries to beach her, he risks spreading the fire aboard his ship to the other ships in the fleet, and he will yield the way for the Swedes, who could then go in and lock the Danes in place and destroy them. This would be a disaster.

Iver Huitfeldt gives the order to drop the anchors. He and his crew stay on the ship and continue returning fire. When the gunners are forced to leave their cannons, they are said to have loaded them one last time, so that they’d fire themselves when the flames heated them.

At around 4 PM, the fire reaches the powder stores. Dannebroge explodes, taking with her 450 men, and one Commodore, who willingly gave up his life and inspired his men to follow him in order to save the whole fleet. With a burning wreck in the middle of the bay, the Swedes are cut off from all further attacks, and a day later they withdraw. Huitfeldt has done what he set out to do: he has saved his navy, and by extension very likely tipped the scales for the eventual victory in the Great Northern War.

#the admiral admires #the admiral's homebrew #historical baes #Iver Huitfeldt #I am literally writing a book on this man #does it show?#danish history #norwegian history #naval history #1700's history #18th century history #18th century people #17th century people #the wizened librarian #history husbands

13 notes · View notes

alystayr · 5 years ago

Text

Playlist musicale 2019 (2/2)

Liste des chansons (playlist 2019 - part. 2)

Mise à jour : 31 décembre 2019

playlist 2019 (part.2), playlist 2019 (part. 1)

playlist 2018 (part. 2), playlist 2018 (part. 1)

playlist 2017 (part. 2), playlist 2017 (part. 1)

playlist 2016 (part. 2), playlist 2016 (part. 1)

playlist 2015

0-9 #

16 Horsepower - American Wheeze (1996)

AaRON - Blouson Noir (2015)

Abd Al Malik - Le jeune noir à l’épée (2019)

The Afghan Whigs - Algiers (2014)

Air - Alpha Beta Gaga (2004-2016)

Alabama Shakes - Don’t Wanna Fight (2015)

Alice In Chains - Rainier Fog (2018)

Angels of Light - Dawn (2005)

Aphrodite’s Child - Rain and tears (1968)

Archive - Erase (2019)

Louis Armstrong - St. James Infirmary (1928)

The B52's - Planet Claire (1979)

The Beatles - All You Need Is Love (1967)

Beck - Saw Lightning (2019)

Belle and Sebastian - Sister Buddha (2019)

Bénabar - Y'a une fille qu'habite chez moi (2001)

The Beta Band - Dry The Rain (1997)

Björk - Declare Independence (2008)

The Black Keys - Go (2019)

Blue Oyster Cult - (Don't Fear) The Reaper (1976)

Blur - There’s No Other Way (1991)

Joe Bonamassa - Lonesome Christmas (2016)

David Bowie - When I'm Five (1967)

Georges Brassens - Les copains d'abord (1964)

Jacques Brel - Mathilde (1963)

John Butler Trio - Bully (2017)

Cage The Elephant - Shake Me Down (2011)

Calexico - The Ballad of Cable Hogue (2000)

Calogero - En Apesanteur (2002)

Captain Kid - We & I (2012)

Johnny Cash (cover Nine Inch Nails) - Hurt (2002/1994)

Chloé - One in other (2010)

The Clash - White Riot (1977)

Johnny Clegg & Savuka - Asimbonanga (1987)

Eddie Cochran - Summertime Blues (1958)

Cocoon - Back To One (2019)

Cold War Kids - Passing the Hat (2006)

Chris Cornell - Seasons (from Singles) (1992)

Cypress Hill (feat. Chino Moreno and Everlast) - (Rock) Superstar (2000)

Dead Kennedys - Kill The Poor (1980)

Depeche Mode - Enjoy the Silence (1990)

dEUS - Instant Street (1999)

Dolly - Comment taire (2002)

The Doors - Love Street (1968)

Dr. John - Right Place Wrong Time (1973)

Bob Dylan - Hurricane (1975)

Eels - You Are The Shining Light (2018)

Eiffel - Cascade (2019)

Lisa Ekdahl (cover Betty Hutton) - It's Oh So Quiet (1997/1951)

Eminem - Venom (2018)

Eurythmics - Here Comes The Rain Again (1983)

Mylène Farmer - Des larmes (2018)

Les Fatals Picards - La Sécurité de l'Emploi (2007)

Fine Young Cannibals - Johnny Come Home (1985)

Florence + the Machine - Jenny of Oldstones (from Game of Thrones) (2019)

Foals - What Went Down (2015)

Foo Fighters - Best Of You (2005)

Foster The People - Pumped up Kicks (2011)

Future Islands - Fall From Grace (2014)

Peter Gabriel - Shock The Monkey (1982)

Liam Gallagher - One Of Us (2019)

Jean-Jacques Goldman - Je marche seul (1985)

The Good, The Bad & The Queen - Gun To The Head (2019)

Kim Gordon - Sketch Artist (2019)

Gossip - Standing In the Way of Control (2006)

Gravenhurst - The Collector (2007)

Juliette Gréco (cover Léo Ferré) - Jolie Môme (1961)

Grinderman - Man In The Moon (2007)

Nina Hagen - African Reggae (1979)

Ben Harper & Charlie Musselwhite - The Bottle Wins Again (2018)

PJ Harvey - Rid Of Me (1993)

The Jimi Hendrix Experience - Purple Haze (1967)

Kristin Hersh - The Cuckoo (1994)

Jacques Higelin - Paris-New York, New York-Paris (1974)

Interpol - The Weekend (2019)

Iron Maiden - Flight of Icarus (1983/2019)

Izia - Hey Bitch (2009)

Julia Jacklin (cover The Strokes) - Someday (2019/2001)

JAY-Z - Marcy Me (2017)

Joy Division - New Dawn Fades (1979)

Judas Priest - Breaking The Law (1980)

Kaiser Chiefs - Don't Just Stand There, Do Something (2019)

Kings of Leon - Family Tree (2013)

Mark Knopfler - Redbud Tree (2012)

Mark Lanegan Band - Stitch It Up (2019)

Cyndi Lauper - Girls Just Want To Have Fun (1983)

Bernard Lavilliers & Catherine Ringer - Idées Noires (1983-2014)

Led Zeppelin - No Quarter (1973)

The Lemonheads - Alison’s Starting To Happen (1992)

Linkin Park - Breaking The Habit (2003)

Little Eva - The Loco-Motion (1962)

Luke - Hasta Siempre (2004)

Scott McKenzie - San Francisco (1967)

Marcela Mangabeira (cover Michael Jackson) - Human Nature (2008/1982)

Loreena McKennitt - The Lady of Shalott (1991)

Marilyn Manson - God’s Gonna Cut You Down (2019)

Marilyn Manson (cover The Doors) - The End (1967-2019)

Massive Attack - Protection (1994)

Metallica - Seek and Destroy (1983)

Midnight Oil - Forgotten Years (1990)

Eddy Mitchell - Sur la route de Memphis (1976)

Modest Mouse - Lampshades on Fire (2015)

Gary Moore - The Loner (1987)

Moriarty - Isabella (2011)

Muddy Waters - Mannish Boy (1955)

The National - Hey Rosey (2019)

Nirvana - Come As You Are (1992)

Nirvana - Negative Creep (1991)

Noir Désir - Bouquet de nerfs (2001)

Les Ogres de Barback - Si tu restes (2019)

Mike Oldfield - Tubular Bells (1973)

OrelSan - Dis moi (2018)

Vanessa Paradis - Ces mots simples (2018)

Charles Pasi - A Man I Know (2014)

Pearl Jam - Jeremy (1991)

Pink Floyd - Money (1973)

Pixies - Hey (1989)

Placebo - Battle For The Sun (2009)

Iggy Pop - Run Like A Villain (1982)

Portishead - Misterons (1994)

The Pretenders - Middle of the Road (1984)

Queens Of The Stone Age - Regular John (1998)

The Raconteurs - Help Me Stranger (2019)

Radiohead - Street Spirit (Fade Out) (1995)

Ram Jam - Black Betty (1977)

Red Hot Chili Pepper - Under The Bridge (1991)

Renaud - Fatigué (1985)

Calvin Russell - Soldier (1992/2011)

Saez - Germaine (2019)

Screamin' Jay Hawkins - Constipation Blues (1969)

Screaming Trees - Nearly Lost You (1992)

Seasick Steve - Hobo Low (2006)

Shaka Ponk - My Name Is Stain (2011)

William Sheller - Maintenant Tout Le Temps (1994)

Alan Silvestri - Retour vers le Futur (from Back to the Future) (1985)

Simon & Garfunkle - El Condor Pasa (1970)

Slaves - The Velvet Ditch (2019)

Smoke City - Underwater Love (1997)

Sonic Youth - Bull In The Heather (1994)

Joss Stone (cover The Dells) - The Love We Had (Stays On My Mind) (2012)

Alain Souchon - Presque (2019)

Soundgarden - The Day I Tried To Live (1994)

Supertramp - Give A Little Bit (1977)

Taj Mahal - Ain't That A Lot Of Love (1968)

Tame Impala - Patience (2019)

Tarmac - Tu semblante (2001)

Taxi Girl - Cherchez le Garçon (1980)

Tindersticks - For The Beauty (2019)

Tool - Fear Inoculum (2019)

Tricky (feat. Marta) - Makes Me Wonder (2019)

The Twilight Singers - King Only (2000)

U2 - Mysterious Ways (1991)

U2 - Pride (In The Name Of Love) (1984)

Ugly Kid Joe - Cats In The Cradle (1992)

UNKLE - The Lost Highway (2019)

Volbeat - Still Counting (2008)

Tom Waits - I hope I don’t fall in love with you (1973)

Les Wampas - Ce Soir C'est Noël (1990)

Les Wampas - Chirac En Prison (2003)

The War on Drugs - Pain (2017)

Emily Jane White - Dark Undercoat (2007)

Jim White - Bluebird (2004)

The Who - Behind Blue Eyes (1971)

Wilco - Everyone Hides (2019)

John Williams - Star Wars Main Theme (1977)

Shannon Wright - These Present Arms (2019)

Yodelice - Wake Me Up (2010)

Thom Yorke - Not The News (2019)

Zebda - Le Bruit Et L'Odeur (1995)

Rob Zombie - Dead City Radio And The New Gods Of Supertown (2013)

#Listes #Musique #Playlist #2019 #Music #Rock #Pop #Electro #Blues #Soundtrack

5 notes · View notes

nebris · 3 years ago

Photo

The Bombardment of Algiers, 27 August 1816

In 1816 a squadron under Admiral Sir Edward Pellew was fitted out and sent to Algiers where they arrived, in company with a small Dutch squadron, on 27 August 1816. They sought the release of the British Consul, who had been detained, and over 1000 Christian slaves, many being seamen taken by the Algerines. When they received no reply the fleet bombarded Algiers in the most spectacular of several similar punitive actions of this period that finally broke the power of the 'Barbary pirates', who had been a plague on European commerce in the Mediterranean for centuries. Pellew was subsequently created Viscount Exmouth.

In the foreground of the painting is a barge with a howitzer in the bows and a lieutenant standing at her tiller. To the left of her are two boats, one sunk and the other with sailors rescuing the crew. In the right foreground is a fallen spar and another barge with a carronade in her bow. Beyond her more boats are sheltering under the 'Impregnable', 98 guns, the fore part of whose bow is in the picture. In the left middle distance there are three more boats under the stern of the 'Minden', 74 guns, one of which is about to fire a Congreve rocket. The 'Minden', in port-quarter view, is firing her starboard guns, and partly masks the 'Superb' also in port-quarter view. More boats are sheltering under the port side of their hulls. In the left background can be seen the forepart of the Dutch flagship 'Melampus', 40 guns, in starboard-broadside view and ahead of her the stern of a British frigate. In the middle and right background is the 'Queen Charlotte', 100 guns, in port-quarter view, flying Pellew's blue admiral's flag at the main, and a glimpse of the 'Leander', 50 guns, ahead of her. They are engaged with the batteries of the harbour, engulfed in flame, and the ships burning within it. Above the smoke Algiers can be seen rising up the hills behind.

All Exmouth's aims in the action were achieved: 1083 Christian slaves and the British Consul were liberated, massive restitution paid and peace made between Algiers and the Dutch. Exmouth was raised to a viscountcy and several of his friends and associates, who wanted to commemorate the bombardment, subscribed 200 guineas to commission the artist to paint the event for inclusion in the Naval Gallery at Greenwich Hospital. E. H. Locker, Secretary and Commissioner of the Hospital was a key figure in the matter both because he had been secretary to Pellew, 1804-14, and because he had already (in 1835) commissioned a copy of Benjamin West's 'Battle of La Hogue, 1692' for the Gallery from Chambers, whose most important late work this is.

The artist went to Plymouth to sketch the men-of-war in the production of this painting and the Museum also has a number of the preliminary drawings for it and a freely painted oil study (BHC0615). The finished painting was exhibited in 1837 at the British Institution, as painted for the Hospital, before being put on permanent display in the Naval Gallery there.

https://www.rmg.co.uk/collections/objects/rmgc-object-12109

0 notes

bantarleton · 7 years ago

Text

Barfleur and La Hogue - the Little-Known Naval Victories of the Williamite Wars

The Glorious Revolution and the ensuing battles in the Williamite Wars and the Jacobite Risings are generally well known - the Boyne, Londonderry and Aughrim all live on in popular history. Less well-known, but no less decisive, was the naval engagement that occurred off (and indeed, on) the northern coast of France on May 29 1692.

In 1688 the Catholic King James VII had fled Britain, and was replaced by the Protestant Dutchman King William III, Prince of Orange, who was married to James’s daughter. James tried to instigate a rebellion against William in Ireland, but his campaign was stymied at the siege of Londonderry in 1689, set back by the battle of the Boyne in 1690, and finally crushed at Aughrim in 1691. James fled to sanctuary in Catholic France, where his ally and the mortal enemy of William, Louis XIV, promised to assist him in retaking the British thrones.

in 1692 James and Louis assembled a fleet of French ships and an invasion force of French troops and exiled Jacobites, most of them Irish. Commanded by French admiral Tourville, the fleet of 44 ships of the line set sail for England in May. Knowing of the coming invasion, a combined fleet of British and Dutch ships - 82 in all - assembled at the Isle of Wight to stop the invasion.

The fleets sighted each other at first light on 29 May 1692, off Cap Barfleur. On sighting the allied fleet, Tourville held a conference with his officers. Their advice, and his own opinion, was against action; however, Tourville felt bound by strict orders from the king to engage. He may also have expected some defections by English captains with Jacobite sympathies, though in this he was to be disappointed.

Owing to the calm conditions, it was not until after 11 am, five hours after first sighting each other, that the two fleets engaged. Tourville had reinforced his centre, the White squadron under his own command, in order to engage Russell's Red squadron with close to equal numbers. Elsewhere, he sought to minimize damage by extending and refusing the van, to avoid them being turned and overwhelmed, while the rear was held back to keep the weathergage. The Allied commander, Russell, countered by holding fire as long as possible, to allow the French to come closer; Almonde, in the van, extended to try to overlap the French line, while Ashby, with the rear and some way off, sought to close and bring his Blue squadron into action. From around 11 am, and for the next few hours, both fleets bombarded each other, causing considerable damage.

The battle continued for the rest of the day and into the night, and was full of incident. At 1 pm, a change in the wind allowed Rear Admiral of the Red Sir Cloudesley Shovell to break the French line and the Dutch to start enveloping the French van. A flat calm descended at 4 pm, leaving both fleets in a fog. At 6 pm, Tourville was able to use the tide to gain a respite, and Shovell used the same tide at 8 pm for a fireship attack.

By 10 pm, the battle was almost over. Surprisingly, though most ships on both sides were damaged, and some severely, no ships from either battle line were lost. At the turn of the tide, Tourville again took advantage of this to cut cables and be carried down channel on the ebb, away from the scene of battle. Russell also cut when he realized what had happened, in order to give chase into the night.

First light on the 30 May saw the French fleet scattered into groups across a wide area. To the north of the battle scene, and heading northward, were Gabaret and Langeron, with four ships between them. They skirted the English coast later that day, and headed out into the Atlantic; eventually they would arrive safely at Brest. To the south, Nesmond was heading south-east towards the Normandy coast with six ships. Two of these would be beached at Saint-Vaast-la-Hougue, while another two would later put into Le Havre, where L’Entendu was wrecked at the harbour entrance. Nesmond, with the remaining two ships Monarque and Aimable, passed through the Strait of Dover, went north around Britain and finally arrived safely at Brest. Heading west was the main body in three groups: Villette leading with 15, followed by d’Amfreville with 12, and Tourville bringing up the rear with seven. The French were able to close up during the day, but Tourville was hampered by his efforts to save his flagship, Soleil Royal, which was in a pitiable condition. He recognized this later that day, and transferred his flag to L’Ambiteux.

In pursuit was Philips van Almonde and the Dutch fleet, with the various English divisions scattered behind. Many of these, particularly those of the English Red, were hampered by damage and lagged behind, leaving Almonde and Ashby closer to the French by the end of the day. Russell was forced to detach three ships to return to port for repairs. These later sighted Gabaret's group, but neither engaged. Shovell had to move his flag to Kent, owing to the damage to his flagship Royal William, while the damage to Britannia, Russell's flagship, caused his division serious delay.

On 31 May the French fleet was anchored against the tide off Cap de la Hague. The leading contingent, twenty-one ships—now under Pannetier—had rounded the cape and was in the Alderney Race, while the remainder, thirteen with Tourville and the other flag officers, were to the east. As the weather deteriorated, these ships began to drag their anchors and were forced to cut and run before the wind and tide. Three of the most badly damaged were forced to beach at Cherbourg; the rest, ten ships, reached St Vaast la Hougue where they too were beached, joining the two of Nesmond’s division that were already there. Russell’s and the ships with him, together with some of Ashby’s Blue squadron, also cut to pursue him, while Ashby and Almonde continued to shadow Pannetier's group.

Pannetier, in order to escape the pursuing allied fleet, sought to make the hazardous passage through the Alderney Race; in this he was helped by finding in his crew a local man, Hervé Riel, to act as pilot when his navigators demurred. Almonde and Ashby did not try to follow him; they were criticized later by Russell for not doing so, although the only flag officer who knew the waters, Carter, had died of his wounds.

Almonde attempted pursuit by taking his squadron west of Alderney, but the delay allowed Pannetier to pull too far ahead, and Almonde abandoned the chase. Pannetier later reached Saint-Malo in safety, while Almonde and Ashby turned east to rejoin Russell at la Hogue.

While Almonde and Ashby pursued Pannetier, Russell was chasing Tourville eastward along the Cotentin coast. Tourville, without anchors, was unable to do more than beach his ships; this he was able to do, leaving three at Cherbourg and taking the remaining ten to St Vaast la Hougue (where they joined the two ships from Nesmond's division that were already there).

The Soleil Royal, Admirable, and Triomphant were in such bad shape they had to be beached at Cherbourg. They were destroyed there on 2 June by Vice-Admiral Delaval, attacking from long boats and with fireships.

Meanwhile, Russell had turned on the remaining ships. These had sought refuge at La Hougue where they would be under the protection of the assembled land forces and a battery. On 3 June and 4 June, the Dutch and English attacked with long boats. By this time, the French crews were exhausted and disheartened. The allies successfully deployed shore parties and fireships that burnt all twelve French ships of the line which had sought shelter there. This last action became celebrated in England as the Battle of La Hogue.

The dispersal of the French fleet put an end to the Franco-Jacobite invasion plans, and the Allied victory was commemorated in England by a Fleet Review. Following the battle, the French abandoned the idea of seeking naval superiority for its own sake, adopting instead a continental strategy on land and pursuing a war against trade (guerre de course) at sea.

#history #military history #royal navy #17th century #williamite wars #nine years war #louis xiv #William iii #king William iii #William prince of orange #tall ships #age of sail

42 notes · View notes