#guillaume richard

[frostbeees]

[sportsallover]

Poll time! Who are you rooting for?

[chicinsilk]

US Vogue July 1957

Anne St. Marie poses in a hairstyle by Guillaume at Salon Marcel. She wears a black velvet hair bow by Mr. John. Faux pearl and rhinestone dangle earrings, from Lord & Taylor.

Anne St. Marie pose dans une coiffure par Guillaume au Salon Marcel. Elle porte un noeud dans les cheveux en velours noir par Mr. John. Boucles d'oreilles pendantes en fausses perles et strass, chez Lord & Taylor.

Photo Richard Rutledge vogue archive

[richardmaddenblog]

Richard Madden with Barbara Guillaume before his Jimmy Kimmel interview.

[randomrichards]

LA BELLE EPOGUE:

Sad middle aged man

Re-enacts first meeting with wife

Corp recreates past

[gbhbl]

Horror Movie Review: Censor (2021)

After viewing a strangely familiar video nasty, Enid, a film censor, sets out to solve the past mystery of her sister's disappearance.

Censor is a 2021 British psychological horror film directed by Prano Bailey-Bond. It was produced from a screenplay by Bailey-Bond and Anthony Fletcher. In 1985, Enid Baines works for the British Board of Film Classification during the height of the Video Nasty controversy. Enid’s co-workers call her “Little Miss Perfect” due to her insistence that violent content be cut or banned. While Enid is…

[perfettamentechic]

3 dicembre … ricordiamo …

3 dicembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2020: Patricia Marmont, Patricia Eileen Marmont, è stata un’attrice britannica di origine americana nei film di Hollywood e in televisione, e anche un’agente teatrale. Marmont è stata la principessa troiana Andromaca nel film Elena di Troia del 1956. Figlia dell’attore Percy Marmont. Per un periodo è stata sposata con l’attore caratterista Nigel Green. Si ritir�� dalla recitazione negli anni ’70 e…

[adamwatchesmovies]

Fear(s) of the Dark (2007)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

A black-and-white, animated horror anthology. I read those words on the back of Fear(s) of the Dark (Peur(s) du noir in French) and I was practically running towards the till to add it to my collection. Well, it certainly is black-and-white and I’d describe most of the shorts as “animated” but horror? That’s dubious. At best, this film is a little freaky. So many aspects of this collection are just plain wrong. It’s like someone deliberately sabotaged it. None of the stories are named so we’ll have to go through them chronologically and based on their description.

The first segment/Wraparound follows a grimacing man as he walks his four ferocious dogs down various streets. Letting them off their leashes one at a time, he laughs gleefully as they tear apart anyone in their path.

There is no reason for this story to be chopped up like it is except to make it seem longer. The visuals are interesting - the grimacing face of the man is pretty creepy - but what does it all mean? One of the canine’s victims is a boy with black, soulless eyes. Ok… so what? Does it symbolize anything? Not really. Next!

In the second segment/Wraparound, the disembodied voice of a woman (Nicole Garcia) confesses her various fears while abstract shapes appear on-screen.

There are several weird stories in this anthology and the segments vary in quality significantly. By far, this one is the weirdest and the worst. Not the least bit frightening, it's only visually stimulating for a short while, after which it becomes dull. Seeing squares move across the screen and circles twirl around, occasionally crossing over and changing from black to white or white to black is just about the last thing I'd associate with "fear".

The third story follows a young man named Eric (Guillaume Depardieu) who discovers and captures a strange human-like insect in the woods. It escapes into his room and disappears. Years later, he is a socially awkward college student who begins -against all odds- dating Laura (Aureoles Atika). The longer they are together, the more obsessive she becomes.

Anyone who has read Black Hole will instantly recognize this segment's visual style. It looks alright but Charles Burns' distinct designs work better on paper than they do on the 3D models used to bring this story to life. As for the rest, it disappoints. The weird bug Eric finds as a child is obviously tied to what’s happening between him and Laura. What does an obsessive girlfriend have to do with insects? Your guess is as good as mine. Only two of the stories in Fear(s) of the Dark feature strong violence and nudity, making the film R-rated. Too bad because no adult will be surprised by what this, or any other chapter in this film so far, has to offer.

In a small Japanese town, Ayakawa Sumako is teased by her classmates, who tell her the ghost of a samurai named Hajime will come to haunt her. Are they simply bullying the girl, or do the stories about her home by the cemetery have some bearing of truth?

Designed and directed by Marie Caillou, I suspect people will fall into two camps when it comes to this story. Either they’ll find the visuals quite cheap-looking, or fine. I fall into the latter category though I would describe it more as an experiment in Flash animation than something with potential for expansion. The story has a couple of neat visuals, particularly the yōkai but otherwise leaves you cold.

After a series of disappearances attributed to a wild animal, a young boy (Arthur H) living in rural France encounters a strange creature.

The second best of all the stories has a nice, straightforward structure. The conclusion is effective and gives you just the tiniest bit of the willies. There are some neat surprises and the premise is good. If all the previously disappointing attempts to scare you (assuming that’s the goal here) have left you disappointed, this is one you can look forward to.

To escape a blizzard, a man breaks into an abandoned home. Inside, he finds a photo album owned by the woman who used to live there before going insane.

We’re leaving on a high note… or we would if this segment wasn’t capped by the last bits of that woman monologuing wraparound. Either way, this is easily the best of the scary stories. The use of blacks and whites is masterful. The images are simple but striking. The suspense and scares are real. It's a joy to watch because most of the screen is taken up by this prevailing darkness and it’s only a few white shapes here and there that allow you to see and understand what’s happening. It could’ve easily been difficult to piece together the narrative, as there is no dialogue but everything’s clear. It's expertly done.

Despite two strong stories, Fear(s) of the Dark is predominantly boring. I don’t know what the editor who put all this together was thinking with two wraparounds, particularly the one directed by Pierre di Sciullo, which means nothing to anyone watching. If you don’t speak French, you’ll be frustrated by how needlessly wordy some of these stories are (French takes about 1 1/2 times as many characters to say what you would in English). If the payoff were big you wouldn’t mind but it isn’t.

Those who wind up with a physical copy of Fear(s) of the Dark" might think some redemption lies in the special features. I'm warning you to stay away from them. Some of the bonus materials are literally MySpace videos made by fans of the (then upcoming) project. It’s amateur hour to the max and frankly, embarrassing to watch. If the last two shorts of Fear(s) of the Dark are playing at a horror shorts festival, you could sit down and watch them but this package is not worth your time. (Original French on DVD, October 20, 2019)

[tonguesofdestruction]

Asterix und Obelix im Reich der Mitte mit neuem Kinostart

Asterix und Obelix im Reich der Mitte mit neuem Kinostart

Der kommenden Kinofilm Asterix und Obelix im Reich der Mitte bekommt einen neuen Kinostart. Der Film rund um die beliebten Gallier sollte ursprünglich am 9. Februar 2023 in die deutschen Kinos kommen. Jetzt wird der 18. Mai 2023. Immerhin ein Vierteljahr nach hinten verschoben. Im Film sind unter anderem Guillaume Canet, Gilles Lellouche, Marion Cotillard, Vincent Cassel sowie Pierre Richard und…

[canisalbus]

You said that you had a Vasco playlist (also probably one for Machete bcs duh) but i dont think i have ever seen you share them

If you feel comfortable, could you link them so I can rotate them in my head with a proper soundtrack

(Love ur work btw <3)

They have playlists, yes, but they're kind of messy and embarrassing and I'd like to keep the full ones private for now ´v`'

However, here's some songs that remind me of them at the moment:

Machete

Soap&Skin - Me and the Devil

Hozier - Take Me To Church

PVRIS - Holy

River Styx - Angel

Coldplay - Viva La Vida

Florence + The Machine - Hunger

Florence + The Machine - Breath of Life

Florence + The Machine - No Light, No Light

Florence + The Machine - What The Water Gave Me

Florence + The Machine - Bedroom Hymns

Florence + The Machine - Shake It Out

Florence + The Machine - Seven Devils

Florence + The Machine - Which Witch

Nicole Dollanganger - Executioner

Des Rocs - Used to the Darkness

Depeche Mode - Personal Jesus

Gang of Youths - Achilles Come Down

Rufus Wainwright - Hallelujah

AURORA - Heathens

AURORA - Blood In the Wine

Mitski - I'm Your Man

Muse - Take a Bow

Hurts - Exile

Hurts - Help

Richard Einhorn - Pater Noster

Guillaume David - Children of the Omnissiah

Keane - Sovereign Light Café

AJJ - Body Terror Song

carolesdaughter - please put me in a medically induced coma

Vasco

Hozier - Francesca

Lotte Kestner - Halo

Mitski - I Bet on Losing Dogs 

alt-J - Every Other Freckle

BØRNS - American Money

Lincoln - Saint Bernard

Rainbow Kitten Surprise - Fever Pitch

Barns Courtney - Glitter & Gold

Hurts - Illuminated

Hurts - Some Kind of Heaven

Woodkid - Conquest of Spaces

Woodkid - The Great Escape

Laura Veirs - July Flame

Sia - Fire Meet Gasoline

Mika - Origin of Love

La Bouquet - Sad People Dancing

Röyksopp - I Had This Thing

Lord Huron - The Night We Met

Johnny Klimek - Meeting Laura

Johnny Klimek - The Crowd Embrace

Florence + The Machine - Wish That You Were Here

Florence + The Machine - Drumming Song

Florence + The Machine - Cosmic Love

Florence + The Machine - Patricia

Belinda Carlisle - Heaven Is A Place On Earth

ABBA - Gimme! Gimme! Gimme!

You Are My Sunshine

Bonus (these only make sense if you know Finnish)

Scandinavian Music Group - Liian laiha rakkaani

Happoradio - Ihmisenpyörä

Happoradio - Sinun vaikka hajoat

PMMP - Viimeinen valitusvirsi

Antti Tuisku - Pyhä kosketus

Antti Tuisku - Mistä minä tiedän

Johanna Kurkela - Valoihminen

Iisa - Kaunein syy

[tickldpnk8]

Sandman casting so far

Aside from returning castmembers, this is what I’m seeing so far for our casting for the upcoming episodes as they align to storylines and arcs. (I’m pulling from Tudum and Redanian)

Midsummer Night’s Dream

Jack Gleeson as Puck

Ruta Gedmintas as Titania

Spike White as Dick Cowley

James Darch as Richard Burbage

Season of Mists

Esmé Creed-Miles as Delirium

Adrian Lester as Destiny

Freddie Fox as Loki

Clive Russell as Odin

Laurence O’Fuarain as Thor

Ann Skelly as Nuala

Douglas Booth as Cluracan

Song of Orpheus/Thermidor

Ruairi O’Connor as Orpheus

Ella Rumpf as Eurydice

Garry Cooper as Hades

Emmanuela Lia as Naya

Daphne Alexander as Bromie

Tafline Steen as Xantho

Paul Brennen as Captain Carnot

Daniel Hoffmann-Gill as Guillaume

A Game of You (?)/Brief Lives

Indya Moore as Wanda (also in AGoY, but we have filming of her in Brief Lives scenes)

Alison Nadine as Wanda’s mother (will appear where Wanda does)

Brief Lives

Jordan Adene as Donnie Capax

Steve Coogan as Barnabas

Barry Sloane as “The Prodigal.”

Kayode Akinyemi as Kris

Amber Rose Revah as Ishtar

Stewart Scudamore as Andros

The Kindly Ones

Returning cast members spotted filming

The Wake

Returning cast members spotted filming

High Cost of Living

Adwoa Akoto as Amelia Robbins

Unknown

Antonia Desplat in an Unknown Role

Charlotte Bate as Tally

Jade Burnett as Guardswoman

Lee Byford as Piccadilly Police Officer

Ben Allen as Simon

Gavin Spokes as Jeremy

Johnny Labey in an Unknown Role

Edward Chlerich in an Unknown Role

Andre Flynn in an Unknown Role

Wil Coban in an Unknown Role

Joel Burman in an Unknown Role

Rilwan Abiola Owokoniran in an Unknown Role

Bridgette Amofah in an unknown role

Jacqueline Boatswain as Prime Minister

Segun Fawole as Laurie Webb

Michael Lyle in an Unknown Role

Richard Nicholas Emerson as VIP Funeral Guest

Ruth Sheen in an Unknown Role

Tayla Kovacevic-Ebong in an Unknown Role

So what are we thinking these Unknown story lines and roles might be at this point?? We’ve seen filming for TKO and also The Wake, so at this point I think we’re going beyond what we thought we’d get and are now going to get the entire Sandman storyline.

If I have time later, I’ll add links to the above.

[dweemeister]

Whenever you feel alone, just remember that those kings will always be there to guide you. And so will I.

Born to a turbulent family on a Mississippi farm, James Earl Jones passed away today. He was ninety-three years old. Abandoned by his parents as a child and raised by a racist grandmother (although he later reconciled with his actor father and performed alongside him as an adult), the trauma of his childhood developed into a stutter that followed him through his primary school years – sometimes, his stutter was so debilitating, he could not speak at all. In high school, Jones found in an English teacher someone who found in him a talent for written expression, and encouraged him to write and recite poetry in class. He overcame his stutter by graduation, although the effects of it carried over for the remainder of his life.

Jones' most accomplished roles may have been on the Broadway stage, where he won three Tonys (twice winning Best Actor in a Play for originating the lead roles in 1969's The Great White Hope by Howard Sackler and 1987's Fences by August Wilson) and was considered one of the best Shakespearean actors of his time.

But his contributions to cinema left an impact on audiences, too. Jones received an Honorary Academy Award alongside makeup artist Dick Smith (1972's The Godfather, 1984's Amadeus) in 2011. From the end of Hollywood's Golden Age to the dawn of the summer Hollywood blockbuster in the 1970s to the present, Jones' presence – and his basso profundo voice – could scarcely be ignored. Though he could not sing like Paul Robeson nor had the looks of Sidney Poitier, his presence and command put him in league of both of his acting predecessors.

Ten of the films James Earl Jones appeared in, whether in-person or voice acting, follow (left-right, descending):

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) – directed by Stanley Kubrick; also starring Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, and Slim Pickens

The Great White Hope (1970) – directed by Martin Ritt; also starring Jane Alexander, Chester Morris, Hal Holbrook Beah Richards, and Moses Gunn

Star Wars saga (1977-2019; A New Hope pictured) – multiple directors, as the voice of Darth Vader, also starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, and Frank Oz

Claudine (1974) – directed by John Berry; also starring Diahann Carroll, Lawrence Hilton-Jacobs, and Tamu Blackwell

Conan the Barbarian (1982) – directed by John Milius; also starring Arnold Schwarzenegger, Sandahl Bergman, Ben Davidson, Cassandra Gaviola, Gerry Lopez, Mako, Valerie Quennessen, William Smith, and Max von Sydow

Coming to America series (1988 and 2021; original pictured) – multiple directors; also starring Eddie Murphy, Arsenio Hall, John Amos, Madge Sinclair, Shari Headley, Jermaine Fowler, Leslie Jones, Tracy Morgan, and KiKi Layne

The Hunt for Red October (1990) – directed by John McTiernan; also starring Sean Connery, Alec Baldwin, Scott Glenn, and Sam Neill

The Sandlot (1993) – directed by David Mickey Evans; also staring Tom Guiry, Mike Vitar, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis Leary, and Karen Allen

The Lion King (1994) – directed by Roger Allers and Rob Minkoff, as the voice of Mufasa; also starring Jonathan Taylor Thomas, Matthew Broderick, Jeremy Irons, Moira Kelly, Niketa Calame, Ernie Sabella, Nathan Lane, and Robert Guillaume, Rowan Atkinson, Whoopi Goldberg, Cheech Marin, Jim Cummings, and Madge Sinclair

Field of Dreams (1989) – directed by Phil Alden Robinson; also starring Kevin Costner, Amy Madigan, Ray Liotta, and Burt Lancaster

[napoleonic-sexyman-tournament]

Friends, enemies, comrades, Jacobins, Monarchist, Bonapartists, gather round. We have an important announcement:

The continent is beset with war. A tenacious general from Corsica has ignited conflict from Madrid to Moscow and made ancient dynasties tremble. Depending on your particular political leanings, this is either the triumph of a great man out of the chaos of The Terror, a betrayal of the values of the French Revolution, or the rule of the greatest upstart tyrant since Caesar.

But, our grand tournament is here to ask the most important question: Now that the flower of European nobility is arrayed on the battlefield in the sexiest uniforms that European history has yet produced (or indeed, may ever produce), who is the most fuckable?

The bracket is here: full bracket and just quadrant I

Want to nominate someone from the Western Hemisphere who was involved in the ever so sexy dismantling of the Spanish empire? (or the Portuguese or French American colonies as well) You can do it here

The People have created this list of nominees:

France:

Jean Lannes

Josephine de Beauharnais

Thérésa Tallien

Jean-Andoche Junot

Joseph Fouché

Charles Maurice de Talleyrand

Joachim Murat

Michel Ney

Jean-Baptiste Bernadotte (Charles XIV of Sweden)

Louis-Francois Lejeune

Pierre Jacques Étienne Cambrinne

Napoleon I

Marshal Louis-Gabriel Suchet

Jacques de Trobriand

Jean de dieu soult.

François-Étienne-Christophe Kellermann

17.Louis Davout

Pauline Bonaparte, Duchess of Guastalla

Eugène de Beauharnais

Jean-Baptiste Bessières

Antoine-Jean Gros

Jérôme Bonaparte

Andrea Masséna

Antoine Charles Louis de Lasalle

Germaine de Staël

Thomas-Alexandre Dumas

René de Traviere (The Purple Mask)

Claude Victor Perrin

Laurent de Gouvion Saint-Cyr

François Joseph Lefebvre

Major Andre Cotard (Hornblower Series)

Edouard Mortier

Hippolyte Charles

Nicolas Charles Oudinot

Emmanuel de Grouchy

Pierre-Charles Villeneuve

Géraud Duroc

Georges Pontmercy (Les Mis)

Auguste Frédéric Louis Viesse de Marmont

Juliette Récamier

Bon-Adrien Jeannot de Moncey

Louis-Alexandre Berthier

Étienne Jacques-Joseph-Alexandre Macdonald

Jean-Mathieu-Philibert Sérurier

Catherine Dominique de Pérignon

Guillaume Marie-Anne Brune

Jean-Baptiste Jourdan

Charles-Pierre Augereau

Auguste François-Marie de Colbert-Chabanais

England:

Richard Sharpe (The Sharpe Series)

Tom Pullings (Master and Commander)

Arthur Wellesley, 1st Duke of Wellington

Jonathan Strange (Jonathan Strange & Mr. Norrell)

Captain Jack Aubrey (Aubrey/Maturin books)

Horatio Hornblower (the Hornblower Books)

William Laurence (The Temeraire Series)

Henry Paget, 1st Marquess of Anglesey

Beau Brummell

Emma, Lady Hamilton

Benjamin Bathurst

Horatio Nelson

Admiral Edward Pellew

Sir Philip Bowes Vere Broke

Sidney Smith

Percy Smythe, 6th Viscount Strangford

George IV

Capt. Anthony Trumbull (The Pride and the Passion)

Barbara Childe (An Infamous Army)

Doctor Maturin (Aubrey/Maturin books)

William Pitt the Younger

Robert Stewart, 2nd Marquess of Londonderry (Lord Castlereagh)

George Canning

Scotland:

Thomas Cochrane

Colquhoun Grant

Ireland:

Arthur O'Connor

Thomas Russell

Robert Emmet

Austria:

Klemens von Metternich

Friedrich Bianchi, Duke of Casalanza

Franz I/II

Archduke Karl

Marie Louise

Franz Grillparzer

Wilhelmine von Biron

Poland:

Wincenty Krasiński

Józef Antoni Poniatowski

Józef Zajączek

Maria Walewska

Władysław Franciszek Jabłonowski

Adam Jerzy Czartoryski

Antoni Amilkar Kosiński

Zofia Czartoryska-Zamoyska

Stanislaw Kurcyusz

Russia:

Alexander I Pavlovich

Alexander Andreevich Durov

Prince Andrei (War and Peace)

Pyotr Bagration

Mikhail Miloradovich

Levin August von Bennigsen

Pavel Stroganov

Empress Elizabeth Alexeievna

Karl Wilhelm von Toll

Dmitri Kuruta

Alexander Alexeevich Tuchkov

Barclay de Tolly

Fyodor Grigorevich Gogel

Ekaterina Pavlovna Bagration

Ippolit Kuragin (War and Peace)

Prussia:

Louise von Mecklenburg-Strelitz

Gebard von Blücher

Carl von Clausewitz

Frederick William III

Gerhard von Scharnhorst

Louis Ferdinand of Prussia

Friederike of Mecklenburg-Strelitz

Alexander von Humboldt

Dorothea von Biron

The Netherlands:

Ida St Elme

Wiliam, Prince of Orange

The Papal States:

Pius VII

Portugal:

João Severiano Maciel da Costa

Spain:

Juan Martín Díez

José de Palafox

Inês Bilbatua (Goya's Ghosts)

Haiti:

Alexandre Pétion

Sardinia:

Vittorio Emanuele I

Lombardy:

Alessandro Manzoni

Denmark:

Frederik VI

Sweden:

Gustav IV Adolph

[dailyanarchistposts]

A.3.8 What is “anarchism without adjectives”?

In the words of historian George Richard Esenwein, “anarchism without adjectives” in its broadest sense “referred to an unhyphenated form of anarchism, that is, a doctrine without any qualifying labels such as communist, collectivist, mutualist, or individualist. For others, … [it] was simply understood as an attitude that tolerated the coexistence of different anarchist schools.” [Anarchist Ideology and the Working Class Movement in Spain, 1868–1898, p. 135]

The originator of the expression was Cuban born Fernando Tarrida del Marmol who used it in November, 1889, in Barcelona. He directed his comments towards the communist and collectivist anarchists in Spain who at the time were having an intense debate over the merits of their two theories. “Anarchism without adjectives” was an attempt to show greater tolerance between anarchist tendencies and to be clear that anarchists should not impose a preconceived economic plan on anyone — even in theory. Thus the economic preferences of anarchists should be of “secondary importance” to abolishing capitalism and the state, with free experimentation the one rule of a free society.

Thus the theoretical perspective known as “anarquismo sin adjetives” (“anarchism without adjectives”) was one of the by-products of a intense debate within the movement itself. The roots of the argument can be found in the development of Communist Anarchism after Bakunin’s death in 1876. While not entirely dissimilar to Collectivist Anarchism (as can be seen from James Guillaume’s famous work “On Building the New Social Order” within Bakunin on Anarchism, the collectivists did see their economic system evolving into free communism), Communist Anarchists developed, deepened and enriched Bakunin’s work just as Bakunin had developed, deepened and enriched Proudhon’s. Communist Anarchism was associated with such anarchists as Elisee Reclus, Carlo Cafiero, Errico Malatesta and (most famously) Peter Kropotkin.

Quickly Communist-Anarchist ideas replaced Collectivist Anarchism as the main anarchist tendency in Europe, except in Spain. Here the major issue was not the question of communism (although for Ricardo Mella this played a part) but a question of the modification of strategy and tactics implied by Communist Anarchism. At this time (the 1880s), the Communist Anarchists stressed local (pure) cells of anarchist militants, generally opposed trade unionism (although Kropotkin was not one of these as he saw the importance of militant workers organisations) as well as being somewhat anti-organisation as well. Unsurprisingly, such a change in strategy and tactics came in for a lot of discussion from the Spanish Collectivists who strongly supported working class organisation and struggle.

This conflict soon spread outside of Spain and the discussion found its way into the pages of La Revolte in Paris. This provoked many anarchists to agree with Malatesta’s argument that ”[i]t is not right for us, to say the least, to fall into strife over mere hypotheses.” [quoted by Max Nettlau, A Short History of Anarchism, pp. 198–9] Over time, most anarchists agreed (to use Nettlau’s words) that “we cannot foresee the economic development of the future” [Op. Cit., p. 201] and so started to stress what they had in common (opposition to capitalism and the state) rather than the different visions of how a free society would operate. As time progressed, most Communist-Anarchists saw that ignoring the labour movement ensured that their ideas did not reach the working class while most Collectivist-Anarchists stressed their commitment to communist ideals and their arrival sooner, rather than later, after a revolution. Thus both groups of anarchists could work together as there was “no reason for splitting up into small schools, in our eagerness to overemphasise certain features, subject to variation in time and place, of the society of the future, which is too remote from us to permit us to envision all its adjustments and possible combinations.” Moreover, in a free society “the methods and the individual forms of association and agreements, or the organisation of labour and of social life, will not be uniform and we cannot, at this moment, make and forecasts or determinations concerning them.” [Malatesta, quoted by Nettlau, Op. Cit., p. 173]

Thus, Malatesta continued, ”[e]ven the question as between anarchist-collectivism and anarchist-communism is a matter of qualification, of method and agreement” as the key is that, no matter the system, “a new moral conscience will come into being, which will make the wage system repugnant to men [and women] just as legal slavery and compulsion are now repugnant to them.” If this happens then, “whatever the specific forms of society may turn out to be, the basis of social organisation will be communist.” As long as we “hold to fundamental principles and … do our utmost to instil them in the masses” we need not “quarrel over mere words or trifles but give post-revolutionary society a direction towards justice, equality and liberty.” [quoted by Nettlau, Op. Cit., p. 173 and p. 174]

Similarly, in the United States there was also an intense debate at the same time between Individualist and Communist anarchists. There Benjamin Tucker was arguing that Communist-Anarchists were not anarchists while John Most was saying similar things about Tucker’s ideas. Just as people like Mella and Tarrida put forward the idea of tolerance between anarchist groups, so anarchists like Voltairine de Cleyre “came to label herself simply ‘Anarchist,’ and called like Malatesta for an ‘Anarchism without Adjectives,’ since in the absence of government many different experiments would probably be tried in various localities in order to determine the most appropriate form.” [Peter Marshall, Demanding the Impossible, p. 393] In her own words, a whole range of economic systems would be “advantageously tried in different localities. I would see the instincts and habits of the people express themselves in a free choice in every community; and I am sure that distinct environments would call out distinct adaptations.” [“Anarchism”, Exquisite Rebel, p. 79] Consequently, individualist and communist anarchist “forms of society, as well as many intermediations, would, in the absence of government, be tried in various localities, according to the instincts and material condition of the people … Liberty and experiment alone can determine the best forms of society. Therefore I no longer label myself otherwise than ‘Anarchist’ simply.” [“The Making of An Anarchist”, The Voltairine de Cleyre Reader, pp. 107–8]

These debates had a lasting impact on the anarchist movement, with such noted anarchists as de Cleyre, Malatesta, Nettlau and Reclus adopting the tolerant perspective embodied in the expression “anarchism without adjectives” (see Nettlau’s A Short History of Anarchism, pages 195 to 201 for an excellent summary of this). It is also, we add, the dominant position within the anarchist movement today with most anarchists recognising the right of other tendencies to the name “anarchist” while, obviously, having their own preferences for specific types of anarchist theory and their own arguments why other types are flawed. However, we must stress that the different forms of anarchism (communism, syndicalism, religious etc) are not mutually exclusive and you do not have to support one and hate the others. This tolerance is reflected in the expression “anarchism without adjectives.”

One last point, some “anarcho”-capitalists have attempted to use the tolerance associated with “anarchism without adjectives” to argue that their ideology should be accepted as part of the anarchist movement. After all, they argue, anarchism is just about getting rid of the state, economics is of secondary importance. However, such a use of “anarchism without adjectives” is bogus as it was commonly agreed at the time that the types of economics that were being discussed were anti-capitalist (i.e. socialistic). For Malatesta, for example, there were “anarchists who foresee and propose other solution, other future forms of social organisation” than communist anarchism, but they “desire, just as we do, to destroy political power and private property.” “Let us do away,” he argued, “with all exclusivism of schools of thinking” and let us “come to an understanding on ways and means, and go forwards.” [quoted by Nettlau, Op. Cit., p. 175] In other words, it was agreed that capitalism had to be abolished along with the state and once this was the case free experimentation would develop. Thus the struggle against the state was just one part of a wider struggle to end oppression and exploitation and could not be isolated from these wider aims. As “anarcho”-capitalists do not seek the abolition of capitalism along with the state they are not anarchists and so “anarchism without adjectives” does not apply to the so-called “anarchist” capitalists (see section F on why “anarcho”-capitalism is not anarchist).

This is not to say that after a revolution “anarcho”-capitalist communities would not exist. Far from it. If a group of people wanted to form such a system then they could, just as we would expect a community which supported state socialism or theocracy to live under that regime. Such enclaves of hierarchy would exist simply because it is unlikely that everyone on the planet, or even in a given geographical area, will become anarchists all at the same time. The key thing to remember is that no such system would be anarchist and, consequently, is not “anarchism without adjectives.”

[randomrichards]

AMELIE:

Timid French shop keep

Tries to better other’s lives

But must fix herself

[transmutationisms]

hi can you recommend any books on the histories of medical practices?

ok this is scattershot & disorganised geographically and temporally but, some starting points for medical practice & practitioners:

indian doctors in kenya, 1895–1940: the forgotten history, by anna greenwood & harshad topiwala

migrant architects of the nhs: south asian doctors and the reinvention of british general practice, by julian m simpson

herbs and roots: a history of chinese doctors in the american medical marketplace, by tamara venit shelton

the people's hospital: a history of mccords, durban, 1890s–1970s, by julie parle, vanessa noble, & christopher merrett

nationalizing the body: the medical market, print, and daktari medicine, by projit mukharji

doctors beyond borders: the transnational migration of physicians in the twentieth century, ed. laurence monnais & david wright

physicians, colonial racism, and diaspora in west africa, by adell patton

doctors of empire: medical and cultural encounters between imperial germany and meiji japan, by hoi-eun kim

the emergence of tropical medicine in france, by michael a osborne

the professionalisation of african medicine, ed. murray last & g.l. chavunduka

aaron mcduffie moore: an african american physician, educator, and founder of durham's black wall street, by blake hill-saya

atomic doctors: conscience and complicity at the dawn of the nuclear age, by nolan l james

beyond the state: the colonial medical service in british africa, ed. anna greenwood

before bioethics: a history of american medical ethics from the colonial period to the bioethics revolution, by robert baker

medicine and memory in tibet: amchi physicians in an age of reform, by theresia hofer

domingos álvares, african healing, and the intellectual history of the atlantic world, by james h sweet

pushing silence: modernizing puerto rico and the medicalization of childbirth, by isabel m cordova

the business of private medical practice: doctors, specialization, and urban change in philadelphia, 1900–1940, by james a schafer, jr

the lomidine files: the untold story of a medical disaster in colonial africa, by guillaume lachenal

fit to practice: empire, race, gender, and the making of british medicine, 1850–1980, by douglas haynes

the racial divide in american medicine: black physicians and the struggle for justice in health care, by richard d deshazo