Update an old blazer with these ultra kitsch and stylish retro school nostalgia pins, become the head boy you always despised đ
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Update an old blazer with these ultra kitsch and stylish retro school nostalgia pins, become the head boy you always despised đ
Check it Out: Â www.retrokillerclothing.com
Filed under men, men's fashion, Uncategorized
Have a 1980s flashback, get out your shoulder pads, throw on some high waisted jeans, team them up with white socks and some loafers…oh don’t forget to sharpen your claws and sit back and indulge in alittle Dynasty nostalgia. Pure 80s class all the way from denver.
Check It Out: www.amazon.co.ukÂ
Filed under 1980s
âAlfieâ (1966) deals with issues of 1960âs London both subtly and cleverly entwined within the protagonistâs life and daily events. âAlfieâ does not represents the usual stereotypical view of âThe Swinging Sixtiesâ but instead creates a more realistic, gritty and sometimes dark view of the other side of London during the time.
The film deals with current political issues of abortion. It also looks at the role of the female under male submission. In looking at these issues it creates an overview of the attitudes to sex, sexism and gender roles of the period, which caused the beginning of revolution and built vital foundations for many decades to come.
Due to the great period of financial increase in Britain at the end of the 1950âs London and the rest of the country began to radically change, socially and physically. The physical landscape of the city changed due to large parts of London being destroyed in the war resulting in the replacement of the large concrete towers which shadow London even to this day. During this time cultural and artistsâ progressions helped shape and promote the image of âSwingingâ London which the protagonist of the film âAlfieâ is represented in and being at the heart of this cultural change. A new lifestyle of permissiveness and liberation was created and then first documented to the world in 1966 in the Timeâs Magazine article âLondon: The Swinging Cityâ by Piri Halasz. The article outlined the âcoolâ and âtrendyâ places to be in London such as Kings Road and Carnaby Street. The article stated that emancipation from old London was caused by affluence, âOffering both material and sexual opportunityâ The emergence of new youth subcultures formed a revolt against the older generation. But this image of âswingingâ London under the surface of the ânew youth orientated culture of the 1960âs helped mask the wider social inequalities and economic problemsâ. This is shown throughout the film âAlfieâ, London may have seemed a place of freedom and sexual revolution for all but âswingingâ London mostly remained a myth and for many people especially women this exaggerated image was more of a fairy tale.
The films most gripping and horrific scene is where the protagonist and a married woman (whom he had an affair with) go ahead with an illegal abortion in a shabby flat carried out by an unqualified doctor. The year after the film âAlfieâ was made, 1967, was the year The Abortion Act was introduced by Liberal MP David Steel, in support by the government and numerous conservatives. Before the act was introduced âThe law forbade all âunlawful attempts to procure a miscarriageâ, except where it is necessary to preserve the life of the mother.â(Wheen.F, The Sixties, 1982, P112). Leading up to the end of the 60âs many people started to question and dispute the restrictions of this law. This lead to Steelâs Act legalising abortions on the conditions that two doctors agreed that the birth of the child was dangerous to the womenâs mental and physical health or that the child may be born disabled. For affluent women private clinics offered safer but still illegal abortions, but for normal working class women of Britain safe legal abortion was not an option. Women either had no choice and go through with the pregnancy or use unorthodox methods of physical abuses such as cases of women throwing them selves down the stairs, substance abuse and back street abortions which were extremely dangerous and illegal (as shown in âAlfieâ).
This scene of the film effectively shows the traumaâs of women in1960âs who had no other option but to opt for an illegal and hazardous abortion. The pill had been introduced in the late 1950âs but did not become widely used until the late 1960s when it was finally introduced to the NHS in 1967. However the Pill was not given to unmarried women and the women had to rely on a doctor with a liberal attitude to the new conception as the pill was only available at local doctorâs practices. This created an obstacle for many women who did not dare to ask there doctor for the new conceptive pill. The 1960s went on to produce a third more illegitimate babies than the previous generation and in 1967 70,000 illegitimate babies were born resulting in women being forced into marriage with the father of the child, pushing up the number of âshotgun marriagesâ in Britain to 1 in 6 of all weddings.
âHad âAlfieâ come out in the 1970s, when Womenâs Lib was digging its spurs into male flanks, it would have been dubbed a crude propaganda tract for chauvinist male pigs.â(Walker.A, Hollywood, England, Harrap, London, P307). Throughout the film the protagonist treats women as mere objects rather than human beings. He refers to women as âBirdâ or âItâ. The film shows clear signs of male domination over women and the protagonistâs main method of supremacy is the degradation of the female as a lust-object.Â
During the 1960âs womenâs independence from men was very limited. In 1968 thirty eight percent of Britainâs workers were female. Women in administrative and clerical jobs earned around ÂŁ12 a week whereas men in the same industry earned more than double the amount with ÂŁ28. As is the same with Manual work, the women earning just ÂŁ10 and the man wages double with ÂŁ20 per week. This limits the womenâs independence since for survival she can not live with her wage alone but becomes reliant on the Males higher earnings, especially to support a family. This is shown in âAlfieâ where the character, Gilda, needs financial security to look after her baby as her wages, even working long hours in a brewery, can not support her and the baby easily.Â
There is some female independence in the film however. The character Ruby is rich American older women. She is the only women in the film to reject the protagonist just like he has with numerous other women throughout. It is essential that the independence of this woman relies on the fact that is very affluent and the fact that she is American not British suggesting that women in America are far more liberated than British women at the time. This was true in a sense. Womenâs liberation was politically visible in the 1960âs America but was hardly noticeable in Britain, this was due to the fact that in Britain there was still a certain acceptance between Men and Women âwhich softened the potential antagonisms which in America were already producing …violent and hysterical manifestations.â Not until the very end of the 1960âs were there any real developments which matched that of America. It came in the form of a book, âThe Female Eunuchâ by Germaine Greer. As this book was published in 1970 the book can be seen a reaction from British female repression in the 1960s and before, which then went on to influence the feminist movements of the 1970âs.
Although as a stated the feminist movements in the 1960âs were scarcely visible, however the foundations of what were to come in the 1970s were being laid and the 1960âs feminist movement was seen as âitâs springtime; the full summer was yet to come.â First many women, mainly middle class became intrigued by a new subculture which started to come to the forefront in Britain at the time, âThe Hippiesâ. This Hippy ideology promoted people to âtake up the idea of personal politics, of âdoing your own thingââ. In doing so women believed they would be emancipated from the role of âdomestic wifeâ and child bearer but then realising that the Hippie communities they join were no different and they too also wanted women to fulfil these same roles.Â
Secondly coming in to view was the experimentation with fashion. Mini skirts and hot pants dominated womenâs fashion in the mid and late 1960s, rebelling against strict Victorian values to cover up. However this sort of liberation is seen by some feminists as actually âmainly making it a picnic for menâ. But taking in to account this new style and behaviour was only a select group of women and was not a generalised code of conduct across the whole country. This new attitude and style caused the labelling as âpermissivenessâ which then went on to let women feel more sexually liberated as well as a act of freedom from men. This new sexual charged image helped started a revolution in the way men and women acted in society.
In âAlfieâ the protagonist leads a life of sexual freedom. With numerous partners and little care, producing the view that London and Britain in the 1960s was going through a sexual revolution resulting in the name âThe Swinging Sixtiesâ. What the film does show is that the new âswingingâ London and the sexual revolution of the 1960âs was mainly only beneficial for the men whilst the women had to deal with the consequences while the males and the protagonist show little conscience for the impact of there actions and carrying on living there supposed sexual revolution. This is shown in âAlfieâ where the protagonistâs sexual freedom does get him finally into difficulty when he has an affair with his ill hospital friendâs wife, leading to pregnancy and abortion. This particular incident is one of the only times in the film that the protagonists shows some morality to his carefree sexual antics.However the protagonist of the film is classed as a one-off âplayerâ and in the reality and larger scale of things the permissive society was only a small group of individualsâ in1960âs British society.
âConsidered in the larger context, this process is not as dreadful as it may seem. It is only the sudden change from a society with perhaps a hundred thousand makers of taste and players of the fashion game among a wilderness of millions who were too ignorant, poor and out of touch to care; to one in which there are five million players.â(Peter Laurie)
The idea of a care-free sexual revolution in Britain during the 1960s was more of a façade and only was apparent to groups of âLeisured elite…Bohemian fringeâ or minorities which then became exaggerated and out of proportions. However the era did show an emergence of a sexual climate in the 1960s due to involvement of many numerous factors which contributed to the change. The conceptive pill was introduced in the late 1950âs but came more widely used years later, The Abortion Act, The Sexual Offences Act and the amendment of The Divorce Act in 1969. A clear sign at the very beginning of the 1960âs which showed a clear sign of sexual change, which would later become more evident throughout the decade was the trial against the publishers, Penguin , of the D.H Lawrenceâs novel âLady Chatterleyâs Loverâ. The book previously banned in Britain when it was first introduced in 1920 for its lewd and sexual content was now under scrutiny again when Penguin took the decision to republish the book. The book created uproar with many people. However the prosecution presented a disastrous case for the banning of the book projecting an image of an outdated view of society being a strict and moralist Victorian era. Penguin were acquitted and the book became an instant phenomena in Britain, as the sales of the book went through the roof ( two million copies being sold in the first week after the trial) and helped lead the way for more sexual charged novels to hit British bookshop shelves.Â
 Nevertheless even though this contributed to âa compulsion to be sexualâ (Elizabeth Wilson) it did not create a casual care-free sexual behaviour shown in âAlfieâ by the protagonist, but instead âsexuality was both to expand and flower in liberated fashion and to be organised within marriageâ (Elizabeth Wilson). In a survey carried out by Geoffrey Gorer, âSex Marriage and Todayâ (1969) it shows that âTwenty six percent of men and sixty three percent of women were virgins and the time of marriageâ, this suggests that mostly the female population still regards their virginity to be a sacred part of marriage and that it must be kept specially for the person you love. In addition âEighty-six per cent of women and 74 per cent of men considered that they had really been in love at the time of marriage.â Furthermore Gorer also found that women found sexual love to be very important part of marriage, sixty-seven per cent of women believed this to be true. This reinforced the views that virginity is scared to love (mainly females) and that the âsexual permissivenessâ was not a myth of the 1960s but that it was an act carried out in marriage which Elizabeth Wilson stated above.Looking at the survey (Gorer 1969) and other sources from the time suggests that marriage is till very important in the 1960âs. In the film marriage is seen as an answer to the character, Gildaâs problems. In marrying, the character would gain financial security for her family and have the perfect family unit.
The film âAlfieâ deal with a wide range of issues related to gender, sexuality and sex in 1960s Britain. Matters of sexuality and gender are not upfront or aggressively displayed but are represented in a more subtle and âread between the linesâ approach. The issues of feminism, discrimination and male repression are played in a comedic approach which results in the contents of its jokes, no matter how offensive, going unnoticed throughout the majority of the film. The film deals with very strong issues of abortion which is the films hardest hitting message. It successfully shows what women of the time had to go through and offers an effective interpretation.
The main protagonist may seem like a spokesperson of the sexual revolution of the 1960s but he only represents a small group of people who carry out this âplayerâ image, which is more a depiction of a male fantasy figure rather than reality. The truth behind this façade is the care-free love and sexual freedom was more a uniformed liberation carried out in matrimony rather than arbitrary sexual behaviour.
The film effectively offers a wide interpretation of the issues in Britain of gender, sexuality and sex in the 1960s. âAlfieâ is about an individual, which is very important as it can not be generalised to represent the whole of Britain and the era, nevertheless it does raise key issues successfully throughout the film.
Edward Hopper has a new exhibition at SAM in Seattle. Entitled ‘Edward Hopper’s Women’, it looks at the relationship between the painter and his female muse. When looking at Hopper’s work you get a real sense of voyeurism, as if you are peering into the lives of all american 1940s and 1950’s characters going about their daily lives. I had the pleasure of seeing Hopper’s last exhibition at London’s Tate Modern, so if you can get over to Seattle take a look. The exhibition is on now till the 1st March, 2009.
More details at: http://www.seattleartmuseum.org
Filed under Art, Edward Hopper, exhibition, painting, Uncategorized