THE WORST PART OF HAVING CURLY HAIR IS WHEN PEOPLE ASK IF YOU HAVE BRUSHED YOUR HAIR LIKE NO I FUCKING HAVEN’T BECAUSE IF I DO THAT I WILL POOF UP AND LOOK LIKE A FUCKING CLOUD SO WOULD YOU RATHER WALK AROUND WITH A FUCKING CLOUD HEAD OR WITH PRETTY CURLS SHUT THE FUCK UP AND EAT YOUR STRAW HAIR
David Wojnarowicz wore this jacket in 1988, just 4 years before he’d ultimately die from AIDS. Sadly, just a few years ago some of his artistic work was censored at the Smithsonian. People in power are still content to try and erase his history and the continued struggles of people with AIDS
everyone everywhere please please please reblog this important artist.
Les Miserables is about rich, white boys who claim to be fighting for the poor.
Can someone please explain to me what their deal is?
They were schoolboys, never held a gun…
That impression is an unfortunate side effect of the musical and certain sections of the libretto.
Les Amis de l’ABC of the novel are a Republican revolutionary cell - one of many in Paris at the time and into the next decade or so. Many of these tended to be groupings of students, workers, members of the bourgeoisie etc. The Amis are described as a group of students who have strong ties to the workers, and indeed, one of the leaders in the group, Feuilly, is a worker. Not all the students are rich (one, Bossuet, is virtually penniless and in a ragged coat and another is the son of peasants made good). When it comes to fighting at that particular barricade there is a cross section of Parisians, just as there was in the historic 1832 rising.
The aims of the Republican movement at the time extend beyond socio-economic reform specifically targeting the poor and working classes - that’s part of their aim, but it extends beyond that (unfortunately it gets reduced to ‘cut the fat ones down to size’ in the musical). You had a regime which, having come to power in 1830 with vague assurances of uniting Republican aims with the monarchy - a throne surrounded by Republican ideals, as it was presented - by 1832 was becoming increasingly conservative. There was a crackdown on freedom of the press, freedom of assembly, etc, all coupled with a lack of representation in government with suffrage limited to a small, select group of property holders. So the Amis were fighting not just for one class, but for much broader aims. Enjolras and his followers want not to tear down one class - they want to elevate humanity.
The “they were schoolboys never held a gun” is grossly misleading. The Amis had been around since at least 1828 or so, and would have gone through the 1830 Revolution - a Revolution that successfully toppled the last of the Restoration Bourbons, Charles X, but which was highjacked by the Orleanist faction that put Louis-Philippe on the throne. Students at the time had had a long, long involvement in the political process and in urban warfare and insurrection - the decade or so leading up to 1832 was extremely violent, with a great deal of street fighting.
In short, you’re looking at a group of highly political engaged young men, experienced in urban combat, who are fighting for much broader aims than specifically targeting a single class - in fact, they’re fighting for the same sort of political liberties and equality that are taken for granted in many countries today, and for aims beyond that.
Hope this helps explain the context.
Also Les Amis were most likely based around the Société du Les Amis du Peuple and the Société de Les Droits de l’Homme et du Citoyen (if I’ve fucked up on grammar here please assist me, my French is shit).
The Amis du Peuple were a more moderate society that fell apart after a series of trials in 1830/1831, survived by the SDHC, which began life as their paramilitary arm. The SDHC was separated into sections of 10 to 19 men — if a group hit 20, they’d split in half and form two separate sections. There is extensive written record of the SDHC’s activity particularly during and after the June Rebellion.
I would also make the argument that Hugo may have patterned Enjolras, Combeferre, and Courfeyrac specifically after the three leaders of the later Société des Familles, Blanqui, Barbès, and Martin-Bernard. According to Jill Harsin’s book Barricades, pg. 112:Their respective characters were well captured by the procureur-général in 1839, when he described Blanqui as the intellectual, Barbès as the “man of action,” and Martin-Bernard as the recruiter, constantly talking, visiting, persuading, cajoling…While Blanqui was in prison for 32 and I can’t find information about the others, this description does feel awfully familiar, doesn’t it?(I mean come on, even the alliteration points this way).So yeah, these aren’t just kids blundering their way through a riot gone out of hand. These are armed and dangerous insurgents who organized this thing they were going to do, likely on the experience they had in 1830 and in previous riots — after all, Bahorel was stated to have been present at the riot at the funeral of student Lallemand in 1822.They weren’t victims in any way, but political and ideological martyrs. The brick makes that very clear and I think it makes perfect sense that “Turning” downplays that — because that song is from people mourning them, who don’t want to believe that these young guys could have chosen their deaths like this.
Background art from Ghost in the Shell (1995)