Bohemian Life Quotes

It's everybody, I mean. Everything everybody does is so — I don't know — not wrong, or even mean, or even stupid necessarily. But just so tiny and meaningless and — sad-making. And the worst part is, if you go bohemian or something crazy like that, you're conforming just as much only in a different way.

There is strange comfort in knowing that no matter what happens today, the Sun will rise again tomorrow.

The struggles we endure today will be the ‘good old days’ we laugh about tomorrow.

She was born to be free, let her run wild in her own way and you will never lose her.

It's in those quiet little towns, at the edge of the world, that you will find the salt of the earth people who make you feel right at home.

Life's trials will test you, and shape you, but don’t let them change who you are.” ~ Aaron Lauritsen, ‘100 Days Drive

True friends don't come with conditions.

Love is the bee that carries the pollen from one heart to another.

From this point forward, you don’t even know how to quit in life.” ~ Aaron Lauritsen, ‘100 Days Drive

Those who achieve the extraordinary are usually the most ordinary because they have nothing to prove to anybody. Be Humble.

Why does everyone think a guy who prefers love to people is missing something in his life?

The freedom of the open road is seductive, serendipitous and absolutely liberating.

But an artist, he realized. Or rather so-called artist. Bohemian. That's closer to it. The artistic life without the talent.

I am part of everyone I ever dated on OK Cupid.

The Bohemian who tires of life, who gives up by retirement into insamity or suicide, is not necessarily one who had failed in what he wants to express.

The high road of grace will get you somewhere a whole lot faster then the freeway of spite.

We love our partners for who they are, not for who they are not.

I like being full of mystery and wonder, people always know im up to something but never know exactly what.

The trouble with fashions is you want to fuck the women in their fashions but when the time comes they always take them off so they don't get wrinkled. Face it, the really great fucks in a man's life was when there was no time to take yr clothes off, you were too hot and she was too hot - none of yr Bohemian leisure, this was middleclass explosions against snowbanks, against walls of shithouses in attics, on sudden couches in the lobby - Talk about yr hot peace.

It’s plain to see that the romance has slightly slipped from the Bohemian lifestyle. But we’re literary Gypsies, all of us, and it’s only recently that we’re starting to realise we’re not alone. The Internet is connecting all the healers and storytellers, the wild people and mystics, the writers and painters, and the ones who are slightly cracked. I’ve always loved wild people.

My environment reflects the life I've led, the places I've visited and the people I've loved.

Be a team player, not a bandwagon jumper.

I urge you to sit with yourself for 5 minutes and pour your heart out, ask yourself the serious questions ~ not the day to day duties we get caught up in. I can assure you, the 5 minutes spent reflecting on the life you have lived and how much more you're yet to achieve will spark something in you that we all forgot we have.

Life makes itself with little heed for the appropriate.

There is no such thing as loving a child too much.

Had he been naive, or overambitious? Both, probably. In life, you might be a bohemian and an adventurer, but you also sought a pattern, an arrangement to help you through, even if -- even as -- you kicked against it.

The Wrong Planet tribe are the pranksters, the court jesters, the comedians, the Bohemians, the flower children, the nomads and vagrants, the free spirits. Without these the world would be full of humans who are little more than robots.

ERNEST FRIEDLANDER: Be quiet! Be quiet! LEO MERCURÉ: Why should we be quiet? You’re making enough row to blast the roof off! Why should you have the monopoly of noise? Why should your pompous moral pretensions be allowed to hurdle across the city without any competition? We’ve all got lungs. Let’s use them! Let’s shriek like mad! Let’s enjoy ourselves!

Who thought up the dumb idea to arrange the memoir section in the bookstore by subject?

I later learned that Houston's "gig" was to "trancesport"/transport Cathy and little Kelly to the infamous Bohemian Grove for prostitution.

The highway of grace will get you somewhere a whole lot faster then the freeway of spite.

Real life's not all about romance and I should remember that.

A Bohemian life, filled with poetry, it cuts like a knife, without coquetry!

Successes are those highlights of life we look back on with a smile. But it's the day to day grind of getting them that defines the laugh lines etched until the end of time. Enjoy each moment along the way

And he was not angry. But, before the pain set in, he had the time to be rueful. He had laid everything out, the best of himself, and it had not been enough. He had considered himself a bohemian, but she had proved too bohemian for him. And he had failed to understand her explanation of herself.

Our life was so extraordinary and passionate, so intense if you like, because we were around each other all the time. We socialised together, and we worked together, and we loved together. When we all set off for our first season on the South coast of England - what we were really searching for was our tribe. Something about those years was the bringing together of ‘our tribe.’ These are the people who shaped me. We’re the pranksters, the misfits, the bohemians, the court jesters, the comedians, the crackpots, the Carefree Scamps, the nomads and free spirits. Without people like us the world would be full of humans who are little more than robots I love chaotic human beings, people who don’t follow the rules, who can’t be categorised, but whose loyalty is stronger than blood, and whose integrity is hard as nails.

in the 1970s people still referred to my mother as a Communist because she had a subscription to The Atlantic Monthly,

I find the smallest part of my life and crawl in there

Mysteries never end," Silette wrote. "And we solve them anyway, knowing we are both solving both everything and nothing. We solve them knowing the world will surely be as poorly or even worse off than before. But this is the piece of life we have been given authority over, nothing else; and while we may ask why over and over, no one yet has been given an answer.

The reign of such a one-dimensional reality does not mean that materialism rules, and that the spiritual, metaphysical, and bohemian occupations are petering out. On the contrary, there is a great deal of “Worship together this week,” “Why not try God,” Zen, existentialism, and beat ways of life, etc. But such modes of protest and transcendence are no longer contradictory to the status quo and no longer negative. They are rather the ceremonial part of practical behaviorism, its harmless negation, and are quickly digested by the status quo as part of its healthy diet.

About my interests: I don’t know if I have any, unless the morbid desire to own a sixteen-millimeter camera and make experimental movies can be so classified. Otherwise, I love to eat and drink – it’s my melancholy conviction that I’ve scarcely ever had enough to eat (this is because it’s impossible to eat enough if you’re worried about the next meal) – and I love to argue with people who do not disagree with me too profoundly, and I love to laugh. I do not like bohemia, or bohemians, I do not like people whose principal aim is pleasure, and I do not like people who are earnest about anything. I don’t like people who like me because I’m a Negro; neither do I like people who find in the same accident grounds for contempt. I love America more than any other country in the world, and, exactly for this reason, I insist on the right to criticize her perpetually. I think all theories are suspect, that the finest principles may have to be modified, or may even be pulverized by the demands of life, and that one must find, therefore, one’s own moral center and move through the world hoping that this center will guide one aright. I consider that I have many responsibilities, but none greater than this: to last, as Hemingway says, and get my work done.

So take him down into me on the bed. Give and offer what shelter I have. At first we are only people in love, reducing all life to the measure between us. But others pass into. Lives break through, making him go elsewhere and I become.

This bookstore—Calvin’s bookstore—was like something out of my wildest dreams. When I was little, before modeling became my life, all I wanted was for my parents to drop me off at a bookstore like this one, where I could lose myself in words for hours.

Sixty is heaven," she [bohemian Aunt Norma] told Jeanie as they sat having tea. "The world is done with you, you become to all intents and purposes invisible, particularly if you are a woman. I like to think of it as your third life. There's childhood, then adult conformity - work, family, responsibility - then just when everyone assumes it's all over and you're on the scrap heap of old age, freedom! You can finally be who you are, not what society wants you to be, not who 'you' think you ought to be.

The problem is that, when they say 'real people', what they mean is people who aren't burdened with ironic senses of humor, college educations that help them put up an analytical barrier between themselves and the actual world, and the pressure of living with the reality that they all grew up middle class, chose a broke-ass bohemian life and now have to deal with the fact that they can't afford the comforts they grew up with. So they're colonizing those normal people's neighborhoods, colonizing their experiences. It's pretty gross.

From being a romantic youth who fancied himself a footloose bohemian he had settled, with but a few stabs at ironic detachment, into a bourgeois life with a doting hausfrau and a richly wallpapered home filled with heavy Biedermeier furniture. He was no longer restless. He was comfortable.

All the hours and years since then inside vans, on buses, in airplanes and airports, in recording studios and lousy dressing rooms and motels and hotels were possible only because of the music that sustained that life. Music that could only have come out of New York’s bohemian downtown art scene and the people in it

Naturally, she had enemies. Her success, her sex, her racial origin and her bohemian extravagance reminded the puritanical why actors used to be buried in unhallowed ground. And over the decades her acting style, once so original, inevitably dated, since naturalness onstage is just as much an artifice as naturalism in the novel. If the magic always worked for some—Ellen Terry called her “transparent as an azalea” and compared her stage presence to “smoke from a burning paper”—others were less kind. Turgenev, though a Francophile and himself a dramatist, found her “false, cold, affected,” and condemned her “repulsive Parisian chic.

BRET The bohemians of So-Ho did pirouettes As we waltzed through the streets of Manhattan On rivers of ribbon and sailboats of songs... JEMAINE Bret, did any of this actually happen? BRET The girl I described She's as real as the wind It's true, I saw her today The other details are inventions Because I prefer her that way

Ultimately, the salon, Steffens noted, helped change the public perception of Greenwich Village, although hardly in the manner Dodge had hoped. What had been a neighborhood better known for cheap rents and no shortage of decrepit apartments was becoming almost chic, a kind of Latin Quarter in Manhattan. Small theaters and art galleries sprang up, and midtown shoppers and tourists took the time to cruise through the Village for a look at the new trendsetters. Steffens did not recall it as being exceptionally fashionable back in 1911, judging his own lifestyle to be “Bohemian, but not the fake sort.” If it was not fake, it was hardly genuine, either. Steffens was not about to starve in Greenwich Village.

Live every day as if you might be struck blind--that was the rule I made for myself now. In those first few days after the quarantine was lifted, we went around marveling at the smallest things, as if the Spanish flu had rendered us all blind & we'd suddenly gained our sight again. Every detail seemed suddenly as sharp as if seen for the first time. Life returned to SF, and it had never been more precious.

After those bohemian days, he went back to college, and returned to academic life. He never went on a long trip ever again. As far as I know, he’s spent his time since just shuttling back and forth between home and his office. It’s strange, isn’t it? No matter how quiet and conformist a person’s life seems, there’s always a time in the past when they reached an impasse. A time when they went a little crazy. I guess people need that sort of stage in their lives.

Karma," he said once, "is not a sentence already printed. It is a series of words the author can arrange as she choses." Love. Murder. A broken heart. The professor in the drawing room with candlestick. The detective in the bar with the gun. The guitar player backstage with the pick. Maybe it was true: Life was a series of words we'd been given to arrange as we pleased, only no one seemed to know how. A word game with no right solution, a crossword puzzle where we couldn't quite remember the name of that song.

I feel more like I am in the Middle East than in any recognizable part of Europe. There really are wild dogs everywhere, and they cry all night long. There is a least a miserable, bohemian glamour to the life here. There are a ton of outdoor cafes with people smoking and drinking rakia. Gypsies leading dancing bears around on leashes, attractive people, glue-sniffing teenage gangs - contradictions everywhere. My email is hard-wired into a big, gaping hole in the apartment wall and ants and little spiders keep crawling out. I am trying to keep an open mind.

Some very eminent critics writing in the decades immediately after the novel's publication felt that Eliot failed to maintain sufficient critical distance in her depiction of Ladislaw--that she fell in love with her own creation in a way that shows a lack of artistic control and is even unseemly, like a hoary movie director whose lens lingers too long on the young flesh of a favored actress. Lord David Cecil calls Ladislaw 'a schoolgirl's dream, and a vulgar one at that,' while Leslie Stephen complained 'Ladislaw is almost obtrusively a favorite with his creator,' and depreciated him as 'an amiable Bohemian.

The detective thinks he is investigating a murder or a missing girl but truly he is investigating something else all together, something he cannot grasp hold of directly. satisfaction will be rare. Uncertainty will be your normal state. Much of your life will be spent in the dark woods, no path visible, with fear and loneliness your only companions. But answers exist. Solutions wait for you, trembling, pulling you to them, calling your name, even if you cannot hear. And when you are sure that you have been forgotten, and that every step has been wrong, and that the woods are swallowing you whole, remember this: I too was once in those woods, and I have emerged to give you, if not a map or a path, hopefully at least a few clues. Remember that I, if no one else, know you are there, and will never give up hope for you, not in this lifetime or the next. And the day I came out of the woods I saw the sun as I had never seen it before, which is the only consolation I can offer as of now. I believe that someday, perhaps many lifetimes from now, all will be explained, and all mysteries will be solved. All knowledge will be free for the taking, including the biggest mystery of all - who we really are. But for now, each detective, alone in the woods, must take her clues, and solve her mysteries herself. - Jacques Silette, Detection

Soon enough my mind hooked onto the missing guitars and the locked door and the hole filled up with clues and suspects and all the detective stuff and I could pretend it was just another case. The guitars. The lock. The keys. The gun. The musician in the drawing room with the gun. The duchess in the kitchen with the guitar. I let my mind fill with the case. It was only a case. Only another case. Another sentence of words to arrange. Maybe that was all there was to life. One long case, only you kept switching roles. Detective, witness, client, suspect. Then one day I'd be the victim instead of the detective or the client and it would all be over. Then I'd finally have a fucking day off.

Bohemian Rhapsody" Is this the real life? Is this just fantasy? Caught in a landslide No escape from reality Open your eyes Look up to the skies and see I'm just a poor boy, I need no sympathy Because I'm easy come, easy go Little high, little low Any way the wind blows Doesn't really matter to me, to me Mama, just killed a man Put a gun against his head Pulled my trigger, now he's dead Mama, life had just begun But now I've gone and thrown it all away Mama, ooh Didn't mean to make you cry If I'm not back again this time tomorrow Carry on, carry on as if nothing really matters Too late, my time has come Sends shivers down my spine Body's aching all the time Goodbye, everybody, I've got to go Gotta leave you all behind and face the truth Mama, ooh (Any way the wind blows) I don't wanna die I sometimes wish I'd never been born at all I see a little silhouetto of a man Scaramouche, Scaramouche, will you do the Fandango? Thunderbolt and lightning very, very frightening me (Galileo) Galileo (Galileo) Galileo Galileo Figaro Magnifico-o-o-o-o I'm just a poor boy, nobody loves me He's just a poor boy from a poor family Spare him his life from this monstrosity Easy come, easy go, will you let me go? Bismillah! No, we will not let you go (Let him go!) Bismillah! We will not let you go (Let him go!) Bismillah! We will not let you go (Let me go!) Will not let you go (Let me go!) Never let you go (Never, never, never, never let me go) Oh oh oh oh No, no, no, no, no, no, no Oh, mamma mia, mamma mia (Mamma mia, let me go) Beelzebub has a devil put aside for me, for me, for me So you think you can stone me and spit in my eye? So you think you can love me and leave me to die? Oh, baby, can't do this to me, baby Just gotta get out, just gotta get right outta here Ooh, ooh yeah, ooh yeah Nothing really matters Anyone can see Nothing really matters Nothing really matters to me Any way the wind blows Freddie Mercury, A Night At The Opera (1975)

Charles Ryder, the successful dilettante, the antiquarian, the Bohemian poseur, is finally woven into what is a true culture. Brideshead is his home, not because he grew up there (he did not), but because it has placed him, as if he were a stone, in an ancient edifice of meaning. He is in communion with the Crusaders who fought at Acre, now in ruins, and Jerusalem, also in ruins. He is in communion with the friend of his youth, the alcoholic Sebastian, now an exile, a pilgrim, and a man with a home, half in and half out of a community of monks in North Africa, where one morning, as his sister Cordelia foretells, “after one of his drinking bouts, he’ll be picked up at the gate dying, and show by a mere flicker of the eyelid that he is conscious when they give him the last sacraments. It’s not such a bad way of getting through one’s life.”12 It beats secular exhaustion and a shot of morphine. This being home is not a sentiment. It is a felt reality, and from this day on it gives form to Charles’s life. “You’re looking unusually cheerful today,” a soldier tells him in the last line of the book.

You mentioned that Palermo, the part of Buenos Aires where you were brought up, had been a violent place full of bohemians and bandits. There they had two names for the knife, ‘the blade’ and ‘the slicer’. The two names described the same object, but ‘the blade’ was the thing itself, and ‘the slicer’ described its function. ‘The blade’ could fit in the hand even of a sickly child shut up in his father’s library, ‘the blade’ could be any of the superannuated daggers and swords belonging to his warrior grandfather or great-grandfather and displayed on the walls of his house, but ‘the slicer’, the knife in the hand slicing back and forth, in and out, existed only in his imagination, in a fascinating world of rapid settlings of accounts and duels over honor, an insult or a woman, in dark street where you never went, where no writer went, except in the literature he wrote. ‘I’ve always felt that in order to be a great writer, one should have the experience of life at sea, which is why Conrad and Melville and, in a way, Stevenson, who ended his days in the South Seas, were better than all of us, Vogelstein. At sea, a writer flees from the minor demons and faces only the definitive ones. A character in Conrad says that he has a horror of ports because, in port, ships rot and men go to the devil. He meant the devils of domesticity and incoherence, the small devils of terra firma. But I think that having experience of “the slicer” would give a writer the same sensation as going to sea, of spectacularly breaking the bounds of his own passivity and of his remoteness from the fundamental matters of the world.’ ‘You mean that if the writer were to stab someone three times, he could allege that he was merely doing so in order to improve his style.’ ‘Something like that. Soaking up experience and atmosphere.’ ‘It’s said that the artist Turner used to have himself lashed to the ship’s mast during storms at sea so that he could make sure he was getting the colours and details of his painted vortices right.’ ‘And it worked. But neither you nor I will ever experience “the slicer”, Vogelstein. We are condemned to “the blade”, to the knife purely as theory. Even if we used “the slicer” against someone, we would still be ourselves, watching, analyzing the scene, and, therefore, inevitably, holding “the blade” in our hand. I don’t think I could kill anyone, apart from my own characters. And I don’t think I would feel comfortable at sea either. There aren’t any libraries at sea. The sea replaces the library.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Before the assassination of President John F. Kennedy, the very word conspiracy was seldom used by most Americans. The JFK assassination was the seminal national event in the lives of the Baby Boomer generation. We’ve heard all the clichés about the loss of our innocence, and the beginning of public distrust in our government’s leaders, being born with the events of November 22, 1963, but there’s a good deal of truth in that. President Kennedy tapped into our innate idealism and inspired a great many people, especially the young, like no president ever had before. John F. Kennedy was vastly different from most of our elected presidents. He was the first president to refuse a salary. He never attended a Bilderberg meeting. He was the first Catholic to sit in the Oval Office, and he almost certainly wasn’t related to numerous other presidents and/or the royal family of England, as is often the case. He was a genuine war hero, having tugged an injured man more than three miles using only a life preserver’s strap between his teeth, after the Japanese had destroyed the boat he commanded, PT-109. This selfless act seems even more courageous when one takes into account Kennedy’s recurring health problems and chronic bad back. He was an intellectual and an accomplished author who wrote many of his memorable speeches. He would never have been invited to dance naked with other powerful men and worship a giant owl, as so many of our leaders do every summer at Bohemian Grove in California.

It had been hard enough to drive past the area. It was harder to imagine what it was like living there. Yet people lived with the stench and the terrible air, and had careers there. Even lawyers lived there, I was told. Was the smell of excrement only on the periphery, from the iridescent black lake? No; that stench went right through Dharavi. Even more astonishing was to read in a Bombay magazine an article about Papu's suburb of Sion, in which the slum of Dharavi was written about almost as a bohemian feature of the place, something that added spice to humdrum middle-class life. Bombay clearly innoculated its residents in some way. I had another glimpse of Dharavi some time later, when I was going in a taxi to the domestic airport at Santa Cruz. The taxi-driver - a Muslim from Hyderabad, full of self-respect, nervous about living in Bombay, fearful of sinking, planning to go back home soon, and in the meantime nervously particular about his car and his clothes - the taxi-driver showed the apartment blocks on one side of the airport road where hutment dwellers had been rehoused. In the other direction he showed the marsh on which Dharavi had grown and, away in the distance, the low black line of the famous slum. Seen from here, Dharavi looked artificial, unnecessary even in Bombay: allowed to exist because, as people said, it was a vote-bank, and hate-bank, something to be drawn upon by many people. All the conflicting currents of Bombay flowed there as well; all the new particularities were heightened there. And yet people lived there, subject to this extra exploitation, because in Bombay, once you had a place to stay, you could make money.

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

He also stayed awake all night many times in the neon-lit insomnia of cities where the all-nighter is culturally certified and commercially mandated. But the all-nighter of the bohemian heroes was something else: it was spiritual work, the night shift; they stayed awake so the demons that haunt the world wouldn’t get them in their sleep.

He thoroughly abhorred those bohemians who aped the ways of Paris and Hollywood, and he had nothing but disgust for all those cynical, uprooted intellectuals who knew only how to pour scorn and sarcasm on everything, together with their scribbles about modern art, which amounted to no more than the emperor’s new clothes.

Story of My Life absorbs all of Casanova’s pent-up creativity from the day in 1789 he begins writing it as an act of desperation, ‘the only remedy to keep from going mad or dying with grief’. Unable to break out of his Bohemian prison in the same way he once famously broke out of Venice’s Leads, he escapes in the only way possible: by time-travelling through his past.

I had to break up with him. He literally refused to sing along whenever I put on “Bohemian Rhapsody” in the car. I don’t need that kind of negativity in my life.

Frankie lies to Hollywood and suffers from Bohemian Rapsody.

In life, like art, there has to be an essential sense of weirdness.

By adopting the life of the artist the rich have not learnt more about art, and they respect it less. With their more irresponsible “ bohemian ” life they have left behind their “ responsibilities ”—a little culture among the rest. Indeed they are almost as crudely ignorant as is the traditional painter. Besides—living in cafes, studios and “ artistic ” flats—they are all “ artists ” in a sense themselves. They have made the great discovery that every one wielding brush or pen is not a “ genius,” any more than they are. But they have absorbed a good deal of the envy of those who are not “ geniuses ” for those who are (having in a sense placed themselves- upon the same level)—and the contempt of those who are, for those who are not. The result is that they abominate good art as much as bad artists do, and have as much contempt for bad art as have good artists ! There is more indifference to and often hatred of every form of art in these pseudo-artistic circles—in the studios, in short, now mostly occupied by them—than in all the rest of the world put together.

As a kid, I quite fancied the romantic, bohemian idea of being an artist. I expect I thought I could escape from the difficulties of maths and spelling. Maybe I thought I would avoid the judgment of the establishment.” —Peter Wright

Margrethe Mather, a photographer from Los Angeles, came to his studio in Glendale, California called Tropico, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, lustful, relationship. Both Weston and Mather became active in the growing bohemian cultural scene in the greater Los Angeles area. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common.

Esmeralda [in Hugo’s Hunchback of Notre Dame] is afraid to look up at Quasimodo while she gladly pets his nanny-goat with its horns and hooves, so that Quasimodo groans, ‘My misfortune is that I still resemble a man too much. I would like to be entirely a beast, like this she-goat.’ If the Bohemian beauty had taken Quasimodo as an entirely separate species and not as a deformed specimen of humanity, no doubt she would have learned to cuddle up to him without disgust, just like a cute little lamb, which, if she were to judge it by classical ideals for the young male human figure, would appear to her like a hideous monster.

Gross was a habitué of the decadent bohemian café society of Munich’s Schwabing district—a kind of early-twentieth-century Haight-Ashbury—and embraced the radical social ideas prevalent in Monte Verità, the “Mountain of Truth,” an early alternative community established in Ascona, Switzerland, in 1900, where as the historian Martin Green argued, “the counterculture began.”15 Notables such as Hermann Hesse, Rudolf Steiner, Isadora Dun-can, and many more made the trek to Monte Verità to take the nature cure, practice nudity (not Steiner), meditate, grow their own vegetables, enjoy “free love,” and in general cast off the ills of an increasingly mechanized society. Gross was initially drawn to psychoanalysis because, with its emphasis on the dangers of sexual repression, it seemed a potent weapon against authoritarianism.

I know writers like to think of themselves as bohemians,' he said, 'but that doesn't mean they can't behave like decent human beings.

For a long time this Bohemian life was taken to be the ideal for the artist, and it has come in the last few decades to be considered an ideal for more than the artist.

I took to spending free days wandering the Joslyn galleries, where, among other things, I tried to reconcile Renoir’s plump and rosy, wine-warmed wenches with the graceful if sinister beauty of the B-47 bombers nurtured and nourished at my air force base, eventually concluding that anything that says yes to life (a Renoir) is automatically saying no to war, regardless of how attractively its weapons and justifications may be packaged. Thus, like those bohemians with whom he was feeling a growing kinship, Airman Second Class Tommy Rotten woke up one morning to find himself once and for all a pacifist.

You’re profiling me, for one, which would likely put you to be somewhere in that field, given the ride and attire. Your friend has an expensive suit that he wears to impress, but yours is less flashy. Your posture around him and good-natured ribbing towards him leads me to believe you’re equals, despite the financial difference. So I’m assuming he comes from money, and you’ve earned your own way. The SUV isn’t a standardized version. The blacked out windows are too dark to be legally tinted, but I know the FBI are given certain leniencies due to security risks. So am I right?” I really hate the way he continues to smile, as though he’s only more intrigued instead of freaked out. I wanted to freak him out. “You’re not a paid profiler, not FBI, and not affiliated with any military unit,” he says, confusing me. “Your outfit is bohemian chic, meaning you’re less worried about your outward appearance and more concerned with comfort. You sit alone by choice, and dismiss any attention sent your way. At first glance, you’re too feminist for your own good. At second glance, you’re someone who is hard to get close to because trust isn’t something you share too often. It keeps you from being hurt by people, but it also keeps you from having anyone in your life. At night, when you close your eyes and allow yourself to be vulnerable…that’s the only time you dare to wonder what it’d be like to be with someone.

There were micro-squabbles almost unbelievable to imagine now. The BBC was giving live coverage to the Beaulieu Jazz Festival in 1961 and they had to actually shut down the broadcast when trad jazz and modern jazz fans started to beat the shit out of each other, and the whole crowd lost control. The purists thought of blues as part of jazz, so they felt betrayed when they saw electric guitars—a whole bohemian subculture was threatened by the leather mob. There was certainly a political undercurrent in all this. Alan Lomax and Ewan MacColl—singers and famous folk song collectors who were patriarchs, or ideologues, of the folk boom—took a Marxist line that this music belonged to the people and must be protected from the corruption of capitalism. That’s why “commercial” was such a dirty word in those days. In fact the slanging matches in the music press resembled real political fisticuffs: phrases like “tripe mongers,” “legalized murder,” “selling out.” There were ludicrous discussions about authenticity. Yet the fact is, there was actually an audience for the blues artists in England. In America most of those artists had got used to playing cabaret acts, which they quickly found out didn’t go down well in the UK. Here you could play the blues. Big Bill Broonzy realized he could pick up a bit of dough if he switched from Chicago blues to being a folksy bluesman for European audiences. Half of those black guys never went back to America, because they realized that they were being treated like shit at home and meanwhile, lovely Danish birds were tripping over themselves to accommodate them. Why go back? They’d found out after World War II that they were treated well in Europe, certainly in Paris, like Josephine Baker, Champion Jack Dupree and Memphis Slim. That’s why Denmark became a haven for so many jazz players in the ’50s.

Samsāra was one name for the wheel of life and death, the stupidity we wander through, lost, until we find enlightenment and get to join with the divine. All the shit that hurts so much. The big things like death and loss and pain and also just the everyday grind of eating and sleeping and wanting and wanting and wanting—that was samsāra. You were supposed to want to get out of it. You were supposed to look for the exit, the golden ticket that could take you to the chocolate factory. Escape from New York. This way to the egress.

you are buying headphones or speakers, test them out with “Bohemian Rhapsody.” It has the complete set of highs and lows in instruments and vocals.

The Welsh are swine,” said the one-legged man in reply to a question from his son. “Absolute swine. The English are swine, too, but not as bad as the Welsh. Though really they’re the same, but they make an effort not to seem it, and since they know how to pretend, they succeed. The Scots are bigger swine than the English and only a little better than the Welsh. The French are as bad as the Scots. The Italians are little swine. Little swine ready and willing to gobble up their own swine mother. The same can be said of the Austrians: swine, swine, swine. Never trust a Hungarian. Never trust a Bohemian. They’ll lick your hand while they devour your little finger. Never trust a Jew: he’ll eat your thumb and leave your hand covered in slobber. The Bavarians are also swine. When you talk to a Bavarian, son, make sure you keep your belt fastened tight. Better not to talk to Rhinelanders at all: before the cock crows they’ll try to saw off your leg. The Poles look like chickens, but pluck four feathers and you’ll see they’ve got the skin of swine. Same with the Russians. They look like starving dogs but they’re really starving swine, swine that’ll eat anyone, without a second thought, without the slightest remorse. The Serbs are the same as the Russians, but miniature. They’re like swine disguised as Chihuahuas. Chihuahuas are tiny dogs, the size of a sparrow, that live in the north of Mexico and are seen in some American movies. Americans are swine, of course. And Canadians are big ruthless swine, although the worst swine from Canada are the French-Canadians, just as the worst swine from America are the Irish-American swine. The Turks are no better. They’re sodomite swine, like the Saxons and the Westphalians. All I can say about the Greeks is that they’re the same as the Turks: bald, sodomitic swine. The only people who aren’t swine are the Prussians. But Prussia no longer exists. Where is Prussia? Do you see it? I don’t. Sometimes I imagine that while I was in the hospital, that filthy swine hospital, there was a mass migration of Prussians to some faraway place. Sometimes I go out to the rocks and gaze at the Baltic and try to guess where the Prussian ships sailed. Sweden? Norway? Finland? Not on your life: those are swine lands. Where, then? Iceland, Greenland? I try but I can’t make it out. Where are the Prussians, then? I climb up on the rocks and search for them on the gray horizon. A churning gray like pus. And I don’t mean once a year. Once a month! Every two weeks! But I never see them, I can never guess what point on the horizon they set sail to. All I see is you, your head in the waves as they wash back and forth, and then I have a seat on a rock and for a long time I don’t move, watching you, as if I’ve become another rock, and even though sometimes I lose sight of you, or your head comes up far away from where you went under, I’m never afraid, because I know you’ll come up again, there’s no danger in the water for you. Sometimes I actually fall asleep, sitting on a rock, and when I wake up I’m so cold I don’t so much as look up to make sure you’re still there. What do I do then? Why, I get up and come back to town, teeth chattering. And as I turn down the first streets I start to sing so that the neighbors tell themselves I’ve been out drinking down at Krebs’s.

As much as we embraced our bohemian life, we were forced to recognize the reality of our predicament: We were all nearly penniless, mostly homeless, and without proper residence papers or health insurance in a foreign country.

Between me and life, I see only things that cause anxiety and feel none of those things that bring joy. I’ve noticed that unhappiness is something you see rather than feel, and joy is something you feel rather than see, because by not thinking and not seeing, you do acquire a certain contentment, like that of mystics and bohemians and utter scoundrels. All unhappiness enters through the window of observation and the door of thought.

It would have been easier to defy convention if she was aristocratic, bohemian, insouciant — more like George Sand, in other words — and not a lower-middle-class woman from a conservative Anglican family, who harboured ‘a desire insatiable for the esteem of my fellow creatures’.

The Impossible Banquet by Stewart Stafford Awakened by a stinging sun, Radiant wings of flame and gold, I breathe in dawn’s virgin hopes, With icy shards of doubting cold. Am I not my parents' child? Lost my way on a freedom roam, Invitation to a tempting feast, Over family, love, and home. Trapped within the world's crosshairs, Locked down with time to burn, Casting runestones, but too late, For visible escape, I yearn. An obsessive lady by my side, A judge of karma infernal, She took my life with her own hand, Bequeathing a wound eternal. Tomorrow’s hopes are now a ghost, No merciful release to illuminate, I wish to scrub away the past, A vain rebirth to change my fate. But I’m caught in the Reaper's maw, I weep for you who procrastinate, Sold my soul on Devil's Bridge, Then dragged through a fiery gate. Hope, community, society crash, Towering feats of grotesquery, You may not grieve for me who's gone, Time's cruel critic is all you see. © Stewart Stafford, 2023. All rights reserved.

Bohemians were starving artists not so much out of a desire to rebel against the culture but rather because France’s economy had not yet expanded enough to give them good jobs, or any jobs.

No man should go through life without once experiencing healthy, even bored solitude in the wilderness," Jack Kerouac said.

Eventually, white Bohemian communities of artists in Paris and New York and San Francisco would build on Whitman's ideals of individualism by trying to make life into art and vice versa. But they trailed behind Rueben in many ways, and his depths were deeper. His powers of observation and creation were more powerful, for he knew the weight of iron on his wrists. He drew on the old and new more effectively, for change had cost him a price the white Bohemians might never comprehend.

I would not be public about any yearnings to write. It would be an absolute disaster for a lady in your position to earn a reputation as a Bohemian.

The ragged bohemian life holds no charm for you anymore. But would you have reached your current position if you had not lived that life when you were younger?” “Now that you put it that way,” Carl said, “I agree that we might try to make some provision, in the future, for young bohemians—” “It wouldn't work,” Finkle-McGraw said. “I've been thinking about this for years. I had the same idea: Set up a sort of young artistic bohemian theme park, sprinkled around in all the major cities, where young New Atlantans who were so inclined could congregate and be subversive when they were in the mood. The whole idea was self-contradictory. Mr. Hollywood, I have devoted much effort, during the last decade or so, to the systematic encouragement of subversiveness.

Adoring fans, hipsters, bohemians, and wannabes lined up outside the narrow storefront club at 5 Cooper Square, hoping to catch Monk and his legendary quartet—John Coltrane, bassist Ahmed Abdul-Malik, and drummer Shadow Wilson. That night, Monk wanted to celebrate. Friends, family, and enthusiastic fans surrounded him. His “‘un’ years,” as his wife Nellie used to call them, were about to end.

Our neighborhood, the Cass Corridor,was a bohemian/ghetto area surrounding Wayne State University. It was no big deal to smoke weed, have long hair, or play music loud at night around here; it was a live-and-let-live type of neighborhood. We all knew each other, and there was a nice community vibe.

Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.

Erik? I had to break up with him. He literally refused to sing along whenever I put on “Bohemian Rhapsody” in the car. I don’t need that kind of negativity in my life.

Now as the train moved towards Calcutta, Malay felt as if his life was coming full circle. It had been a strange decision to visit the city at a time when post-Partition vomit and excreta was splattered on Calcutta streets. Marked by communal violence, anger and unemployment, the streets smelled of hunger and disillusionment. Riots were still going on. The wound of a land divided lingered, refugees from East Pakistan (now Bangladesh) continued to arrive in droves. And since they did not know where to go, they occupied the pavements, laced the streets with their questions, frustrations and a deep need to be recognised as more than an inconvenient presence on tree-lined avenues. The feeling of being uprooted was everywhere. Political leaders decided that the second phase of the five-year planning needed to see the growth of heavy industries. The land required for such industries necessitated the evacuation of farmers. Devoid of their ancestral land and in the absence of a proper rehabilitation plan, those evicted wandered aimlessly around the cities—refugees by another name. Calcutta had assumed different dimensions in Malay’s mind. The smell of the Hooghly wafted across Victoria Memorial and settled like an unwanted cow on its lawns. Unsung symphonies spilled out of St Paul’s Cathedral on lonely nights; white gulls swooped in on grey afternoons and looked startling against the backdrop of the rain-swept edifice. In a few years, Naxalbari would become a reality, but not yet. Like an infant Kali with bohemian fantasies, Calcutta and its literature sprouted a new tongue – that of the Hungry Generation. Malay, like Samir and many others, found himself at the helm of this madness, and poetry seemed to lick his body and soul in strange colours. As a reassurance of such a huge leap of faith, Shakti had written to Samir: Bondhu Samir, We had begun by speaking of an undying love for literature, when we suddenly found ourselves in a dream. A dream that is bigger than us, and one that will exist in its capacity of right and wrong and beyond that of our small worlds. Bhalobasha juriye Shakti

I didn’t understand about alcoholism yet, how booze and drugs fed the wounded animal in Walter, I just thought that’s how life was. Unpredictable and insane. I’d show up to school the day after one of his episodes feeling shell-shocked and spaced out. I don’t know how I manifested this stuff outwardly, but I never talked to anyone about it. I just wandered around in a daze, stuck in a severe hangover. I had no idea how to deal with it. I was very conscious of the things I loved about my family—the freedom of all of us walking around the house naked, Walter being a musician, the amazing jazz I heard, the well-stocked book and record shelves, the bohemian aspects of our life. But I’d lie in bed at night and wish that I had a boring, normal, dumb family. One with no creativity. I wished my dad worked in a factory, and my mom was a conservative housewife who wore ugly pantsuits. I wished they’d have petty arguments and watch TV; the way Archie Bunker and Edith behaved on the TV show All in the Family, or like the Battaglias back in Larchmont. I equated creativity with insanity.

Surely you’d agree it’s as necessary for an artist to show people the evidence of life’s beauty as it is to give them a document of its ugliness and despair?

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