Bohemian Style Quotes

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

The vain arrogance of the literati and the Bohemian artists dismisses the activities of the businessmen as unintellectual money-making. The truth is that the entrepreneurs and promoters display more intellectual faculties and intuition than the average writer and painter. The inferiority of many self-styled intellectuals manifests itself precisely in the fact that they fail to recognize what capacity and reasoning power are required to develop and to operate successfully a business enterprise.

The style was bohemian, but expensive. So, you might sit down on a couch that was soft and comfortable, looked like it had been purchased in the 1970s with its mismatched fabrics and wild color scheme, but then you’d later learn that the couch came from Roche Bobois and cost over forty thousand dollars.

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.

Dennis-John had a dark auburn head of hair, parted to the side. This styling was a never-ending crusade. The hair was wilful and wanted to break out into thick bohemian waves. Sometimes, when Dennis-John was drunk, or feeling beaten, or in a sustained fury, the hair succeeded. For this reason his hair could be used as an emotional barometer by those who knew him.

In those days, long before, a view over the rooftops of Paris was an unaffordable luxury. The apartment he had shared with a mousy young writer from Laon had a view of the Jardin de Luxembourg – if he stuck his head out of the window as far as it would go and twisted it to the left, a smudge of green foliage appeared in the corner of one eye. That had been his best apartment to date. They had decorated it in the ‘Bohemian’ style of the 1830s : a few volumes of Shakespeare and Victor Hugo, a Phrygian cap, an Algerian hookah, a skull on a broomstick handle (from the brother of a friend, Charles Toubin, who was an intern at one of the big hospitals) and, of course, a window box of geraniums, which was not only pretty but also illegal. (Death by falling window box was always high up the official list of fatalities.) For a proper view of Paris, they visited Henry’s painter friends who lived in a warren of attic rooms near the Barriere d’Enfer and called themselves the Water-Drinkers. When the weather was fine and the smell of their own squalor became unbearable, they clambered onto the roof and sat on the gutters and ridges, sketching chimneyscapes, and sending up more smoke from their pipes than the fireplaces below. Three of the Water-Drinkers had since died of various illnesses known collectively as ‘lack of money’. When the last of the three was buried, in the spring of 1844, Henry and the others had found themselves at the graveside without a sou to give a gravedigger. ‘Never mind’, said he, “you can pay me the next time, ‘ and then, to his collegue : ‘It’s all right – these gentlemen are a regular customers.

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.

Not unlike Mussolini in his early laissez-faire period with Alberto De Stefani, Hitler named as his first minister of finance the conservative Lutz Graf Schwerin von Krosigk. For a time, the Führer left foreign policy in the hands of professional diplomats (with the aristocratic Constantin von Neurath as foreign minister) and the army in the hands of professional soldiers. But Hitler’s drive to shrink the normative state and expand the prerogative state was much more sustained than Mussolini’s. Total master of his party, Hitler exploited its radical impulses for his own aggrandizement against the old elites and rarely (after the exemplary bloodbath of June 1934) needed to rein it in. Another suggested key to radicalization is the chaotic nature of fascist rule. Contrary to wartime propaganda and to an enduring popular image, Nazi Germany was not a purring, well-oiled machine. Hitler allowed party agencies to compete with more traditional state offices, and he named loyal lieutenants to overlapping jobs that pitted them against each other. The ensuing “feudal” struggles for supremacy within and between party and state shocked those Germans proud of their country’s traditional superbly trained and independent civil service. Fritz-Dietlof Count von der Schulenburg, a young Prussian official initially attracted to Nazism, lamented in 1937 that “the formerly unified State power has been split into a number of separate authorities; Party and professional organizations work in the same areas and overlap with no clear divisions of responsibility.” He feared “the end of a true Civil Service and the emergence of a subservient bureaucracy.” We saw in the previous chapter how the self-indulgently bohemian Hitler spent as little time as possible on the labors of government, at least until the war. He proclaimed his visions and hatreds in speeches and ceremonies, and allowed his ambitious underlings to search for the most radical way to fulfill them in a Darwinian competition for attention and reward. His lieutenants, fully aware of his fanatical views, “worked toward the Führer,” who needed mainly to arbitrate among them. Mussolini, quite unlike Hitler in his commitment to the drudgery of government, refused to delegate and remained suspicious of competent associates—a governing style that produced more inertia than radicalization. War provided fascism’s clearest radicalizing impulse. It would be more accurate to say that war played a circular role in fascist regimes. Early fascist movements were rooted in an exaltation of violence sharpened by World War I, and war making proved essential to the cohesion, discipline, and explosive energy of fascist regimes. Once undertaken, war generated both the need for more extreme measures, and popular acceptance of them. It seems a general rule that war is indispensable for the maintenance of fascist muscle tone (and, in the cases we know, the occasion for its demise). It seems clear that both Hitler and Mussolini deliberately chose war as a necessary step in realizing the full potential of their regimes. They wanted to use war to harden internal society as well as to conquer vital space. Hitler told Goebbels, “the war . . . made possible for us the solution of a whole series of problems that could never have been solved in normal times.

While Mussolini toiled long hours at his desk, Hitler continued to indulge in the lazy bohemian dilettantism of his art-student days. When aides sought his attention for urgent matters, Hitler was often inaccessible. He spent much time at his Bavarian retreat; even in Berlin he often neglected pressing business. He subjected his dinner guests to midnight monologues, rose at midday, and devoted his afternoons to personal passions such as plans by his young protege Albert Speer to reconstruct his hometown of Linz and the center of Berlin in a monumental style benefiting the Thousand-Year Reich. After February 1938 the cabinet ceased to meet; some cabinet ministers never managed to see the Fuhrer at all. Hans Mommsen went so far as to call him a 'weak dictator.' Mommsen never meant to deny the unlimited nature of Hitler's vaguely defined and haphazardly exercised power, but he observed that the Nazi regime was not organized on rational principles of bureaucratic efficiency, and that its astonishing burst of murderous energy was not produced by Hitler's diligence. Neither an extreme intentionalist view of the all-powerful leader ruling alone nor an extreme structuralist view that initiatives from below are the main motor of fascist dynamism is tenable. In the 1990s, the most convincing work established two-way explanations in which competition among midlevel officials to anticipate the leader's intimate wishes and 'work toward' them are given due place, while the leader's role in establishing goals and removing limits and rewarding zealous associates plays its indispensable role.

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she pairs real plants with their illustrated counterparts on beautiful posters from the Dutch label My Deer Art. To break up the style, she adds her own botanical frames with dried leaves. The entire look has a striking effect, mixing depth, textures and sizes. Another favourite prop for plant stylings are woven baskets with ethnic patterns – Pepper uses these to cover up unspectacular plant pots and thus adds a bohemian vibe to her houseplants.

He wiped his feet on the mat, stepped into the entry, and dropped his keys and briefcase on the side table next to the piano. His son, Reid, was descending the double staircase from the left, wearing, as usual, jeans and an Indian-style gauze shirt with a tab collar and flowing hem. The shirt was a solid, businessman blue, leaving an impression that was both too formal and too bohemian. As Whit had told his son too many times, fashion speaks volumes, and this fashion choice would prevent Reid from being taken seriously. At seventeen, it was something he needed to consider, pronto

The upper class in San Francisco is that way. The Bohemian Grove that I attend from time to time-the Easterners and the others would come there-but it is the most faggy goddamned thing you could ever imagine, the San Francisco crowd that goes in there. It's just terrible. I mean, I don't even want to shake hands with anybody from San Francisco...You know one of the reasons that fashions have made women look so terrible is because the goddammned designers hate women. Now that's the truth. You watch...some if those fellows, they have the flat-chested thing with horrible looking styles they run. That was really the designers taking it out on the women. I'm sure of that.

The upper class in San Francisco is that way. The Bohemian Grove that I attend from time to time-the Easterners and the others would come there-but it is the most faggy goddamned thing you could ever imagine, the San Francisco crowd that goes in there. It's just terrible. I mean, I don't even want to shake hands with anybody from San Francisco...You know one of the reasons that fashions have made women look so terrible is because the goddammned designers hate women. Now that's the truth. You watch...some of those fellows, they have the flat-chested thing with horrible looking styles they run. That was really the designers taking it out on the women. I'm sure of that.