“Wrinkled old age creeps up on us more
Than we can spit, and youth wears wings upon its shoulders—
Once lost, it cannot be recalled. We are not quick enough to
Things that fly.”
— Theocritus. “To a Boy” Idylls. Trans. Anthony Verity. New York; Oxford University Press Inc., 2002. 81. Print.
8:18 am • 11 March 2014
Shadows of the Moment 1978
Photo: Krass Clement
12:05 am • 11 March 2014 • 198 notes
The Jigsaw Murders Case
“On September 14, 1935, Buck Ruxton, a physician who lived in Lancashire, near the English-Scottish border, murdered his wife Isabella and her maid Mary Rogerson, and then mutilated their bodies and scattered the parts, in an effort to make them unidentifiable.
After a passerby discovered some remains under a bridge in Scotland, a team of forensic experts was assembled.
Using an array of scientific methods, the experts identified the victims and unmasked the perpetrator.
The painstaking reconstruction of the bodies of Isabella Ruxton and Mary Rogerson by forensic pathologist John Glaister Jr. and anatomist James Couper Brash—and pioneering use of photographic superimpositions—was the key evidence that led to Dr. Ruxton’s conviction and execution.
The success of the methods used in the Ruxton case, which was widely reported in the press, led to increased public and professional trust in the capabilities of forensic science.”
12:05 am • 11 March 2014 • 944 notes
Dancing in the Dragon Jaws.
Dancing in the Dragons Jaws is Los Angeles-based photographer Thomas Alleman’s profound and nuanced body of work taken of San Francisco’s broader gay community during the mid-1980s. Working as a newspaper photographer for The Sentinel at the time, he was given the time and liberty that all sociopolitical relevant issues—including those of the present day—deserve. After shelving this work for over a decade, Alleman went back in 2009 to uncover and scan images that he’d previously overlooked.
Intermixed with images of galas, glitter, and glam are also images that show the severity of the struggle facing San Francisco’s gay community in the mid-80s. Alleman recalls, “We reported and photographed a blizzard of protests and demonstrations, vigils and marches and sit-ins, as the community struggled for social and political recognition of the crisis. But not every drumbeat was martial, of course. Often it was syncopated and disco-y, and I watched countless partiers dance to it with a shimmy and a bounce, and with life-affirming joy. While many of the pictures demonstrate a community in lamentation, many others are about anger and resolve, and most are about love and life. And disco and drag.”
Because of this range in depiction, because of the patience shown for the fight, because of the far-reaching concern shown for one another—whether dressed in a suit or in drag—Alleman shows us a human issue, not just an LGBT one. Therein lies this collection’s heart. Furthermore, Alleman reminds us of “that moment in our social history—so long ago, and so very recent—when the first wave of the AIDS epidemic crashed onto one of our country’s most vibrant neighborhoods. And, while that tribe convulsed with well-earned fear, heartbreak and anger, some still found the courage and the will to celebrate the dream of life they’d come to San Francisco for, and they danced in the dragon’s jaws.”
12:04 am • 11 March 2014 • 694 notes