Podcast appearances and mentions of alfred douglas

Famoso no solo por su talento literario, sino también por su lengua afilada, Oscar Wilde vio truncadas su carrera y su salud a causa de la homofobia. Un juez le condenó por su relación íntima con un joven aristócrata, lord Alfred Douglas. Isabel Margarit y Ana Echeverría Arístegui repasan en este episodio del podcast de ‘Historia y Vida' el accidentado proceso y todas las desgracias que derivaron de él para el escritor y su familia.

Dublinský rodák Oscar Wilde patřil k nejobdivovanějším spisovatelům a společenským osobnostem své doby. V roce 1895 byl ovšem odsouzen ke dvěma letům vězení za milostný vztah k lordu Alfredu Douglasovi a jeho do té doby brilantní kariéra se zhroutila. Co se přesně stalo, popisuje první díl minisérie Slavní milenci v pořadu Portréty.

Dublinský rodák Oscar Wilde patřil k nejobdivovanějším spisovatelům a společenským osobnostem své doby. V roce 1895 byl ovšem odsouzen ke dvěma letům vězení za milostný vztah k lordu Alfredu Douglasovi a jeho do té doby brilantní kariéra se zhroutila. Co se přesně stalo, popisuje první díl minisérie Slavní milenci v pořadu Portréty. Všechny díly podcastu Portréty můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

By the end of 1895 Oscar Wilde's life was in ruins as he sat in Reading Gaol facing public disgrace, bankruptcy and, two years later, exile. Just ten months earlier the premiere of The Importance of Being Earnest at St James's Theatre in London had been greeted rapturously by both the audience and critics. In this episode Colin and Clare consider what Wilde was trying do with his comedy, written on the cusp of this dark future. The ‘strange mixture of romance and finance' Wilde observed in the letters of his lover, Alfred Douglas, could equally be applied to Earnest, and the satire of Jane Austen before it, but is it right to think of Wilde's play as satirical? His characters are presented in an ethical vacuum, stripped of any good or bad qualities, but ultimately seem to demonstrate the impossibility of living a purely aesthetic life free from conventional morality.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://apple.co/4dbjbjGIn other podcast apps: lrb.me/closereadingsRead more in the LRB:Colm Tóibín on Wilde's letters: https://www.lrb.co.uk/the-paper/v23/n08/colm-toibin/love-in-a-dark-timeColm Tóibín the Wilde family: https://www.lrb.co.uk/the-paper/v39/n23/colm-toibin/the-road-to-reading-gaolFrank Kermode: https://www.lrb.co.uk/the-paper/v09/n19/frank-kermode/a-little-of-this-honey Hosted on Acast. See acast.com/privacy for more information.

Henry Labouchère's amendment of 1885 had criminalised any sexual act between men, labelling it gross indecency, an offence which was a great deal easier to prove than the older charge of sodomy. In 1895, Oscar Wilde was at the peak of his fame and acclaim, with his play The Importance of Being Earnest having had a hugely successful premier. He was also in a stormy relationship with Alfred Douglas, the son of the Marquess of Queensberry (yes, he of the rules of boxing). Queensberry had already lost his eldest son, killed it was maintained in public in a shooting accident, believed in fact to have committed suicide, following an affair with no less a man than the Prime Minister, Lord Rosebery. When Queensberry realised that another son was involved in something similar, he hit the roof. He left a card at Wilde's club with the accusation that he was a ‘sodomite'. Wilde felt the accusation was so serious, he had to sue for libel. Sadly, his case fell apart, especially under the acute cross examination of a lawyer destined for a brilliant career in the law and in politics, Edward Carson. He defended Queensberry by setting out to show that the allegation against Wilde was true. Sadly, by doing that he provided all the evidence Wilde's enemies needed to have him condemned in a criminal trial himself. And with that, Wilde was bankrupted and his career destroyed. “I have ruined the most brilliant man in London,” Carson is reported to have said. Certainly, he contributed. But the real blame was a law that made the unorthodox behaviour of the most brilliant man in London not just a difference to tolerate, but a deviance to persecute. Illustration: Oscar Wilde and Alfred Douglas, in a gelatin silver photo of 1893, by Gillman & Co, National Portrait Gallery P1122 Music: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=4054OSCAR WILDE DIVENNE CATTOLICO E SI PENTI' PER LA SUA PERVERSIONE OMOSESSUALE«Il cattolicesimo è la religione in cui muoio», così disse il celebre poeta e drammaturgo Oscar Wilde poco prima di morire a Parigi, il 30 novembre 1900. Lo scrittore e saggista esperto del mondo britannico Paolo Gulisano si è concentrato anche sulla conversione di Wilde nel suo libro "Ritratto di Oscar Wilde" (Ancora 2009) in cui ha definito «un mistero non ancora pienamente svelato» la sua complessa personalità, arrivando a descrivere il profondo e autentico sentimento religioso del celebre poeta.Il cammino esistenziale di Oscar Wilde è stato un lungo e difficile itinerario verso il cattolicesimo, una conversione - ha spiegato Gulisano - «di cui nessuno parla, e che fu una scelta meditata a lungo, e a lungo rimandata, anche se - con uno dei paradossi che tanto amava - , Wilde affermò un giorno a chi gli chiedeva se non si stesse avvicinando troppo pericolosamente alla Chiesa Cattolica: "Io non sono un cattolico. Io sono semplicemente un acceso papista". Dietro la battuta c'è la complessità della vita che può essere vista come una lunga e difficile marcia di avvicinamento al Mistero, a Dio». Molte le persone che sono entrate in rapporto con lui e si sono convertite, come Robbie Ross, Aubrey Beardsley, e - ha continuato lo scrittore - «addirittura quel John Gray che gli ispirò la figura di Dorian Gray che diventato cattolico entrò anche in Seminario a Roma e divenne un apprezzatissimo sacerdote in Scozia. Infine, anche il figlio minore di Wilde divenne cattolico». Wilde soleva ripetere: «Il cattolicesimo è la sola religione in cui valga la pena di morire» (R. Ellmann, "Oscar Wilde", Rizzoli, Milano 1991, pag. 669).Wilde è oggi celebrato sopratutto come "icona gay", ma Gulisano ha spiegato che «non può essere definito tout court "gay": aveva amato profondamente sua moglie, dalla quale aveva avuto due figli che aveva sempre amato teneramente e ai quali, da bambini, aveva dedicato alcune tra le più belle fiabe mai scritte, quali "Il Gigante egoista" o "Il Principe Felice". Il processo fu un guaio in cui finì per aver querelato per diffamazione il Marchese di Queensberry, padre del suo amico Bosie, che lo aveva accusato di "atteggiarsi a sodomita". Al processo Wilde si trovò di fronte l'avvocato Carson, che odiava irlandesi e cattolici, e la sua condanna non fu soltanto il risultato dell'omofobia vittoriana». Tuttavia ebbe contemporaneamente diverse relazioni omosessuali, ma verso l'epilogo della sua vita si pentì del suo comportamento. Già nel celebre "De profundis", una lunga lettera all'ex amante Alfred Douglas, scrisse: «Solo nel fango ci incontravamo», gli rinfacciò, e in una confessione autocritica: «ma soprattutto mi rimprovero per la completa depravazione etica a cui ti permisi di trascinarmi» (Ediz. Mondadori, 1988, pag. 17). Tre settimane prima di morire, dichiarò ad un corrispondente del «Daily Chronicle»: «Buona parte della mia perversione morale è dovuta al fatto che mio padre non mi permise di diventare cattolico. L'aspetto artistico della Chiesa e la fragranza dei suoi insegnamenti mi avrebbero guarito dalle mie degenerazioni. Ho intenzione di esservi accolto al più presto» (R. Ellmann, "Oscar Wilde", Rizzoli, Milano 1991, pag. 669).Mentre si trovava in punto di morte, il suo amico Robert Ross condusse presso di lui il reverendo cattolico irlandese Cuthbert Dunne. Wilde rispose con un cenno di volerlo vicino a sé (era impossibilitato a parlare), il sacerdote gli domandò se desiderava convertirsi, e Wilde sollevò la mano. Quindi padre Dunne gli somministrò il battesimo condizionale, lo assolse dai suoi peccati e gli diede l'estrema unzione (R. Ellmann, "Oscar Wilde", Rizzoli, Milano 1991, pag. 670).Nota di BastaBugie: come approfondimento trovate qui sotto due articoli. Il primo è un estratto ricavato dal sito Rai Vaticano. Il secondo, dal titolo "Oscar Wilde, l'inquieto che implorava la pietà di Gesù" è di Francesco Agnoli ed è stato pubblicato su La nuova Bussola Quotidiana. Lo pubblichiamo integralmente.OSCAR WILDE BANDIERA GAY? NON PROPRIO...Recentemente, in un talk show radiofonico, un esponente del movimento gay italiano intervistato sulla storia del movimento omosessuale, citava, tra i tanti personaggi del mondo della cultura, dell'arte e della scienza che hanno avuto chiare tendenze omosessuali anche - e con ragione - Oscar Wilde.Di lui, oltre alle doti di scrittore, saggista e commediografo, il nostro intervistato apprezzava soprattutto il coraggio di non aver nascosto la sua "diversità", specialmente nell'Inghilterra del XIX secolo intrisa di perbenismo vittoriano, nonché la sua intelligenza ed il suo sarcasmo tipici - sottolineava - proprio del mondo omosessuale. Insomma - concludeva - una vera bandiera gay contro i troppi bigottismi, specialmente religiosi, di cui propriola Chiesa cattolica è ancora oggi il maggior fautore.Peccato che questa prolusione dimenticasse un piccolo particolare: la "bandiera" dell'orgoglio gay ebbe non solo un pentimento totale riguardo la propria vita, ma concluse i suoi giorni con la conversione alla tanto "vituperata" fede cattolica, tanto da esalare l'ultimo respiro avendo tra le mani un rosario. [...]Poche settimane prima di morire, intervistato da un giornalista del Daily Chronicle, dichiarava tra l'altro: "Buona parte della mia perversione morale è dovuta al fatto che mio padre non mi permise di diventare cattolico. L'aspetto artistico della Chiesa e la fragranza dei suoi insegnamenti mi avrebbero guarito dalle mie degenerazioni". Concludeva quindi in maniera risoluta: "Ho intenzione di esservi accolto al più presto". (Ediz. Rizzoli, 1991).In un celebre aforisma dichiarava tra l'ironico e il feroce che: "La Chiesa cattolica è per i santi ed i peccatori; per le persone rispettabili va benissimo quella anglicana". Riguardo il peccato e il peccatore, merita di riportare quanto scrive, sempre nel "De Profundis": "Il Credo di Cristo non ammette dubbi e che sia il vero Credo io non ho dubbi. Naturalmente il peccatore deve pentirsi. Ma perché? Semplicemente perché altrimenti sarebbe incapace di capire quanto ha fatto. Il momento della contrizione è il momento dell'iniziazione. Di più: è lo strumento con cui muta il proprio passato". […]Forse, prima di definire Oscar Wilde "bandiera" dell'orgoglio gay, bisognerebbe rivedere con onestà intellettuale anche il significato della conversione proprio a quella religione, la cattolica, definita dagli ambienti gay - e non solo - la più oscurantista e retrograda. Alla luce della vita di Oscar Wilde, ci permettiamo di dire che non è così.Fonte: sito Rai Vaticano, 15/12/2011OSCAR WILDE, L'INQUIETO CHE IMPLORAVA LA PIETÀ DI GESÙIl 30 novembre 1900, a Parigi, moriva Oscar Wilde, l'autore de Il ritratto di Dorian Gray. La sua figura è spesso strumentalizzata e incompresa, nella sua profondità e nel suo dramma. Per questo può essere utile ricordare almeno alcune cose. Oscar Wilde nasce a Dublino il 16 ottobre 1854. Come racconta il biografo Francesco Mei, suo padre, sir William, è un medico affermatissimo, che «cambia più spesso le amanti che non le camicie» (Francesco Mei, Oscar Wilde, Rcs, Milano, 2001). Sua madre, Jane, è «portata a trascurare l'andamento della casa, compresa l'educazione morale dei figli».William e Jane sono una coppia "aperta", con tutte le caratteristiche del caso. Quando Oscar nasce, la madre, «che aspettava ardentemente una bambina», resta delusa. Proietta sul figlio, maschio, i suoi desideri: il piccolo Oscar viene vestito da bambina, «agghindato con trine e pizzi» e patisce tanto le imposizioni della madre, quanto l'assenza del padre. Vari biografi mettono in luce come Wilde abbia interiorizzato una figura negativa di padre, e questo gli abbia impedito di sviluppare appieno la sua virilità e il suo senso di paternità: cercherà sempre, in altre figure maschili, il padre che non ha avuto, e sarà, con la moglie e con i figli, il marito infedele e il padre assente che non aveva apprezzato in suo padre.Presto Wilde si distacca dalla famiglia, andando a studiare in collegio, prima al Trinity College di Dublino, poi ad Oxford. Rimanendo per certi aspetti «un eterno fanciullo», incapace di «maturare, almeno sul piano affettivo». Suo padre non è per lui oggetto di ammirazione, anzi Oscar non approva «lo sfrenato libertinaggio del genitore. E non è escluso che proprio per reazione agli eccessi paterni, egli abbia concepito sin dall'adolescenza una sorta di riluttanza a stabilire rapporti impegnativi con le donne». Si sposerà, amerà sua moglie, ma, un po' come il padre, senza mai riuscire a farlo veramente, alternando i rimorsi e il desiderio di tornare da lei, all'insicurezza e alla mutevolezza, ai rapporti fuggevoli e molteplici con donne, uomini e ragazzini.

Silvio Raffo"L'ultimo poeta"Elliot Edizionihttps://elliotedizioni.comAll'aeroporto di un'isola spagnola à la mode atterra un insolito viaggiatore. Chi sia veramente e da dove venga resta un mistero, finché apprendiamo che una donna, denominata Madame, gli ha affidato un incarico speciale: eliminare i partecipanti a un convegno internazionale – che sta per tenersi in un lussuoso albergo dell'isola – durante il quale scrittori e editori decideranno le sorti della letteratura e il definitivo genocidio della poesia sul pianeta Terra. Ma chi è veramente Donatien (questo il nome scelto dal protagonista)? Avrà il coraggio di compiere la sua missione di angelo sterminatore? E soprattutto, chi sono gli enigmatici personaggi che incontra, al cospetto dei quali prova una confusa sensazione di déjà vu? Le risposte a questi interrogativi sono nell'ultima pagina, come si conviene a un perfetto mystery. Se è possibile ai nostri giorni inventare una favola catturante tanto magica quanto eticamente impegnata, Silvio Raffo ci riesce, col suo ironico garbo e la sua prosa impeccabile, coadiuvati dalla rara capacità di emozionare e commuovere, prerogative specifiche degli “ultimi poeti”.Silvio Raffo. Poeta, traduttore, saggista e drammaturgo, ha al suo attivo più di dieci romanzi, tra i quali La voce della pietra (già finalista al Premio Strega nel 1997, ora Elliot, 2018) da cui è stato tratto il film omonimo di Eric Howell con Emilia Clarke; Il segreto di Marie-Belle (Elliot, 2019), vincitore del Premio Lord Byron; Lo specchio attento (Elliot, 2020), e Gli angeli della casa (Elliot, 2021). Ha curato per Elliot L'amore che non osa, che presenta per la prima volta in Italia le poesie di Alfred Douglas, Natura, la più dolce delle madri, una raccolta delle poesie di Emily Dickinson, e ha scritto la biografia poetica Io sono nessuno. Vita e poesia di Emily Dickinson. Per Castelvecchi ha curato l'antologia della poesia italiana contemporanea, Muse del disincanto (2019). Ha vinto prestigiosi premi e collabora a trasmissioni radiofoniche e televisive.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

The Placid Pug and Other Rhymes

Viktor Devonne presents a limited series, Divine Decadence with Lewd Alfred Douglas. Show 5 Program (Audio Edition) * 00:00:14 - Introduction * 00:02:40 - Today's Topic: Angsty British schoolboys; feat. If…. the 1968 Malcolm McDowell vehicle and 1982's Another Country starring Rupert Everett and Colin Firth.  * 00:32:35 - Intermission: scenes from Let's Misbehave * 00:36:40 - Today's Topic, resumed; destined gay spies  * 01:06:35 - Letters; in the addressing of where queer culture may be in ten years  * 02:05:05 - Last Word   &: - Let's Misbehave zoom recording: https://youtu.be/S0Wrsy5EhWI - Rupert Everett and Kenneth Branagh in a scene from Another Country:  https://youtu.be/gBFng62J2cE - Divine Decadence with Lewd Alfred Douglas is a production by WEBurlesque Podcast Network and Viktor Devonne; all original material property to Lewd Alfred Douglas and Viktor Devonne; all non-original material property to those copyright holders. Copyright Disclaimer under section  107 of the Copyright Act 1976,  allowance is made for “fair use”  for purposes such as criticism, comment, news reporting, teaching,  scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.  Interstitial music "Tiger Rag" by Friars Society Orchestra via  pixabay.com; Orchestral intro and outro music GILBERT & SULLIVAN: Patience (1930) "Overture" by Malcolm Sargent / D'Oyly Carte; Publication date 1930; Usage Attribution-Noncommercial-Share Alike 3.0 - Please support your local artists; patreon.com/lewdalfred and patreon.com/weburlesque

Viktor Devonne presents a limited series, Divine Decadence with Lewd Alfred Douglas. Show 5 Program (Audio Edition) * 00:00:14 - Introduction * 00:01:45 - Today's Topic: Table Top RPGs incl. Dungeons and Dragons, Call of Cthulhu, WITCH, and more * 00:20:52 - Intermission: A eulogy for Butternut * 00:24:30 - Today's Topic, resumed  * 00:47:31 - Letters; in the addressing of Salem, MA, incl. Misconceptions, the Witch Trials, and Samantha from Bewitched * 01:17:48 - Last Word - Divine Decadence with Lewd Alfred Douglas is a production by WEBurlesque Podcast Network and Viktor Devonne; all original material property to Lewd Alfred Douglas and Viktor Devonne; all non-original material property to those copyright holders. Copyright Disclaimer under section  107 of the Copyright Act 1976,  allowance is made for “fair use”  for purposes such as criticism, comment, news reporting, teaching,  scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.  Interstitial music "Tiger Rag" by Friars Society Orchestra via  pixabay.com; Orchestral intro and outro music GILBERT & SULLIVAN: Patience (1930) "Overture" by Malcolm Sargent / D'oyly Carte; Publication date 1930; Usage Attribution-Noncommercial-Share Alike 3.0 - Please support your local artists; patreon.com/lewdalfred and patreon.com/weburlesque

Viktor Devonne presents a limited series, Divine Decadence with Lewd Alfred Douglas. Show 4 Program (Audio Edition) 00:00:14 - Introduction 00:02:20 - Today's Topic: Alexander of Macedon aka Alexander the Great aka Achilles Wannabe aka Erastes to Hephaestion 00:29:30 - Intermission: Love and Exorcism 00:34:50 - Today's Topic, resumed; where we do NOT talk about Oliver Stone's film; #justiceforBegoas 00:49:30 - Letters; in the addressing of AI Art and its complicated ethics 01:15:50 - Last Word + Supplemental: Welcome, Mari Lwyd!  https://vimeo.com/781273543/6b3f918f47   &: - more Love and Exorcism: https://fancyvampire.itch.io/loveandexorcism - aiweirdness.com for all your AI Weirdness needs - https://reimenayee.com/alexander-the-great for Reimena's Alexander graphic novel - Divine Decadence with Lewd Alfred Douglas is a production by WEBurlesque Podcast Network and Viktor Devonne; all original material property to Lewd Alfred Douglas and Viktor Devonne; all non-original material property to those copyright holders. Copyright Disclaimer under section  107 of the Copyright Act 1976,  allowance is made for “fair use”  for purposes such as criticism, comment, news reporting, teaching,  scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.  Interstitial music "Tiger Rag" by Friars Society Orchestra via  pixabay.com; Orchestral intro and outro music GILBERT & SULLIVAN: Patience (1930) "Overture" by Malcolm Sargent / D'Oyly Carte; Publication date 1930; Usage Attribution-Noncommercial-Share Alike 3.0 - Please support your local artists; patreon.com/lewdalfred and patreon.com/weburlesque

Viktor Devonne presents a limited series, Divine Decadence with Lewd Alfred Douglas. Show 3 Program (Audio Edition) 00:14 - Introduction: from Lord to Lewd 02:25 - Today's Topic: Animation and Czech Puppets, incl. The Last Unicorn, Sleeping Beauty; Jan Svankmajer, Lottie Reiniger; Richard Williams + Disneyland 27:37 - Intermission: "Queer Mafia" monologue written by Lewd Alfred Douglas* 30:50 - Today's Topic, resumed, incl. Wendell and Wild, Secret of Nimh, Trolls; Anthropomorphic and Celestial Bureaucracy  40:40 - Letters; in the addressing of Queer Necromancy: Pirates, Alexander of Macedon, Billy Tipton, et al 64:58 - Last Word * supplemental: With Regards to Elagabalus: https://vimeo.com/779088019/1ea4dd46cb - learn more about Czech puppetry: https://unima.idu.cz/en/history-of-czech-puppetry/ - Ruka (The Hand) by Jiri Trnka: https://www.youtube.com/watch?v=CTV1To1e5w8 - Anastasia and Drizella at Disney World: https://youtu.be/PAkZRBQ8rdI - more the queer pirate marooned: https://en.wikipedia.org/wiki/Leendert_Hasenbosch - Divine Decadence with Lewd Alfred Douglas is a production by WEBurlesque Podcast Network and Viktor Devonne; all original material property to Lewd Alfred Douglas and Viktor Devonne; all non-original material property to those copyright holders. Copyright Disclaimer under section  107 of the Copyright Act 1976,  allowance is made for “fair use”  for purposes such as criticism, comment, news reporting, teaching,  scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.  Interstitial music "Tiger Rag" by Friars Society Orchestra via  pixabay.com; Orchestral intro and outro music GILBERT & SULLIVAN: Patience (1930) "Overture" by Malcolm Sargent / D'Oyly Carte; Publication date 1930; Usage Attribution-Noncommercial-Share Alike 3.0 - Please support your local artists; patreon.com/lewdalfred and patreon.com/weburlesque - Follow and explore: instagram.com/lewdalfred / instagram.com/weburlesque / instagram.com/viktordevonne - For more on WEBurlesque Podcast Network, visit weburlesquepodcast.com

Viktor Devonne presents a limited series, Divine Decadence with Lewd Alfred Douglas. Show 2 Program (Audio Edition) 00:14 - Introduction 02:25 - Today's Topic: Shakespeare 27:37 - Intermission: Richard II, Act 3, Scene 2, "Needs must I like it well: I weep for joy..." 30:50 - Today's Topic, resumed 40:40 - Letters; "What are your favorite burlesque tropes?" 64:58 - Last Word - Divine Decadence with Lewd Alfred Douglas is a production by WEBurlesque Podcast Network and Viktor Devonne; all original material property to Lewd Alfred Douglas and Viktor Devonne; all non-original material property to those copyright holders. Copyright Disclaimer under section  107 of the Copyright Act 1976,  allowance is made for “fair use”  for purposes such as criticism, comment, news reporting, teaching,  scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.  Interstitial music "Tiger Rag" by Friars Society Orchestra via  pixabay.com; Orchestral intro and outro music GILBERT & SULLIVAN: Patience (1930) "Overture" by Malcolm Sargent / D'Oyly Carte; Publication date 1930; Usage Attribution-Noncommercial-Share Alike 3.0 - Please support your local artists; patreon.com/lewdalfred and patreon.com/weburlesque - Follow and explore: instagram.com/lewdalfred / instagram.com/weburlesque / instagram.com/viktordevonne - For more on WEBurlesque Podcast Network, visit weburlesquepodcast.com

Viktor Devonne presents a limited series, Divine Decadence with Lewd Alfred Douglas. Show 1 Program (Audio Edition) 00:33 - Introduction 05:00 - Today's Topic: Silent Film, including The Man Who Laughs and Different From the Others 28:28 - Intermission segment from "Let's Misbehave" by Lewd Alfred Douglas 30:50 - Today's Topic, resumed 43:45 - Letters; "When did the nipple pastie come into play?" - See the video version of this episode at:  - Watch the full The Man Who Laughs film: https://archive.org/details/the-man-who-laughs-1928-2647075785379 - Watch the full surviving film footage Different From the Others: https://archive.org/details/DifferentFromTheOthers - Watch a live Zoom production of Let's Misbehave: https://youtu.be/S0Wrsy5EhWI - Special recognition to thepastieproject.org for their research - Divine Decadence with Lewd Alfred Douglas is a production by WEBurlesque Podcast Network and Viktor Devonne; all original material property to Lewd Alfred Douglas and Viktor Devonne; all non-original material property to those copyright holders. Copyright Disclaimer under section  107 of the Copyright Act 1976,  allowance is made for “fair use”  for purposes such as criticism, comment, news reporting, teaching,  scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.  Interstitial music "Tiger Rag" by Friars Society Orchestra via  pixabay.com; Orchestral intro and outro music GILBERT & SULLIVAN: Patience (1930) "Overture" by Malcolm Sargent / D'Oyly Carte; Publication date 1930; Usage Attribution-Noncommercial-Share Alike 3.0 - Please support your local artists; patreon.com/lewdalfred and patreon.com/weburlesque - Follow and explore: instagram.com/lewdalfred / instagram.com/weburlesque / instagram.com/viktordevonne - For more on WEBurlesque Podcast Network, visit weburlesquepodcast.com

The Hill of Dreams by Arthur Machen audiobook. The novel recounts the life of a young man, Lucian Taylor, focusing on his dreamy childhood in rural Wales, in a town based on Caerleon. The Hill of Dreams of the title is an old Roman fort where Lucian has strange sensual visions, including ones of the town in the time of Roman Britain. Later it describes Lucian's attempts to make a living as an author in London, enduring poverty and suffering in the pursuit of art. Generally thought to be Machen's greatest work, it was little noticed on its publication in 1907 save in a glowing review by Alfred Douglas. It was actually written between 1895 and 1897 and has elements of the style of the decadent and aesthetic movement of the period, seen through Machen's own mystical preoccupations.

Få författares liv kan på ett så tydligt sätt delas upp i ett före och ett efter som Oscar Wildes liv. Den på ytan bekymmerslösa författaren ersätts efter tiden i fängelset av en författare som kämpar för att skriva. Kristoffer Leandoer berättar i den här essän om Oscar Wildes oskrivna böcker. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.  Den 14 februari 1895 inträffar den av hela London emotsedda galapremiären för Mister Ernest, salongskomedin vars förment harmlösa, djupt absurda humor förebådar Beckett likaväl som Monty Python. Detta datum innebär höjdpunkten för Oscar Wildes karriär: när markisen av Queensbury, grälsjuk far till Wildes älskare sir Alfred Douglas, av påpassliga vakter hindras från att ställa till skandal på själva premiären lämnar han ett kort till Wilde som denne i sin tur trots vännernas avrådan lämnar över till polisen med en stämningsansökan för förtal. Det är en rättegång som Wilde inte kan vinna, eftersom Queensburys påstående om Wildes homosexuella livsföring i sak är sant: Wilde får betala ett fruktansvärt högt pris för sitt övermod i form av konkurs, skilsmässa och två års straffarbete som kostar honom hans hälsa och förkortar hans liv. Man kan förstå att Oscar Wilde, som var en mästare på självdramatisering i alla lägen, tyckte sig ha anledning att dela in sitt liv i ett tydligt före och ett efter: en sorglös, kreativ och suverän Oscar före 1895 års katastrof, en handlingsförlamad efter. Det är svårt för mig att skratta åt livet på samma sätt som jag brukade. Men hans senaste levnadstecknare, Matthew Sturgis, visar att det är en förenklad bild.  Den sorglöse Wilde före katastrofen var en konstruktion, en fasad som Wilde höll upp inför omvärlden. Sturgis gör sig mödan att faktiskt kartlägga Wildes liv, månad för månad, år efter år, och har då funnit långa perioder av total tystnad och overksamhet, då han knappt svarade på brev: den enda möjliga slutsatsen är att Wilde livet igenom led av återkommande depressioner, som han i vanliga fall kunde kompensera för genom extraordinär arbetskapacitet, gott humör samt ett fotografiskt minne. Det som händer efter fängelset är att han förlorar såväl förmågan som viljan att kompensera, även om fängelsevistelsen resulterar i två av de texter som försäkrat honom en plats i litteraturhistorien: det långa fängelsebrevet De Profundis, där Wilde gör upp med älskaren Lord Alfred Douglas och försöker bygga upp en ny identitet som människa och författare, samt Balladen om fängelset i Reading, den gripande dikten om en hustrumördare och dennes avrättning. Först gör Wilde som alla författare när idéerna tryter: återupptar påbörjade projekt, i detta fall renässansdramat En florentinsk tragedi, som blir ett ledmotiv de återstående åren, nästan en besvärjelse: att vara sysselsatt med En florentinsk tragedi innebär i själva verket att inte göra något alls. Det börjar redan i fängelset. När fängelseledningen äntligen ger Wilde tillgång både till skrivmaterial och ordentligt ljus så att han kan återuppta arbetet, visar det sig helt omöjligt. Han minns inte sin egen text, och fantasin sviker honom: det finns bara bitar kvar, och jag upptäcker att jag inte kan hitta på: tystnaden, ensamheten och isoleringen från allt mänskligt inflytande, innebär rena döden för hjärnverksamheten: hjärnan blir livlös: den fjättras vid lidandets monotoni. Jag undrar om han ändå inte fick lite skrivet i cell C.3.3 när ett klädesplagg sägs vara prytt med pärlor som är vitare än de månar som vansinniga kan se genom fängelsegaller i gryningen vill man gärna tro att det rör sig om platsens poesi. Inte undra på att Wilde är förväntansfull inför frigivningen: för mig kommer all luft att vara Arabien, säger han om världen som väntar därute. Han är som sagt ruinerad. Till hans minimala återstående tillgångar hör copyrights samt opublicerade manuskript, framför allt sätter han sitt hopp till pjäserna En florentinsk tragedi, La Sainte Courtesane samt The Cardinal of Avignon. Tyvärr var samtliga oavslutade och kommer att så förbli. Av de båda förstnämnda finns bara öppningsscenerna kvar, av The Cardinal of Avignon inte ens så mycket den känner vi bara till genom hans försök att sälja in den på idéstadiet. När Balladen om fängelset i Reading väl kommit ut börjar Wilde referera till den som sin svanesång, och han säger rätt ut: Jag tror inte att jag någonsin kommer att skriva mer. Det är den enkla sanningen. Han är trött, helt enkelt. Det smittande skrattet är borta. Innan fängelset kunde han ladda upp ny energi mellan depressionerna, men nu orkar han inte längre, det är som ett batteri där ena polen saknas: The intense energy of creation has been kicked out of me. Men om han har svårt för att skriva så har han desto lättare för att tala, och han talar gärna om sitt skrivande. Han förstod tidigare än de flesta att författaryrket inte bara innebar att skriva sina böcker utan också att leva upp till en offentlig roll: nu har han bara rollen kvar, och delvis behandlar han den som ett levebröd, ett sätt att sjunga för maten. Men det är också det han vill: att vara litteratur, läsa litteratur, tala litteratur men inte skriva litteratur. Wildekännaren Nicholas Frankel menar rent av att Wilde dessa sista år förädlar och förverkligar sig själv som konstverk, ungefär som när Rimbaud lämnat litteraturen och i stället levde sina dikter i Östafrika. I Dieppe på middag hos den norske konstnären Frits Thaulow och dennes fru säger Wilde att han håller på att skriva en essä med titeln A Defence of Drunkenness, och tillägger som förklaring att London måste chockas minst två gånger om året. Bättre försvarare hade fyllan knappast kunnat få: för sin väninna och välgörarinna Ada Leverson (som gjorde sitt bästa för att rädda både författare och manusfragment från undergång) beskriver Wilde hur han i ett absintrus ser en hel djungel av orkidéer växa upp ur kroggolvet. Men någon essä blir det aldrig, trots hans obestridliga sakkunskap. I december 1898 befinner sig Wilde i det lilla fiskarsamhället La Napoule tre mil söder om Nice. Han arbetar på Balladen om fiskarpojken, en dikt tänkt som kompletterande motpol till Balladen om fängelset i Reading, och meddelar i brev till vännen Frank Harris att han har fått ett par strofer färdiga. Dessa har aldrig återfunnits, eller lästs av någon. Här är ytterligare titlar till listan över Oscar Wildes förlorade verk: Libretto till en opera efter myten om Daphnis och Chloe, en biografi över den romerske kejsaren Heliogabalus som fascinerade Wilde för att han påstås ha gift sig med månen. Till André Gide berättar Wilde om två bibliska pjäser, en om Farao och en om Ahab och Jezebel. samt en prosaberättelse om Judas som Wilde själv beskriver som genialisk. Vi har inget val annat än att tro honom, för av alla dessa underverk återstår inte mer än av biblioteket i Alexandria, det vill säga inget alls. I ett ärligare ögonblick säger han: Du frågar vad jag skriver: mycket lite. Den 5 juli 1898 är Wilde ute och promenerar vid franska kusten tillsammans med Wilfrid Chesson, som räddat åtskilliga av Wildes böcker och manus när hans bibliotek gick på exekutiv auktion. De passerar en grind vid flodbanken och får en skymt av egendomen innanför: Det här är vad jag tycker om, säger Wilde, att bara stå och kika in genom spjälorna. Det vore bättre än att vara i paradiset att få stå som vi gör nu, uppfatta en skymt och vilja gå in. Jag tänker mig att han var ganska nöjd med att ha det så. Varför kämpa för att återfå ansvaret över allt detta tungrodda maskineri, familjer, bostäder, teateruppsättningar, bokutgivningar, när energin var borta och man lika gärna kunde stå på andra sidan gallret och se på? I de försvunna böckernas bibliotek hittar vi många titlar under Wildes namn, men det viktigaste som finns där tror jag är något annat: Oscar Wildes förlorade skratt. Kristoffer Leandoer

Lewd Alfred Douglas is a talented digital artist and burlesque performer now living in Salem, Massachusetts. While discussing his formative music, we range between opera and Eurovision and Czech bubblegum pop. Plus, we explore his favorite jazz bands in NYC, the castrati, British Music Hall, and his delight in dissonance.  You may listen to his playlist featuring Tom Waits, Conchita Wurst, Dandy Wellington, Verka Seduchka, The Irrepressibles, and more at: https://open.spotify.com/playlist/1QklWG2ekrCUhpwVcnVQYs?si=a92d9549606d441c This is an abbreviated audio edition with a full length version available at Patreon.com/WEBurlesque at the Summer special of $1 pledge, with access to all of the newly renamed "...That Made WE" content, including the audio commentary series "The Movies That Made Us (Queer)." - The Music That Made WE is a creation of WEBurlesque Podcast Network, produced by Viktor Devonne.  Lewd on WEBurlesque Lewd on IG: @lewdalfred and on Twitter @hismajesty Lewd's NSFW Patreon: https://www.patreon.com/lewdalfred [Copyright Disclaimer Under Section 107 of the Copyright Act in 1976; Allowance is made for "Fair Use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. All rights and credit go directly to its rightful owners. No copyright infringement intended.] - Produced by Viktor Devonne, reigning Mr Hollywood Burlesque, and celebrating15 years in burlesque.  White Elephant Burlesque recently closed a five year residency in Manhattan, and continues to produce White Elephant Burlesque virtually. Visit weburlesque.com for details.

Oscar Wilde, dont le nom complet est Oscar Fingal O'Flahertie Wills Wilde, est un écrivain, romancier, dramaturge et poète irlandais né à Dublin le 16 octobre 1854 et mort à Paris le 30 novembre 1900. Né dans la bourgeoisie irlandaise et protestante de Dublin d'un père chirurgien renommé et d'une mère poétesse, Oscar Wilde se distingue par un parcours scolaire brillant. Nourri de culture classique, couronné de prix au sein du Trinity College de Dublin, il intègre le Magdalen College de l'université d'Oxford, où il se construit un personnage d'esthète et de dandy, sous l'influence des préraphaélites et des théories de L'art pour l'art de Walter Pater, John Ruskin et Whistler. À l'issue de ses études, il s'installe à Londres, où il parvient à s'insérer dans la bonne société et les cercles cultivés, s'illustrant dans plusieurs genres littéraires. S'il publie, conformément aux exigences de l'esthétisme le plus pur, un volume de poésie, il ne néglige pas des activités moins considérées des cercles littéraires, mais plus lucratives : ainsi, il se fait le porte-parole de la nouvelle « Renaissance anglaise dans les arts » dans une série de conférences aux États-Unis et au Canada, puis exerce une prolifique activité de journaliste. Au tournant des années 1890, il précise sa théorie esthétique dans une série de dialogues et d'essais, et explore dans son roman Le Portrait de Dorian Gray (1890) les liens entretenus par la beauté, la décadence et la duplicité. Sa pièce Salomé (1891), rédigée en français à Paris l'année suivante, ne peut être jouée en Angleterre, faute d'avoir obtenu la licence d'autorisation au motif qu'elle met en scène des personnages bibliques. Confronté une première fois aux rigueurs de la morale victorienne, Oscar Wilde enchaîne cependant avec quatre comédies de mœurs qui font de lui l'un des dramaturges les plus en vue de Londres. Indissociables de son talent littéraire, sa personnalité hors du commun, son esprit mordant, sa conversation brillante et ses costumes assuraient sa renommée. Au faîte de la gloire, alors que sa pièce maîtresse L'Importance d'être constant (1895) triomphe à Londres, Oscar Wilde poursuit le père de son amant Alfred Douglas pour diffamation, après que celui-ci a entrepris de faire scandale de son homosexualité. Au terme de trois procès retentissants, Oscar Wilde est condamné pour « grave immoralité » à deux ans de travaux forcés. Ruiné par ses différents procès et condamné à la banqueroute, il écrit en prison De Profundis, une longue lettre adressée à son amant dont la noirceur forme un contraste saisissant avec sa première philosophie du plaisir. Dès sa libération en mai 1897, il quitte définitivement la Grande-Bretagne pour la France. C'est dans ce pays d'accueil qu'il met un point final à son œuvre avec La Ballade de la geôle de Reading (1898), un long poème commémorant l'expérience éprouvante de la vie en prison. Il meurt à Paris en 1900, dans le dénuement, à l'âge de quarante-six ans.

Oscar Wilde , dont le nom complet est Oscar Fingal O'Flahertie Wills Wilde, est un écrivain, romancier, dramaturge et poète irlandais né à Dublin le 16 octobre 1854 et mort à Paris le 30 novembre 1900. Né dans la bourgeoisie irlandaise et protestante de Dublin d'un père chirurgien renommé et d'une mère poétesse, Oscar Wilde se distingue par un parcours scolaire brillant. Nourri de culture classique, couronné de prix au sein du Trinity College de Dublin, il intègre le Magdalen College de l'université d'Oxford, où il se construit un personnage d'esthète et de dandy, sous l'influence des préraphaélites et des théories de L'art pour l'art de Walter Pater, John Ruskin et Whistler. À l'issue de ses études, il s'installe à Londres, où il parvient à s'insérer dans la bonne société et les cercles cultivés, s'illustrant dans plusieurs genres littéraires. S'il publie, conformément aux exigences de l'esthétisme le plus pur, un volume de poésie, il ne néglige pas des activités moins considérées des cercles littéraires, mais plus lucratives : ainsi, il se fait le porte-parole de la nouvelle « Renaissance anglaise dans les arts » dans une série de conférences aux États-Unis et au Canada, puis exerce une prolifique activité de journaliste. Au tournant des années 1890, il précise sa théorie esthétique dans une série de dialogues et d'essais, et explore dans son roman Le Portrait de Dorian Gray (1890) les liens entretenus par la beauté, la décadence et la duplicité. Sa pièce Salomé (1891), rédigée en français à Paris l'année suivante, ne peut être jouée en Angleterre, faute d'avoir obtenu la licence d'autorisation au motif qu'elle met en scène des personnages bibliques. Confronté une première fois aux rigueurs de la morale victorienne, Oscar Wilde enchaîne cependant avec quatre comédies de mœurs qui font de lui l'un des dramaturges les plus en vue de Londres. Indissociables de son talent littéraire, sa personnalité hors du commun, son esprit mordant, sa conversation brillante et ses costumes assuraient sa renommée. Au faîte de la gloire, alors que sa pièce maîtresse L'Importance d'être constant (1895) triomphe à Londres, Oscar Wilde poursuit le père de son amant Alfred Douglas pour diffamation, après que celui-ci a entrepris de faire scandale de son homosexualité. Au terme de trois procès retentissants, Oscar Wilde est condamné pour « grave immoralité » à deux ans de travaux forcés. Ruiné par ses différents procès et condamné à la banqueroute, il écrit en prison De Profundis, une longue lettre adressée à son amant dont la noirceur forme un contraste saisissant avec sa première philosophie du plaisir. Dès sa libération en mai 1897, il quitte définitivement la Grande-Bretagne pour la France. C'est dans ce pays d'accueil qu'il met un point final à son œuvre avec La Ballade de la geôle de Reading (1898), un long poème commémorant l'expérience éprouvante de la vie en prison. Il meurt à Paris en 1900, dans le dénuement, à l'âge de quarante-six ans. La Ballade de la geôle de Reading (en anglais The Ballad of Reading Gaol) est un long poème écrit par Oscar Wilde lors de son exil en France, à Berneval-le-Grand, près de Dieppe, après avoir été libéré de la prison de Reading en mai 1897. Il a été publié pour la première fois par Leonard Smithers en 1898, sans que puisse apparaître le nom de Wilde.

Oscar Wilde , dont le nom complet est Oscar Fingal O'Flahertie Wills Wilde, est un écrivain, romancier, dramaturge et poète irlandais né à Dublin le 16 octobre 1854 et mort à Paris le 30 novembre 1900. Né dans la bourgeoisie irlandaise et protestante de Dublin d'un père chirurgien renommé et d'une mère poétesse, Oscar Wilde se distingue par un parcours scolaire brillant. Nourri de culture classique, couronné de prix au sein du Trinity College de Dublin, il intègre le Magdalen College de l'université d'Oxford, où il se construit un personnage d'esthète et de dandy, sous l'influence des préraphaélites et des théories de L'art pour l'art de Walter Pater, John Ruskin et Whistler. À l'issue de ses études, il s'installe à Londres, où il parvient à s'insérer dans la bonne société et les cercles cultivés, s'illustrant dans plusieurs genres littéraires. S'il publie, conformément aux exigences de l'esthétisme le plus pur, un volume de poésie, il ne néglige pas des activités moins considérées des cercles littéraires, mais plus lucratives : ainsi, il se fait le porte-parole de la nouvelle « Renaissance anglaise dans les arts » dans une série de conférences aux États-Unis et au Canada, puis exerce une prolifique activité de journaliste. Au tournant des années 1890, il précise sa théorie esthétique dans une série de dialogues et d'essais, et explore dans son roman Le Portrait de Dorian Gray (1890) les liens entretenus par la beauté, la décadence et la duplicité. Sa pièce Salomé (1891), rédigée en français à Paris l'année suivante, ne peut être jouée en Angleterre, faute d'avoir obtenu la licence d'autorisation au motif qu'elle met en scène des personnages bibliques. Confronté une première fois aux rigueurs de la morale victorienne, Oscar Wilde enchaîne cependant avec quatre comédies de mœurs qui font de lui l'un des dramaturges les plus en vue de Londres. Indissociables de son talent littéraire, sa personnalité hors du commun, son esprit mordant, sa conversation brillante et ses costumes assuraient sa renommée. Au faîte de la gloire, alors que sa pièce maîtresse L'Importance d'être constant (1895) triomphe à Londres, Oscar Wilde poursuit le père de son amant Alfred Douglas pour diffamation, après que celui-ci a entrepris de faire scandale de son homosexualité. Au terme de trois procès retentissants, Oscar Wilde est condamné pour « grave immoralité » à deux ans de travaux forcés. Ruiné par ses différents procès et condamné à la banqueroute, il écrit en prison De Profundis, une longue lettre adressée à son amant dont la noirceur forme un contraste saisissant avec sa première philosophie du plaisir. Dès sa libération en mai 1897, il quitte définitivement la Grande-Bretagne pour la France. C'est dans ce pays d'accueil qu'il met un point final à son œuvre avec La Ballade de la geôle de Reading (1898), un long poème commémorant l'expérience éprouvante de la vie en prison. Il meurt à Paris en 1900, dans le dénuement, à l'âge de quarante-six ans.

OLIVE CUSTANCE WAS the long-suffering wife of Lord Alfred Douglas, the beautiful young man over whom Oscar Wilde lost his reputation, livelihood and family. But at the same time Lord Alfred was holding court in Oxford, his future wife, Olive, was already holding court in London. She ventured into literary society very young, at the age of sixteen in the London of the 1890s, surrounded by admirers of both sexes. A Catholic convert, like her husband, she was also an accomplished poet and her work is now being rediscovered. This talk was delivered (online) as part of the Chavagnes 2020 Summer conference: Faith and the fin de Siècle.

This is such a fascinating series on TG4 to start 2021, and it's been a treat having Paddy O' Shea on each week to chat about the great Irish love stories which were affected by and had an impact on Irish History. This week's episode on Wednesday is the story of Oscar Wilde and Alfred Douglas, or Bosie. See acast.com/privacy for privacy and opt-out information.

Lewd Alfred Douglas is the talented burlesque artist and illustrator of high art smut. We talk the neverending "Backstreet Boys Reunion Tour," his latest artwork, and what it's like being Stuck Inside.  This is a special bonus episode where Viktor Devonne speaks to nightlife performers have been up to in quarantine.  Recorded July 21, 2020. Lewd Alfred on social: twitter @hismajesty ig @lewdalfred origin story: http://weburlesquepodcast.com/2018/01/29/2-social-justice-necromancy-w-lewd-alfred-douglas/ ...Tip Me on Venmo: @viktordevonne ...Patreon: https://www.patreon.com/weburlesque ...Listen: 2 Night Stay http://www.2nightstaypod.com ...Watch: Covid and the Beast https://youtu.be/cjYHOQo7Kfc ...Previous WEBurlesque episodes: http://www.weburlesquepodcast.com

WEBurlesque, recorded 1/28/18 in NYC, with Viktor Devonne and Lewd Alfred Douglas We talk immersive theatre, consent, Uncle Monty's Mollyhouse, Reclaiming Our History, working in queer spaces, sexuality and gender, high school, surgery, America Horror Story, Mat Fraser, playing Daphne Moon, star-crossed lovers, queer-coded villains, digital art, and clearing away the barricades. Lewd Alfred Douglas is an entertainer living in New York City. He is a primary collaborator with Dr. Sketchy's NYC, the queer comic Bash Back, and White Elephant Burlesque. intro and outro music: "On a 45" by This Way to the Egress (used w/ permission) ... interlude music: "Backbay Lounge" Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 3.0 License; http://creativecommons.org/licenses/by/3.0/

C'est en mai 1895 qu'Oscar Wilde est reconnu coupable de grossière indécence à la suite de sa liaison avec Alfred Douglas. Condamné à deux ans de prison, Oscar Wilde ne se relèvera jamais de cette épreuve et meurt quelques années plus tard en novembre 1900. Mais au-delà d'Oscar Wilde lui-même, l'intérêt de son procès est de nous permettre de comprendre comment le Royaume-Uni de la fin de l'époque victorienne en vient à criminaliser l'homosexualité. Invitée : Catherine Tourangeau

This is the second part of our two-part episode on Irish poet and playwright Oscar Wilde! We're talking about the latter half of Oscar's life, including the wittiest comedy in the English language, the tumultuous relationship between Oscar and Alfred Douglas, and Oscar's trial and imprisonment. Listen to Part 1 here.

WEBurlesque, recorded 1/28/18 in NYC, with Viktor Devonne and Lewd Alfred Douglas We talk immersive theatre, consent, Uncle Monty's Mollyhouse, Reclaiming Our History, working in queer spaces, sexuality and gender, high school, surgery, America Horror Story, Mat Fraser, playing Daphne Moon, star-crossed lovers, queer-coded villains, digital art, and clearing away the barricades. Lewd Alfred Douglas is an entertainer living in New York City. He is a primary collaborator with Dr. Sketchy's NYC, the queer comic Bash Back, and White Elephant Burlesque. intro and outro music: "On a 45" by This Way to the Egress (used w/ permission) ... interlude music: "Backbay Lounge" Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 3.0 License; http://creativecommons.org/licenses/by/3.0/

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Laura Lee’s Oscar’s Ghost: The Battle for Oscar Wilde’s Legacy (Amberley Publishing, 2017) offers a detailed investigation of a conflict involving the writer and his two friends with whom he maintained sexual relations, Lord Alfred Douglas and Robert Ross. In her endeavor to disclose the root of the conflict that, as a matter of fact, marked and instigated Oscar Wilde’s decline, Laura Lee attempts to consider different perspectives, illuminating the progression of the conflict and its influences and aftereffects. This story, although centering around Oscar Wilde, discloses how Alfred Douglass and Robert Ross’s response to the writers professional and personal turmoil shapes the way the conflict is comprehended. Oscar’s Ghost, as Laura Lee mentions in this interview, is inspired by De Profundis: the work that presents Oscar Wilde’s intimate confession and indicates the writer’s transformation, triggered by his prison experience. Humiliation, on the one hand, and desire to recover, on the other hand, signal the writer’s ambiguous perception of his own self. His confessional work, to some extent, captures his ambiguity and offers insights into emotional, psychological struggles that seem to be unresolved. In Wilde’s case, a confessional endeavor brings forth not only revelation, but pain as well. The process of embracing oneself through revealing the intimate, more often than not, is inseparable from revisiting experiences that involve others. In his confessional letter, Oscar Wilde redefines himself while speculating about his relationships with Alfred Douglas and Robert Ross. Confession is intimate but it is public as well: do those involved in a confession feel comfortable being part of an intimate narrative that is not theirs? As Oscar’s Ghost demonstrates, this tension between the private and the public cannot be underestimated. In addition to a detailed account of facts, which at times reads as a detective story, Oscar’s Ghost also engages with the historical, political, and social realms of London, in particular, and other European cities of the end of the nineteenth century and the beginning of the twentieth century. By describing the dynamics of Oscar Wilde’s relationships with Alfred Douglas and Robert Ross, Laura Lee captures the sense of collapse and crisis that appeared to be pervading at a national and international level. The decline of aristocratic privileges produces one of the most powerful influences on the shaping of public ideological and political perceptions, which appear to be intricately connected with Oscar Wilde’s personal and professional story. Laura Lee is a full-time writer. She’s authored twenty books, fiction and nonfiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joseph Lozito New York Serial Killer Hero Who will do the intro this week, Paul or Denise or Big A.? Denise and Big A do the intro and they try to half bash Big A for not having a surprise guest for Chris but Big A is still working on it and were talking about our guest for tonight Subway Hero Joe Lozito and we’re discussing the case and what happened to Joe -.an old law was used to make Joe lose his case such bullshit. Joe called in and Denise jumps to the end of the story and says he did not get a fair case but Joe is happy when people have such pure emotions for the case against him. New York does not have the Death Sentence. The killer had nothing against Joe and Joe was in the wrong place at the wrong time and some TV network wants Joe to have a meeting with the killer in jail, they would of have to give joe a boat load of cash; and if Joe could of picked up the knife he would of ended his life no question about it . Joe never liked the subway before the incident and hates to have his personal space invaded and does not trust other people. He grew up in NY and then worked in south Jersey for Fleet and they closed and claimed Bankruptcy. He then got a job in NY and still lived in Philly and was a long trip to and from work. Joe did not want to see a Counselor and talk to a person he knows and trusts like a family member. Joe friend Dean called him and asked him about UFC and he was hooked on watching UFC. The MMA community wrapped it’s arm around Joe and was very helpful to joe and he made some friends too after his incident. MMA talk now .Talking about WWE too. Talking about binge watching shows, plus old TVshows too. Talking about Sopranos and Paul lived near the filming of a lot of the scenes and watching The Sopranos every week and we all hated the ending and thought your cable box fucked up. Joe’s dad was a strict Italian father . Joe’s kids practices Brazilian Jiu-jitsu at http://www.serrabjj.com/ with Matt Serra and has become a friend of Joe's. Joe was very honest to his kids and answered there questions and they know every moment about it and knows it word for word. Joe Lozito talked in detail about the incident and lets us know in full detail, and how he found out in the hospital he was called a hero because the guy killed 4 people and injured 4 or 5 other people. The Cops all knew who he was and was there to get him and could of prevented it and he is not anti-cop and he is pro cop but the two cops were gutless and spineless and was saving themselves. The killer was trying to take over the train. and the killer tried to plead insanity and the doctor they used had a great reputation said he was fit to stand trial and he was done and plead guilty . If a police do not have a personal relationship with a person being attacked they don’t have to protect joe, but if they prevented it and it would never come to this. What pissed Big A the most is when joe stopped the killer and got stabbed and bloodied and the cops came out and said ok you can get up now. Joe said he should be dead with the amount of blood he lost that day and the real hero was a citizen named Alfred Douglas and his name was never mentioned by the cops . Joe wanted to go to court on principal of it. Joe wanted to go to trial even if he got no reward because to make a example and somebody had to be accountable for this. Joe loves revenge movies and these are his favorite movies. Joe may still bring a complaint to internal affairs. Joe Lozito took the killer down and not the cop who said he did and Alfred Douglas did more cop work then the real cops that day. Alfred tried to stop the bleeding to Joe and tried to calm Joe down. Joe is all about the truth. Joe’s book: The New York Subway Hero: My Battle with Evil...and a Spree-Killer!! http://www.amazon.com/exec/obidos/ASIN/1499215800/maismouscom Buy the book! Paul calls me out for not saying a word and Big A said he tried to get a few words in and could not . Big A and Joe talked about how they are friends. Joe never thinks he is a hero but he never says to people not to call him that. Big A mentioned the first time he saw the back of Joe’s head the scar is big and really looks bad. Political talk : Joe said Trump is making it interesting and people who don’t know about politics are chiming in . We’re talking About UFC and Rhonda Rousey and Misha Tate . Joe does a great bumper and very funny. We talk about Big A needing money and needing to get back to training. Paul talks about his weight loss. Joe hangs up and we talk about the great interview,. And we talk about how great and a honor it was to speak to Joe and we decide to end this horseshit on a high note! Show notes by Big A