Inside Hollywood’s first gay bar: Call Her Savage (1932)
This scene from Clara Bow’s 1932 comeback movie was the first of its kind (that is, the first Hollywood film to depict what is clearly a gay bar complete with same sex couples) and would be the last for the next 30 years until Otto Preminger’s 1962 Advise and Consent. In this scene heiress Nasa Springer (Bow) has asked Jay Randall (Anthony Jowitt) to show her around New York. Their detour to the above bar is fascinating both as a contemporary recreation and for the lack of snide remark or comment of any kind it elicits from Bow, her beau, director John Francis Dillon, or writers Edwin J Burke and Tiffany Thayer. Neither the bar nor its patrons require either ridicule or explanation, they simply exist. There are several rather seedy scenes in this movie but this is certainly not one. In that respect Call Her Savage stands in stark opposition to 1962′s Advise and Consent where the infamous gay bar scene is essentially a way of illustrating the corruption and general seaminess of certain characters, gay bar scenes thus functioning as a kind ‘eye into the underworld’ for several decades following. I should point out for the sake of fairness that Savage is quite an un-PC film by today’s standards. But it is revealing of Pre-Code era filmmaking that miscegenation is more taboo and elicits a greater need for censure and explanation than either homosexuality or female promiscuity.
Bow and Jowitt aside, all actors in these scenes are uncredited extras, including the very good dancing waiters.
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James Buchanan Barnes went to war and got captured by the enemy. Steven
Grant Rogers became Captain Amerian to save his childhood best friend
and that’s what he did. But after going through hell, could Bucky really
resume his life and live the way he used to before all of this
happened? Steve hopes so, therefore he brings him back to Bucky’s
favorite bar to go lady-hunting.
invisible!” Bucky exclaimed, defeated after the girl left.
second time tonight a pretty girl came up to Steve and him and
started cooing and giggling at Steve’s every word all the while
looking at him like he was the most delicious eye candy she had every
laid her eyes on. It was simply infuriating to see the roles swapped
turning into you, it’s like a horrible nightmare!” He realized the
irony of the situation.
Steve must have felt the whole time – every time Bucky charmed a
girl and he was left alone at the bar, not even drinking more than
one beer because he had such a low tolerance for alcohol. Now, only
God knows if he even could get drunk anymore with his super
solider serum filled blood. And the guy had the audacity to enjoy
himself right now!
Le boyfriend thinks math isn’t really the “hardest” field. He thinks math is, however, a field you can enter and show off your talent almost immediately, because it demands impressive feats of the mind, but relatively little time spent absorbing material before you are capable of making a genuine contribution. What makes up novel findings in math math is leaps of logic, a talent more innate than most skills, rather than absorbing giant swaths of material. Similarly with “genius” creative fields, like music composition, and, to a lesser extent, philosophy, for which leaps of logic constitutes genuine contributions, though a bit more material absorption required beforehand. So a field’s status as “hard” essentially boils down a reputation built up from smart people flocking to a field and making serious contributions relatively quickly, because you need to absorb relatively little to make a serious contribution, while also needing considerable intelligence. High bar for intelligence, low bar for pre-requisite material absorption.
Other fields, on the other hand, require that you pour over past work, before you’ve adequately absorbed enough material to be able to make your own contribution. One cannot come up with a brilliant idea about literature without first absorbing lots of it, for example. Yet we know there are good and bad literature scholars. Time spent absorbing the material isn’t the only factor at play. There is something else at play – that “something else” we can vaguely call talent – that is almost exclusively at play in contributions to math. But with vast amounts of material absorption required before that “something else” becomes the differentiator between those in a field, it becomes less obvious as an important factor.
We could do a better job at advertising the impressive minds of those “non-hard fields.” They exist. The pre-requisite amount of time is just much higher. When was the last time you heard of a brilliant person in the humanities versus those in math-heavy fields?
To me, personally, this is a big deal. You are not opting out of the “hard” thing if you don’t choose the “hardest” fields. You are opting out of the “hardest” fields so far as the public has come to a flawed understanding of it means. Math has good PR and other fields don’t.
The Musikalisches Würfelspiel (“Musical Dice-Game”) was a popular parlor novelty in the 18th century. The idea was that, given a vocabulary of short pre-constructed bars or passages of music, a set of dice, and a table for coordinating the input and output, anyone could produce relatively listenable music simply by rolling dice and following the chart. C.P.E. Bach devised such a game, which he called A Method of Making Six Bars of Double Counterpoint at the Octave Without Understanding the Rules.
Haydn and Mozart were both alleged to have produced materials for such games; though in Mozart’s case the manuscript K. 516f has been identified as possibly corresponding to such an effort, it is not certain how much the composer actually had to do with the game which Simrock published in his name in 1792 (pictured). This particular version of the game is intended to output a 16 bar minuet or Ländler plus a 16 bar trio section; mathematically it affords over 45 quadrillion possibilities, all of them naturally rather self-similar.