![]() The bad news is that identity politics are not the same thing as scholarship. From Francis Bacon to Virginia Woolf, from David Hockney to Radclyffe Hall, from Oscar Wilde to Noël Coward, homosexuals, and inbetweenies, have punched far above their weight in the creation of our culture. One thing is certain: without the queer contribution examined here, the arts in Britain would be catastrophically impoverished. The centre stage, meanwhile, is occupied by a floaty atmosphere of flux and uncertainty, whispers and innuendo, half-truths and projections. This thunderous historical reality seems to hover beyond the show’s sightlines, however. The century under examination is, therefore, an era of gigantic social change - from the Victorian age to the Swinging Sixties, with two world wars thrown in for good measure. This, then, is the etymological background to Queer British Art 1861-1967, a display at Tate Britain that has set out to recognise the contribution made by queer artists between the years 1861, when the death penalty for sodomy was abolished, and 1967, when sex between consenting men was finally decriminalised. ![]() As Derek Jarman put it: “For me, to use the word ‘queer’ is a liberation it was a word that frightened me, but no longer.” By appropriating it as a mantle, the queer community has successfully turned self-defence into attack. A tough, harsh, Germanic little word, “queer” had an onomatopoeic ring to it that made it sound especially aggressive when directed at others. As an insult, it could be found scrawled on lavatory walls or shouted from the doorways of pubs at passing strangers on St Martin’s Lane. Until the 1980s, it was used almost exclusively in a pejorative sense to describe gay men and women. So the fauves they stayed.Įxactly the same has happened to the word “queer”. Earlier still, we had those daring expressionists - Matisse, Derain, Vlaminck - whose mad brushstrokes unsettled the bourgeois so fully that they were accused of painting like wild beasts, or fauves. It happened, for instance, with the cubists, who were dismissed in the reactionary French press as painters of cubes, but who disarmed their enemies by adopting exactly this term as their nom de guerre. □□□LOL,” 50 added.Art has an excellent history of turning insults into badges of honour. “NORE Your big homie is running around trying to look like a gay painter. “Why would he have to say that should be the question?” 50 wrote in response to a headline that read “Eminem Told Jay-Z He Wouldn’t Perform at the Super Bowl if He Couldn’t Bring 50 Cent.” He took to Instagram over the weekend to refute N.O.R.E.’s claims and compared Jay-Z’s hairstyle to that of Basquiat’s. “And he said, ‘No, Eminem called directly for 50 and he said I can’t do it if I can’t bring 50 with me.’”ĥ0 claims it didn’t quite go down that way. “ said to me-and I’m sorry for everybody who don’t understand-and he said, ‘the white guy called for 50 Cent.’ I said, ‘Who is the white guy? Jimmy Iovine?’” N.O.R.E. ![]() ![]() 50’s remarks about the hip-hop star are in response to claims made by N.O.R.E., who said on the Drink Champs episode with Snoop Dogg that Jay-Z told him Eminem only agreed to perform at the halftime show if Fiddy also agreed to hit the stage, Complex reports. In 2019, Jigga signed a deal with the NFL to head the league’s musical entertainment, which includes the Super Bowl Halftime show.
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