Tom Pouce Suit Une Femme a.k.a. Tom Thumb in Love aka Mary Long and Sammy Short

New Love: 1910 Project Updates

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“Motography” was a publication that was distributed to motion picture display venues with reviews of newly released films. In 1911, Mary Long and Sammy Short received the review highlighted below.Space Bar 2


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About Adrien Barrere, the director of Tom Pouce Suit Une Femme
From Wikipedia, the free encyclopedia

The Mistletoe Seller

Adrien Barrère06.jpg

Adrien Barrère (baptised ‘Adrien Baneux’) (1877 Paris – 1931 Paris), was a French poster artist and painter, active in Paris during the Belle Époque.[1]

After studying the law and medicine, Barrère turned to illustrating and particularly to the art of caricature, also designing a large number of posters for Parisian cinemas and Grand Guignol. His poster with caricatures of the Paris Medical Faculty, the original of which is held at University of Rouen and twice the size (72 x 116 cm) of later copies, was immensely popular – no medical student left without a copy – and 420 000 copies were printed.[2]

His collaboration with Pathé was particularly successful, including a famous poster titled “Tous y mènent leurs enfants”. In 1912, Le Courrier Cinématographique, a corporate journal, described him as ‘Pathé’s man of the hour and designer of more than two hundred posters of unfettered verve and imagination’.

Barrère chronicled and caricatured performers of the Paris stage, adopting a kindlier approach than that of Toulouse-Lautrec.[3]

Members of the Paris Medical Faculty (1904), caricature by Adrien Barrère: André Chantemesse (1851–1919) Georges Pouchet (1833–1894) Paul Poirier (1853–1907) Paul Georges Dieulafoy (1839–1911) Georges Maurice Debove (1845–1920) Paul Brouardel(1837–1906) Samuel Jean de Pozzi (1846–1918) Paul Jules Tillaux (1834–1904) Georges Hayem (1841–1933) Victor André Cornil (1837–1908) Paul Berger (1845–1908) Jean Casimir Félix Guyon (1831–1920) Pierre-Emile Launois (1856–1914) Adolphe Pinard(1844–1934) Pierre-Constant Budin (1846–1907)

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Food for Thought: Sites for Love’s Frontier, 1918

Blog, Love's Frontier: 1918 Project Updates, Uncategorized

Prostitutes and clients conversing at the Palais Royal Paris, 1800. Ink and watercolor. Bibliothèque nationale de France

Site for mazurka inspired dance by couples of soldiers, some disabled, in masks.

Sites for love letters projected onto sculpture bases.

Sites for love in the trenches on the ground at outer edges of the lawns,

The allees of trees below will be the site of a promenade of soldiers that is punctuated by cruising and brief encounters.

Food For Thought: One Story

Love's Frontier: 1918 Project Updates

as long as we love each other, what’s it to do with other people?


I only met one other homosexual in the army. That was in Le Havre in 1917. We was on the boat coming home. I don’t know how these things work, whether it’s through conversation, or whether it’s the attitude of the individual concerned, but we seemed to come together, see. All of a sudden his arm was round my neck and this, that and the other, and then, of course, one thing led to another. And that was Phil, my affair that I had for seven years. When I come out of the army we stuck together. I was living at the time in Ilford. I rejoined the army in 1920, then I went out to Germany. I was living with Phil at the time and I saw him when I came home on leave and we kept a flat together. I was in the army because the army was my life at that period. He was somebody just like a wife to come home to…

… I don’t think our friends or family knew, yet they had a very good suspicion. Phil and I often talked about it, only he said, well, he says, as long as we love each other, what’s it to do with other people? And that was the true situation.

Text: First person account as told by Gerald, born 1892, Norfolk, England.  Excerpted from Between the Acts: Lives of Homosexual Men 1885-1967, Jeffrey Weeks and Kevin Porter (eds)

Image: Unknown, via Bloomfield and George/Flickr

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The Plan-in-Progress

Return To Magic City: Project Updates

The Plan-in-Progress


Individuals will be asked to self-identify and as a means of expressing pride in those characteristics, each person will receive phosphorescent ornaments that will help them identify affinity groups. The groups will be critical to the structure of the Bal des Invertis (‘The Ball”) and its re-presentation as “The Whirl.”


This Dancerie: The Ball (Production) July 15 to Aug 1


  • Each of these groups (“cores”) will work with a choreographer in a single day of rehearsal. Each core will consist of 24 individuals who will learn a set movements and structures that will organize the evening’s performance.  Each of these cores will have the option of bringing in additional members from their home communities (constituting their “globe”) and may carry out one additional offsite rehearsal.
  • During this period, an environment will be created for the Ball that defines the dance space with a canopy of LED stars based upon stars in the ceiling of the original Magic City ballroom.
  • A final dress rehearsal will occur from 5:00 to 8:30 with a final performance/ball from 10:00 to 11:30.  The final ball will be videotaped from above the “dance floor” by stationary, suspended cameras and by camera’s mounted on drone.