John William Tuohy lives in Washington DC


Bismarck State College Theatre, in collaboration with the Humanities North Dakota, as part of the HumanitiesND year-long “GameChanger Ideas Festival” is pleased to announce a call for brand new ten-minute plays exploring the question: What happened to the American dream?
Theatre has had a long history of examining the American dream: whether through Arthur Miller’s cutting critique in Death of a Salesman, August Wilson’s poetic and revelatory Pittsburgh Cycle, the modernist anxiety of Sophie Treadwell’s Machinal, Suzan-Lori Park’s “Rep and Rev” of The America Play, or Lin-Manuel Miranda’s re-envisioning of the Founding Fathers as played by actors of color in Hamilton, the theatre has always been a forum for exploring the possibilities, anxieties, limitations, and opportunities afforded to people pursuing the American dream.


RAZE THE SPACE In association with the Literature & Fiction Department of the Los Angeles Public Library 2.00 - 3.30 pm Saturday, August 11, 2018, @ the Mark Taper Auditorium, Central Library, 630 W 5th St, CA 90071
This year’s theme, EXIT STRATEGIES, must be reflected in all work submitted. What does EXIT STRATEGIES mean to you? And how can you use this year’s theme as a springboard into your own creative process?


Theatre Three 22nd Annual Festival of One-Act Plays

• Only UNPRODUCED works will be accepted.
• Plays that have had staged readings are eligible.
• No adaptations or children’s plays.
• Cast size maximum: 10
• Length: 40-minutes maximum. No minimum.
• Settings should be simple or suggested.
• Playwrights may make multiple submissions.
(These need not be made under separate cover.)
• Please do not submit works that have been previously submitted.

*** FOR MORE INFORMATION about these and other opportunities see http://www.nycplaywrights.org ***



A rock musical with music by Duncan Sheik and a book and lyrics by
Steven Sater. It is based on the controversial German play Spring
Awakening (1891) by Frank Wedekind which was banned in Germany for
some time due to its frank portrayal of abortion, homosexuality, rape,
child abuse and suicide. Set in late-19th century Germany, the musical
tells the story of teenagers discovering the inner and outer tumult of
sexuality. In the musical, alternative rock is employed as part of the
folk-infused rock score.





A musical with a book and lyrics by Alan Jay Lerner and music by
Frederick Loewe.

The plot concerns a married woman who, at a college reunion, meets the
man with whom she almost eloped ten years before. Romantically stirred
by a novel he has written about her, she considers leaving her husband
and reuniting with her former flame.




Written by Matthew Barbert. Four unhappy English women rent a villa in Tuscany for a month, discovering unexpected passions and renewing their appreciation of life.




Very Warm for May is a musical composed by Jerome Kern, with a
libretto by Oscar Hammerstein II. It was the team's final score for
Broadway, following their hits Show Boat, Sweet Adeline, and Music in
the Air. It marked a return to Broadway for Kern, who had spent
several years in Hollywood writing music for movies, including Swing
Time for Fred Astaire and Ginger Rogers.





May Wine is a musical with a book by Frank Mandell, lyrics by Oscar Hammerstein, II, and music by Sigmund Romberg. The show was adapted from the novel The Happy Alienist by Eric von Stroheim and Wallace Smith. The story concerns the rich and absent-minded psychology professor, Johann Volk, who falls in love with Marie (Baroness von Schlewitz). The malevolent Baron Kuno Adelhorst, who also loves Marie, tries to get the professor's money by having Marie marry him, but after they are married she comes to love the professor and doesn’t want to blackmail him. However, the Professor thinks he’s been deceived and tries to shoot Marie. Fortunately, he does not hurt her and all ends well. The subplot involves an artist's model, Friedl, who wants a man's attention and gets it from the Baron.




At the center of June Moon is Fred Stevens, a young aspiring lyricist who journeys from Schenectady to New York City, where he hopes to make a name for himself in the world of song publishing and night clubs. On the train he meets dental assistant Edna Baker, and the two embark upon a friendship that evolves into love for her and fondness for him. While struggling to become a Tin Pan Alley notable, Fred takes a shine to his composer partner Paul's glamorous, gold-digging sister-in-law Eileen. The two men sell a song to a music publisher and it develops into a hit. Ultimately, revelations about Eileen's true character help return Fred to his senses and Edna, whom he realizes he truly loves.




June Bride is a 1948 American comedy film directed by Bretaigne Windust. Ranald MacDougall's screenplay, based on the unproduced play Feature for June by Eileen Tighe and Graeme Lorimer, was nominated for the Writers Guild of America Award for Best Written American Comedy. The film starred Bette Davis and Robert Montgomery. The Warner Bros. release marked the screen debut of Debbie Reynolds, although her appearance was uncredited.

Foreign correspondent Carey Jackson (Robert Montgomery) returns to New York City when his newspaper's Vienna office is closed and is offered a job on a women's magazine called Home Life. He accepts the position only because it will put him in daily contact with editor Linda Gilman (Bette Davis), whom he once loved. Linda is averse to the idea because of his leaving her three years earlier, but agrees to hire him if he will keep their relationship on a strictly professional level.

Movie excerpt

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Marinism: (muh-REE-ni-zuhm)  A literary style marked by extravagant imagery, elaborate metaphors, etc. After the Italian poet Giovanni Battista Marino (1569-1625). 

Because being a writer isn't difficult enough already................


Is Your Script Gender-Balanced? Try This Test
By Melena Ryzik
May 11, 2018

The stats are familiar to anyone who cares about the place of women on screen: year after year, they appear less often, say fewer words and generally don’t do as much in front of the camera. Numerous studies have corroborated the disparity between male and female characters in films, TV shows and ads.
But what if there was a way to analyze the gap before a movie hits the multiplex, when there is still time to address that persistent imbalance?
Now, a few Hollywood players have developed technology that aims to do that: new screenplay software that can automatically tell whether a script is equitable for men and women.
The idea came from Christina Hodson, a screenwriter who is involved with Time’s Up, the activist Hollywood organization addressing inequities in the industry. said Ms. Hodson, who specializes in female-driven action movies like the coming “Bumblebee” and a spinoff of Harley Quinn, starring Margot Robbie, “it made sense to me that we can do a lot ourselves, before they even leave our desk.”
She wondered if screenwriting software — which writers almost universally use to format scripts — could easily tabulate the number of male and female roles, for example, and how much each spoke. That way, writers could see and tackle the problem even before casting directors or producers had their say.
Ms. Hodson approached John August, a creator of the script software Highland, to see if he could make something of her brainstorm. In a word, yes. It was a snap: On Thursday, just weeks after that initial conversation, Highland 2, with the gender analysis tool that Ms. Hodson dreamed up, became available in the Apple app store as a free download.
 “I was immediately on board,” said Mr. August, a screenwriter himself whose credits include Tim Burton’s “Charlie and the Chocolate Factory” and the forthcoming live-action “Aladdin.”
“During the writing process, you’re not always aware of how little your female characters are interacting or speaking,” he said, “because you’re only looking at a scene at a time, a page at a time. It’s not a good overview.”
Highland 2 provides a real-time snapshot of the overall gender balance. The results are sometimes surprising. With her heroine-centered movies, “I expected all of my scripts would be over 50 percent” female, Ms. Hodson said, “and they weren’t.”
That knowledge provides an opportunity to rethink some of the storytelling. “It’s a tool for people to self-police and look at unconscious bias in their own work,” she said.
In conceiving the interface, Mr. August was careful about how the data was presented. “In no way did I want this to feel like scolding,” he said. “I wanted this to feel approachable, and invite you to make changes.”
Madeline Di Nonno, chief executive officer of the Geena Davis Institute on Gender in Media at Mount Saint Mary’s University, which has done extensive research into representation on screen, welcomed any innovation to push Hollywood into a more balanced direction.
“It’s about systemic change,” she said, “and it’s about what are the touchpoints along the way where critical decisions are being made, and how can we provide an intervention at the very beginning.”
In 2016, the institute, along with its partners at the University of Southern California and Google, announced a software tool that used video and audio recognition and algorithms to decode gender and other details of characters on screen. Late last year, the group also developed a script-level gender assessment — what Ms. Di Nonno called “a spell-check for gender bias” — which has been quietly used by some studios and ad agencies in the last few months, she said. (It’s not available commercially.)
The big hurdle in the industry will be buy-in. In response to questions from The New York Times about its products, Final Draft, maker of a leading screenplay software, said in a statement on Thursday that its next iteration, Final Draft 11, due out within the year, will offer “enhancements” that allow writers “to analyze many different aspects of the script, including gender representation.” (The company has long offered a free add-on called Tagger that lets writers tag attributes, including gender and race, for characters. The new version will make this a bigger standard feature.)
Even before Highland 2 hit the marketplace, it was making waves. In April, Ms. Hodson and Mr. August released a podcast about their collaboration and their hopes for it. Guy Goldstein, the founder of WriterDuet Inc., another screenplay software product, was listening, and inspired. His team immediately got to work.
The podcast “made us know that it was something that we really needed to do,” Mr. Goldstein said. “We didn’t realize the impact we could have until then. I think it’s our responsibility as software developers to offer tools that help build awareness.”
The WriterDuet tool, available online now, also includes an automated Bechdel test — which measures how many female characters there are and whether they discuss something other than a man — and even a reverse Bechdel test, which looks at men the same way. The tool also noted how many times the test was passed, using a minimum of seven lines of dialogue to qualify.
An examination of the last 10 Oscar winners for original screenplay offered dismal, if not surprising, results: Only one screenplay, Spike Jonze’s “Her,” passed WriterDuet’s Bechdel test, Mr. Goldstein said in an email, when the unseen digital assistant, voiced by Scarlett Johansson, has one conversation with a little girl. “In contrast, every single script passes our reverse Bechdel test multiple times (as many as 40 times, in ‘Spotlight’),” he said.
Ms. Hodson and the software makers say they expect their tools will be expanded to address other issues of representation, like race and ethnicity, although that is more complicated, because those details are not always mentioned in scripts.
But in general, “This is all pretty easy,” Mr. Goldstein said. “Technology can do this, and technology should be doing this.”
Ms. Hodson envisioned these analytics being applied to projects already in development. “We can’t enforce anything, but my hope is that people will be more invested in doing this as this conversation becomes more important,” she said. “Why wouldn’t you?”

A writer is..........

Great Photography present by John William Tuohy: Vivian Maier.

Great Photography present by John William Tuohy: Vivian Maier.

Dear Reader: You Misunderstood My Story. Signed, Truman Capote.

By James Barron
May 13, 2018

Writers can get grumpy when they get letters from clueless readers. When Susan Akers discovered an irritated reply from Truman Capote among some papers she was going through, what surprised her was the identity of one clueless reader who had sent Capote a note after his first published story appeared in Mademoiselle magazine.
That clueless reader was her mother, a junior in college at the time — which was mid-1945.
Ms. Akers discovered the letter among papers her father had set aside after her mother’s death at 91 in 2014. The letter was a brush with not-yet greatness: Capote was 20 when he tapped it out on a typewriter in his mother’s apartment on Park Avenue. “Breakfast at Tiffany’s” was 13 years in the future, “In Cold Blood,” 20. The story in Mademoiselle, “Miriam,” would win an O. Henry Prize the following year.
Ms. Akers’s mother was Katherine Warner then, but Capote began the letter “Dear Miss Warren.” There is no way to know whether he misread her name or mistyped the right letters in the wrong order, but there is no question that it was Capote at the keyboard. A secretary would not have sent the letter looking the way it did: Three words were marked out with X’s, the way fumble-fingered typists fixed mistakes when they did not bother to retype an entire page.
Just as prehistoric was the typewriter’s inability to correct misspellings. Capote had to write in a missing letter here or a missing word there — “understand” needed an s, “experienced” needed a d and a sentence needed a “was.”
Ms. Akers did not picture her mother as someone who would fire off a letter to an author. “Mother always painted a portrait of herself as a wallflower,” Ms. Akers said, “but it turns out she was quite a social butterfly. She had more confidence than she confessed to me. Who thinks to write an author and say, ‘I don’t get your story, explain it to me’?”
“Miriam” was about Mrs. H. T. Miller, a widow who, Capote wrote in the opening line, “lived alone in a pleasant apartment (two rooms with a kitchenette) in a remodeled brownstone near the East River.” There is a second character, a girl with strange-looking hair — “a demon child,” as Capote described her in the letter to Miss Warner.
“I take it you do not understand Miriam’s relation to Mrs. Miller,” Capote wrote in the letter. “Well, Miriam IS Mrs. Miller, or rather that evil element in her (as there is some degree of evil in all humans) that has never had a chance to expand, or flower as it were. In other words, Miriam is a projection.” Capote said there were clinical terms for what was actually wrong with Mrs. Miller. He mentioned schizophrenia.
Puzzled as to why her mother had not figured out “Miriam” on her own — or why, after Capote became famous, she did not say much about her letter and his answer — Ms. Akers sought clues.
Her mother’s stored-away belongings yielded evidence that Miss Warner might not have been the sharpest reader at Wellesley College. In the spring semester of 1945, just before she wrote to Capote, she received B’s in every subject except one, English. She got a C-minus, according to an entry in her mother’s diary. (The C-minus made Ms. Akers laugh. “My mother used to edit all of our papers before we handed them in,” she said. “She prided herself on English, but we didn’t know about this.”)
Miss Warner had all but predicted that she would have trouble with literature. In a short autobiography written when she was a freshman, Miss Warner declared: “I know myself to lack the feeling for serious high-toned writing which I consider to hold the place of honor in college.” (Grammarians would say she also lacked the feeling for punctuation and would probably put a comma before “which.”)
Ms. Akers’s conclusion? “Maybe ‘Miriam’ was not her cup of tea,” she said.
In the wider world, however, “Miriam” caused “something of a sensation,” the Capote biographer Gerald Clarke said in an interview, and got Capote’s career going.
“In those days, the best fiction in America was published in women’s magazines,” Mr. Clarke said. “Mademoiselle and Harper’s Bazaar, those were the magazines. They had published Virginia Woolf, really avant-garde stuff, whereas The New Yorker was publishing suburban manicured stuff.” Capote, who had been a copy boy at The New Yorker, had been rejected by that magazine. “Part of it was he was trying to imitate The New Yorker style, which he couldn’t do very well,” Mr. Clarke said.
Ms. Akers sent him a scan of Capote’s letter, seeking advice on its significance. “It doesn’t change anything in the interpretation” of “Miriam,” Mr. Clarke said, but it is important because it was contemporaneous, “not something he’s remembering 30 years later.”
“This sounded like him, but I didn’t know him when he was 20 years old, which makes it interesting,” Mr. Clarke said. “I knew him starting in his early 40s. There’s a difference. When he wrote this letter, he was not a famous person. I think it’s charming that he sat down to write the letter. I’m not sure how many fiction writers would do that. Fiction writers don’t like to explain their stories. They like to think people can interpret them, and if they have to explain them, it’s a bit much.”
Ms. Akers decided to donate the letter to the New York Public Library, which has Capote’s papers but will keep the letter separate, as it does with material acquired from sources other than Capote’s estate. Thomas Lannon, the library’s assistant director for manuscripts, archives and rare books, said the library accepted the letter because “there’s not much correspondence” from Capote.
“He didn’t keep copies” of letters he sent, Mr. Lannon said. “To find other Truman Capote letters, you don’t go to the Truman Capote papers, you go to other people’s papers.”
In a folder from the papers of Diana Vreeland were postcards Capote had sent her — one from Leningrad in 1956, another from somewhere in Greece in 1958. From a folder of the papers of Irving Berlin, Mr. Lannon pulled a letter Capote had written to the composer of “God Bless America” in 1948. That is the year he wrote the novel “Other Voices, Other Rooms,” and he told Berlin it was one of four accomplishments that year.
But Ms. Akers’s letter was striking, he said: “The Capote of that letter is so young.”
Ms. Akers’s mother was young herself — she was 10 months older than Capote.

John Tuohy's Photographs we've taken: Great Photography present by John William Tuohy: W...

John Tuohy's Photographs we've taken: Great Photography present by John William Tuohy: W...: Great Photography present by John William Tuohy: Weegee the Great

John Tuohy's Photographs we've taken: Carwash

John Tuohy's Photographs we've taken: Carwash:   ...


We are currently accepting submissions for the 2019-20 Reva Shiner Comedy Award. The top 10 finalists and the winner of the 2019-20 Reva Shiner Comedy Award will be announced at the end of March 2019.
"Full-length" plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes).
Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, subsequent activity does not change the acceptability of the script.


Distilled Theatre Company is excited to get started on our sixth season of dtc radio!  dtc radio curates and produces new story-based radio plays that air for free on iTunes and are available through any podcast app.  The dtc radio team will work with you on script development and when a final draft is complete, the team will find a director, actors, a sound designer, and produce the script. We are looking for several new plays for Season six, all around 20min in length.


We’re looking for humorous Fractured Fairy Tales that change a fairy tale in an unexpected way; altering characters, adding modern language or events, changing an ending, etc. The rules must be followed exactly, or our magic wand will make your script disappear! We don’t want you crying in the tower alone!
WHAT: It has to be based on an actual fairy tale, as our children’s theater program is literature based and we will be purchasing the book of the fairy tale to accompany the fractured play.

*** FOR MORE INFORMATION about these and other opportunities see http://www.nycplaywrights.org ***


In May 2005 Randy Rainbow performed in the NYCPlaywright’s Spring Fundraiser, in a reading of Brett Holland’s JACK/TIM.

He’s gotten lots of new fans since then…

Mark Hamill

"Speaking of taint": Rudy goes all crazy-eyes as @RandyRainbow has his way with him. Today would be a good day to give Mr. Rainbow his own TV show.
#RudyAndTheBeast #ManicMusicalMonday


Rosie O’Donnell

ROSIE Retweeted Randy Rainbow
i love u randy rainbow


Mario Cantone
You’re best yet. And that’s saying a lot. Brilliant and bruising.


When Debra Messing direct messaged me on twitter and asked me to write something for the entire cast of Will & Grace to perform at a Hillary fundraiser, I assumed her account had been hacked. And now this. I literally can't deal with life right now.


Rainbow/Wintour 2020


A selection of recent Randy Rainbow videos






Randy Rainbow - the early years

Rick Perry Gets a Drunk Phone Call from Randy Rainbow

Mitt Romney, Kiss Me!

Randy Rainbow is Dating Mel Gibson


Randy Rainbow’s Twitter Feed

Woke show queen, comedian, actor, songstress, activ-isht, Internet Sensation and TV Personality. 
Yes, it's my real name. 




Phoenix Theatre seeks plays & musicals for the 2019 Festival submission period, beginning May 1, 2018, we are accepting the following works:
Full-Length Plays, both dramatic and comedic
Plays should be original, un-produced, full-length scripts.
Plays that have received more than two development processes (i.e. festival participation) are not eligible.
No screenplays, please.
No Theatre for Young Audience pieces will be accepted.
Cast size must be limited to five actors or fewer (actors may play more than one role).

The LezPlay Contest is open to playwrights and screenwriters who identify as women.
We want stories that elevate and celebrate us, refine and redefine us. We want to introduce audiences to writers whose work reflects, resonates with, and is relevant to their lives. We want stories that have a broad appeal, stories that will enable us to reach individuals of all ages and in all stages of life.

Write Now New Plays Competition and Workshop seeks scripts for young audiences
The purpose of this biennial workshop is to encourage writers to create strikingly original scripts for young audiences. It provides a forum through which each playwright receives constructive criticism and the support of a development team consisting of a professional director and dramaturg. Finalists will spend approximately one week in workshop with their development team.  At the end of the week, each play will be read as a part of the Write Now convening.

*** FOR MORE INFORMATION about these and other opportunities see http://www.nycplaywrights.org ***

*** HAIR  ***

It all started in 1964, when actors James Rado and Gerome Ragni were cast in an off-Broadway revue called Hang Down Your Head and Die. The show closed after one performance, but the two performers struck up a friendship and decided to collaborate. “I had wanted to write a musical since I was a teenager,” says Rado, still fit and feisty at 77. He and Ragni (who died of cancer in 1991) knew exactly what they wanted to write about: the young people who were hanging out in the East Village, growing their hair and dodging the draft. “Music was an organic part of their lives,” Rado says of the hippies, “and we felt it was a natural [opportunity] to create something new.”

Although Rado had written music for his own pop band, he and Ragni decided to concentrate on lyrics and dialogue and find a composer to set their words to music. After several false starts, they met Canadian-born Galt MacDermot, a conservative-looking husband and father who had never heard of a hippie when he met the shaggy-haired duo. He had, however, released an influential album called Shapes of Rhythm, and Rado realized immediately that MacDermot was the man to help bring his characters to life.

“Galt was very much a rhythmic composer,” explains Rado. “His use of chords was very fresh and soulful. He had his own take on the elements of pop music, and his melodies were always a surprise to us.” Now 80, MacDermot remains active, and played keyboards with the pit band during Hair’s 40th anniversary concerts in Central Park in September 2007, which featured many of the actors now headed to Broadway. Why did he respond to the work of two aspiring lyricists? “I thought it was funny; it just amused me,” MacDermot recalled in the documentary film Hair: Let the Sun Shine In Alive Mind DVD.



In a year marked by as much social and cultural upheaval as 1968, it was understandable that the New York Times review of a controversial musical newly arrived on Broadway would describe the show in political terms. “You probably don’t have to be a supporter of Eugene McCarthy to love it,” wrote critic Clive Barnes, “but I wouldn’t give it much chance among the adherents of Governor Reagan.” The show in question was Hair, the now-famous “tribal love-rock musical” that introduced the era-defining song “Aquarius” and gave New York theatergoers a full-frontal glimpse of the burgeoning 60s-counterculture esthetic. Hair premiered on Broadway on April 29, 1968.



April 30, 1968

What is so likable about “Hair,” that tribal-rock musical that last night completed its trek from downtown, via a discotheque, and landed, positively panting with love and smelling of sweat and flowers, at the Biltmore Theater? I think it is simply that it is so likable. So new, so fresh and so unassuming, even in its pretensions.

When “Hair” started its long-term joust against Broadway’s world of Sigmund Romberg it was at Joseph Papp’s Public Theater. Then its music came cross with a kind of acid-rock, powerhouse lyricism, but the book, concerning the life and times of hippie protest was as rickety as a knock-kneed centipede.

Now the authors of the dowdy book - and brilliant lyrics - have done a very brave thing. They have in effect done away with it altogether. “Hair” is now a musical with a theme, not with a story. Nor is this all that has been done in this totally new, all lit-up, gas-fired, speed-marketed Broadway version. For one thing it has been made a great deal franker. In fact it has been made into the frankest show in town - and this has been a season not noticeable for its verbal or visual reticence.



In 1971, Denver police would not let the sunshine in. Or anything else to do with the pro-love, anti-war rock musical “Hair.”

The counterculture Broadway freakout, making its way from New York to cities across the country for the first time, had been booked for a week-long run at the downtown Auditorium Theatre. But when the company arrived, Denver police told them to keep right on moving. There would be nothing to see here. Certainly not a brief scene in which some of the actors celebrate the hippie credo of sexual freedom by stripping.

The vice bureau invoked a seldom-used (but still existing) law banning public nudity, as had other cities before Denver.



All sorts of factors go into picking a Broadway show’s opening night, but April 29, 1968, is very likely the only one to have been selected by the producer’s astrologer.

It was 50 years ago this week that all signs pointed to a propitious debut for the era-defining “Hair” at the Biltmore Theater. The “American Tribal Love-Rock Musical,” as it was known, quickly became an inescapable part of American culture. Audiences would flock to the Biltmore — and, in a tradition that continues to this day, storm the stage and dance with the cast during the curtain call — for an alternately ebullient and harrowing primer in hippiedom.

Everyone — the 5th Dimension, Three Dog Night and “Sesame Street,” to name a few — covered songs like “Aquarius” and “Good Morning Starshine.” The Broadway cast recording spent 13 weeks on top of the Billboard charts, and Ebony magazine called it “the biggest outlet for black actors in the history of the American theater.” (A brief, dimly lit nude scene at the end of Act 1 didn’t hurt its popularity, either.)


Hair: Let the Sun Shine In - Jerome and the Baby Called Hair



Room 222
Episode 1.2
First aired September 24, 1969
"Naked Came We into the World"

Student teacher Alice Johnson is excited to be given the responsibility for Walt Whitman High's school show and suggests the students themselves come up with the concept - but their concept is inspired by the rock musical “Hair.”



The Hair Original Broadway Cast - The Flesh Failures (Let The Sunshine In) - 1968


Hans Henrik Jæger

                                                   Writer Hans Jaeger, 1889, Edvard Munch

The Kristiania Bohemians (Norwegian: Kristiania-bohemen) were a political and cultural movement in the 1880s centered in Kristiania (now Oslo). Hans Jæger was the central figure in the movement, and other prominent members included Christian Krohg, Oda Krohg, Jon Flatabø, Haakon Nyhuus, and Nils Johan Schjander. The Kristiania Bohemians were naturalist artists and belonged to the period of Naturalism, but the clear emphasis that they placed on feelings also points towards the next literary period, Neo-Romanticism. The movement consisted of about 20 men and a few women, and others loosely associated with the movement, such as Arne Garborg.

The Kristiania Bohemians are also known for their Nine Bohemian Commandments, which had its origins in an article published in Impressionisten no. 8 in February 1889 and is often attributed to Hans Jæger. However, in the biographical novel Jæger – en rekonstruksjon (Jæger: A Reconstruction), Ketil Bjørnstad writes that the journal's publisher, Johan Collett Michelsen, wrote the piece together with Oda and Christian Krohg as a parody of Jæger, whom they were having a dispute with.

Hans Henrik Jæger ( September 2 1854, Drammen, Norway –  February 8 1910, Oslo) was a Norwegian writer, philosopher and anarchist political activist who was part of the Oslo (then Kristiania)-based bohemian group known as the Kristiania Bohemians. In 1886 he was prosecuted for his book Fra Kristiania-bohêmen, then convicted and sentenced to 60 days' imprisonment and a fine of 80 kr for infringement of modesty and public morals, and for blasphemy. He also lost his position as a stenographer at the Parliament of Norway. Jæger was defended in court by barrister Ludvig Meyer.. He and other bohemians tried to live by the nine commandments he had formulated in Fra Kristiania-bohêmen.

The following year he was forced to flee Norway. He had been sentenced to 150 more days in prison after the Norwegian government learned that he had sent 300 copies of Fra Kristiania-bohêmen to Sweden under the pretense that it was a volume of Christmas stories.
He was a friend of Edvard Munch and was the subject of one of Munch's paintings, swiftly painted in the rented room of one of Munch's friends.

Hans Jæger maintained that sexuality should be unrestricted in relationships, arguing that the traditional values of marriage and social class encroached on personal freedom and fulfillment. Jæger asserted that the institution of marriage should be abolished and that there should be "full sexual freedom between the sexes in the same social class."

The Bohemian Commandments (Norwegian: Bohêmbud) or Nine Bohemian Commandments (Norwegian: Bohêmens ni bud) is a frequently cited text from the Kristiania Bohemian movement in Oslo:
1.         Thou shalt write thine own life.
2.         Thou shalt sever thy family roots.
3.         Thou canst not treat thy parents badly enough.
4.         Thou shalt never smite thy neighbor for less than five crowns.
5.         Thou shalt hate and despise all farmers, such as Bjørnstjerne Bjørnson.
6.         Thou shalt never wear celluloid cuffs.
7.         Neglect not to make a scandal in the Christiania Theater.
8.         Thou shalt never repent.
9.         Thou shalt take thine own life.
The commandments come from an article published in Impressionisten no. 8 in February 1889, which is often attributed to Hans Jæger. However, in the biographical novel Jæger – en rekonstruksjon (Jæger: A Reconstruction), Ketil Bjørnstad writes that the journal's publisher, Johan Collett Michelsen, wrote the piece together with Oda and Christian Krohg as a parody of Jæger, whom they were having a dispute with.

2018 Nobel Prize in Literature Postponed Amid Sexual Abuse Scandal

STOCKHOLM — The Swedish panel that awards the Nobel Prize in Literature said on Friday that it would take the extraordinary step of not naming a laureate this year — not because of a shortage of deserving writers, but because of the infighting and public outrage that have engulfed the group over a sexual abuse scandal.
The Swedish Academy said it would postpone the 2018 award until next year, when it will name two winners, making this the first year since World War II that the panel has decided not to bestow one of the world’s most revered cultural honors. The academy is involved only in the literature award, so other Nobel Prizes are not affected.
Though the prizes should be awarded annually, they can be postponed or skipped “when a situation in a prize-awarding institution arises that is so serious that a prize decision will not be perceived as credible,” Carl-Henrik Heldin, chairman of the Nobel Foundation, which governs all of the prizes, said in a statement posted online Friday morning. “The crisis in the Swedish Academy has adversely affected the Nobel Prize. Their decision underscores the seriousness of the situation and will help safeguard the long-term reputation of the Nobel Prize.”
Peter Englund, a member of the academy, wrote in an email: “I think this was a wise decision, considering both the inner turmoil of the Academy and the subsequent bloodletting of people and competence, and the general standing of the prize. Who would really care to accept this award under the current circumstances?”
The announcement that there will be no 2018 prize is the latest in a series of blows to the academy that, occurring in the glare of the #MeToo movement, have drawn worldwide attention.
In November, a Swedish newspaper reported that 18 women said they had been sexually assaulted or harassed by Jean-Claude Arnault, who is closely tied to the Swedish Academy and is accused of using his stature in the arts world to try to coerce women into sex. Other allegations against him emerged later, including a report that Mr. Arnault had groped Sweden’s crown princess, Victoria.
Through his lawyer, he has denied all of the allegations.
Mr. Arnault, a photographer, is married to a member of the academy, Katarina Frostenson; is a close friend to other members; and is co-owner, with Ms. Frostenson, of Forum, a cultural center in Stockholm that received funding from the academy. Some events were said to have occurred at academy-owned properties in Stockholm and Paris, and at least one woman’s complaints to the academy about Mr. Arnault more than 20 years ago were rebuffed.
The crisis escalated when the academy dismissed another member, Sara Danius, as its permanent secretary, the group’s chief official — the first woman to hold that post — though she remained part of the panel. She had severed the group’s ties with Mr. Arnault and Forum, and commissioned an investigation of the academy from a law firm.
Her demotion prompted mass protests by critics who said that a woman had suffered for the misdeeds of a man, and that Ms. Danius had been punished for trying to introduce openness and accountability to a group that preferred to close ranks.
In practical terms, the academy was prepared to stick to its usual schedule, winnowing potential laureates to a shortlist by summer and anointing a prize winner in October, its acting permanent secretary, Anders Olsson, told Swedish Radio on Friday. “But confidence in the academy from the world around us has sunk drastically in the past half year,” he said, “and that is the decisive reason that we are postponing the prize.”
The decision not to award the literature prize this year “is a sensational piece of news, but it was the only possible decision,” Bjorn Wiman, culture editor of the Swedish newspaper Dagens Nyheter, told Swedish Radio. “It wasn’t possible under these conditions to appoint a winner. It would have been an insult to anyone who received it.”
Some of the academy’s 18 members resigned over Ms. Frostenson’s continued membership, and several more quit over the treatment of Ms. Danius. That left the group with 10 active members — too few, under its rules, to elect new members.
But academy appointments are for life, and until this week, the organization’s rules did not provide for resignations; it viewed those who quit as members who had become inactive, but could not be replaced.
On Wednesday, King Carl XVI Gustaf, the academy’s patron, who said he had followed the matter “with great concern,” announced that he had changed the academy’s rules to allow members to leave, and to allow the panel to replace any member who had been inactive for two years. It was a rare intervention by the monarch, whose role is mostly ceremonial.
Mr. Olsson said: “We are bringing in legal expertise and we are going to get better at what we do. We must vote in new members, and fast.” He promised increased transparency, and “more and better dialogue” with the royal court and the Nobel Foundation.
After meeting on Thursday, members of the academy had voiced optimism that the prize could be awarded in October, as usual.
“I see it as self-evident that we are still capable of awarding the prize,” Kristina Lugn, a panel member, told Dagens Nyheter. “We have a short nomination list with five candidates left. If we can’t do this then I think everyone should resign.”
Such comments raise the possibility that the Nobel Foundation might have pressured the Swedish Academy to change its position.
“The Nobel Foundation presumes that the Swedish Academy will now put all its efforts into the task of restoring its credibility as a prize-awarding institution,” Mr. Heldin, the foundation chairman said, “and that the academy will report the concrete actions that are undertaken.”

Christina Anderson reported from Stockholm, and Richard Pérez-Peña from London.