Secret cinema found beneath Paris.
In September 2004, French police discovered a hidden chamber in the catacombs under Paris. It contained a full-sized movie screen, projection equipment, a bar, a pressure cooker for making couscous, a professionally installed electricity system, and at least three phone lines. Movies ranged from 1950s noir classics to recent thrillers.
When the police returned three days later, the phone and power lines had been cut and there was a note on the floor: “Do not try to find us.” (via)
SECRET, MILDLY THREATENING UNDERGROUND COUSCOUS CINEMA
I WANNA GO
LET ME JOIN YOUR KIND, UNDERGROUND MOVIE PEOPLE
nO YOU DON’T UNDERSTAND THIS ENTIRE CINEMA WAS HIDDEN BEHIND AN UNDER CONSTRUCTION SIGN THAT LEAD TO A CHECK-IN DISK WITH A FULL CCTV HOOKUP THAT WOULD TURN ON AND RECORD ANY UNREGISTERED VISITORS. AND IF SOMEONE SNUCK IN? A TAPE OF BARKING SECURITY DOGS WOULD BEGIN TO PLAY.
BEYOND THE CRAZY FRONT DESK AND THE MOVIE THEATER, THERE WAS A STOCKED BAR AND TABLES AND CHAIRS, MEANING THAT AFTER CATCHING A FLICK IN AN ILLEGAL PARISIAN CATACOMB THEATER, YOU COULD THEN EAT COUSCOUS AND SIP A COCKTAIL NEXT DOOR. THERE WAS A PROFESSIONAL ELECTRICITY SYSTEM SET UP, AND AT LEAST 3 WORKING PHONE LINES. THIS SHIT WAS LIKE A BOND VILLAIN.
BETTER YET? IT WAS RUMORED THAT THE PLACE WAS SET UP BY THE UNDERGROUND FRENCH ART GANG UX “Urban eXperiment”, WHO NAVIGATES THROUGH THE PARISIAN UNDERGROUNDS AND ILLEGALLY RESTORES ABANDONED WORKS OF ART, ALONG WITH HOLDING FILM FESTIVALS IN THE BASEMENTS OF GOVERNMENT BUILDINGS. THEY EVEN RELEASED A SHORT FILM ABOUT THEIR WORK RESTORING THE ICONIC PANTHEON CLOCK OVER THE COURSE OF ONE YEAR. NO ONE SUSPECTED THEIR INVOLVEMENT, UNTIL THE CLOCK BEGAN TO WORK AGAIN AFTER 60 YEARS OF RUSTING.
IF YOU DON’T THINK CATACOMBS AND THE PEOPLE WHO HANG OUT IN THEM ARE SOME OF THE COOLEST FUCKING THINGS IN THE WORLD THEN I IMPLORE YOU TO EAT SOME COUSCOUS AND RECONSIDER.
OH HOL Y SHIT
SOME COUSCOUS FOR YOUR NEXT ILLEGAL VIEWING EXPERIENCE
Not Ashamed of His Cone of Shame :)
When you find a friend you can act stupid with:
and the one who refuses to do it with you
In my Russian culture class today, we got to discuss one of my favorite paintings, Ivan the Terrible and His Son, by Ilya Repin (1885), and I wanted to share it, not only because it is a beautiful and compelling painting, but also because of the history behind it.
Ivan IV of Russia, commonly known as Ivan the Terrible, is pictured here with his dead eldest son and heir, Ivan Ivanovich.
It was a very hot day and Ivan Ivanovich’s wife was heavily pregnant and walking around in what Ivan deemed was less than proper attire for the wife of a tsarovich. When he forcefully told her as much, his son intervened on her behalf, defending his wife from his irate father. Infuriated at his defiance, Ivan struck him in the head with his staff, killing him. His eldest son and the heir to the Russian throne was now dead. After Ivan IV’s death a few years later, Russia fell into a long period of civil strife known as the Time of Troubles.
I don’t want to focus on the politics, though.
This painting is one of Repin’s most famous, and understandably so. We see Ivan’s son, cradled to his father’s chest, dripping in vibrant red blood, with still a trace of shock in his eyes.
Ivan’s (IV) face is what captivates me though. His eyes are enormous, much like you would find in Russian icon paintings. Ivan, although tsars claimed to be appointed by God, looks anything but holy in this image; in fact, he looks a little demonic. His face is filled with horror, revulsion, and disbelief. Did this really just happen? Is his son truly dead? How many times has he held his son like this before, when he was smaller? It’s all the more interesting to think of a young Ivan (IV), whose father died when he was barely a toddler, leaving him to become a child ruler whose early life was dominated by powerful regents. He grew up without a father; now, in a cruel twist, he has lived to see his own son die, and at his own hands.
Everywhere, the painting is saturated in red, one of the most beloved colors in Russian art. His son is bathed in white, dressed in pale colors, while he is shrouded in black, leaning into the shadows. The two figures jump out at the viewer from the center of the painting, forcing you to study the two of them. It’s painful to look at. But Repin’s masterful use of oil paint and light and dark make it very beautiful, too.
i think the coolest thing would be to see a new color
Reblog if you’ve been personally victimized by a musical