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Friday, 31 May 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

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Really Funny Blonde Jokes Biography
Marcel Duchamp (28 July 1887 – 2 October 1968; French pronunciation: [maʁsɛl dyˈʃɑ̃]) was a French-American painter, sculptor and writer whose work is associated with Dadaism and conceptual art.
Duchamp is considered by many to be one of the most important artists of the 20th century, and his output influenced the development of post-World War I Western art. He advised modern art collectors, such as Peggy Guggenheim and other prominent figures, thereby helping to shape the tastes of Western art during this period. He challenged conventional thought about artistic processes and art marketing, not so much by writing, but through subversive actions. He famously dubbed a urinal art and named it Fountain. Duchamp produced relatively few artworks, while moving quickly through the avant-garde circles of his time. He went on to pretend to abandon art and devote the rest of his life to chess, while secretly continuing to make art.
Marcel Duchamp was born in Blainville-Crevon Seine-Maritime in the Upper Normandy region of France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Emile Nicolle, his maternal grandfather, filled the house, and the family liked to play chess, read books, paint, and make music together.
Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of:
Jacques Villon (1875–1963), painter, printmaker
Raymond Duchamp-Villon (1876–1918), sculptor
Suzanne Duchamp-Crotti (1889–1963), painter.
As a child, with his two older brothers already away from home at school in Rouen, Duchamp was close to his sister Suzanne, who was a willing accomplice in games and activities conjured by his fertile imagination. At 8 years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille, in Rouen. For the next 8 years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist.
He learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamp's true artistic mentor at the time was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he also painted landscapes in an Impressionist style using oils.
On Duchamp's religious views, he was an atheist.
Duchamp was throughout his adult life a passionate smoker of Habana cigars.He became a United States citizen in 1955.
Duchamp's early art works align with Post-Impressionist styles. He experimented with classical techniques and subjects, as well as with Cubism and Fauvism. When he was later asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but quietly individual.
He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use visual and/or verbal puns. Such play with words and symbols engaged his imagination for the rest of his life.
In 1905, he began his compulsory military service, working for a printer in Rouen. There he learned typography and printing processes – skills he would use in his later work.
Due to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne. The following year his work was featured in the Salon des Indépendants. Of Duchamp's pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called "Duchamp's very ugly nudes". Duchamp also became lifelong friends with exuberant artist Francis Picabia after meeting him at the 1911 Salon d' Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living.Marcel Duchamp died on 2 October 1968 in Neuilly-sur-Seine, France, and is buried in the Rouen Cemetery, in Rouen, France. His grave bears the epitaph, "D'ailleurs, c'est toujours les autres qui meurent;" or "Besides, it's always the others who die".
In 1911, at Jacques' home in Puteaux, the brothers hosted a regular discussion group with other artists and writers including Picabia, Robert Delaunay, Fernand Léger, Roger de la Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, and Alexander Archipenko. The group came to be known as the Puteaux Group, and the artists' work was dubbed Orphic cubism. Uninterested in the Cubists' seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy. However, that same year he painted in a Cubist style, and added an impression of motion by using repetitive imagery.
During this period Duchamp's fascination with transition, change, movement and distance became manifest, and like many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art.
Works from this period included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The Coffee Mill shows similarity to the "grinder" mechanism of the Large Glass he was to paint years later.
In his 1911, Portrait of Chess Players (Portrait de joueurs d'echecs) there is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but to that Duchamp added elements conveying the unseen mental activity of the players. (Notably, "échec" is French for "failure".)

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

Wednesday, 22 May 2013

Really Funny Blonde Jokes Pictures Pics Images Photos 2013

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Really Funny Blonde Jokes Biography

The stereotype is not hard to summarize. When a blonde isn’t dumb, she’s lascivious. This is no laughing matter. In fact, a lot of people seem to believe it according to a British survey:
Blondes may have more fun - but it comes at a price. Men don't trust them. A study found that while fair-haired women are considered to be the most adventurous in bed, brunettes are seen as more reliable in a relationship ... and more sexy. In a poll of 1,500 men, more than 60 per cent thought dark-haired girls were the most trustworthy and loyal, compared with just 14 per cent of blondes. The result is men feel brunettes make the best wives.
Commenting on the study for Philips Sensual Massagers, spokesman Karen Moore said: 'Blondes have always had a reputation for being fun, carefree and adventurous and it seems that can also be applied to relationships, as men think they have the best skills when it comes to the bedroom.' (Daily Mail, 2010)
Actually, blondes have not always had this reputation. A very different one emerges from a study of Victorian-era novels:
In each a blonde maiden opposes a brunette, and in each the blonde is preferred. When the ending is happy, the blonde marries the hero; while the brunette is deserted. Most significantly, the blondeness and the darkness are continually emphasized by the authors until their symbolic intention becomes unmistakable. And this symbolic intention is always the same. The maiden with blue eyes and blonde hair is invariably “innocent,” “good,” and “pure”; while the dark lady is “impetuous,” “ardent,” and “passionate.” (Carpenter, 1936, p. 254)
This other study concludes: “In the mid-nineteenth century golden hair became an attribute of the pure and innocent maiden; while dark hair suggested the woman of passion and experience.”
Some hair-color preferences are undoubtedly innate, e.g., rare-color preference (Frost, 2006). Most, however, seem to be culturally constructed. They are specific to a time and place. They are also specific to the social dynamic that links the observer to the observed. If this dynamic is ignored, one might conclude that light-haired women are indeed sexually freer than dark-haired women, all other things being equal. But all other things were not equal when this stereotype took shape. Light hair and dark hair were proxies for ethnicity.
The current blonde stereotype began in the U.S. of the early 20th century. It was a product of ethnic contact between the native-born population and darker-haired immigrants (Italians, Jews, Greeks, etc.) who were often shocked by the relative sexual freedom of ‘American’ women. This attitude existed in different communities, but it entered the mainstream culture primarily via Jewish immigrants and specifically through their contributions to art and literature. It is a common theme in Jewish-American novels:
The exotic female in Jewish life is the sexy shiksa, frequently a blue-eyed blonde who offers gratifications withheld, at least until marriage, by proper Jewish girls. […] A blend of arrogance and defensiveness prompts many Jews to claim that shiksas are more carnal and promiscuous than women of their own faith because Christians are less intelligent, refined, and clean than themselves. Goyishe Kopf (literally translated as gentile head), the Yiddish colloquialism for stupidity, exemplifies the traditional contempt for Christians. (Jaher, 1983)
This theme entered popular American culture through fiction, motion pictures, and comedy routines, with well-known examples including the novel Portnoy’s Complaint by Philip Roth and the typecasting of Marilyn Munroe in vamp roles (Jaher, 1983).
The ‘dumb blonde’ stereotype gradually spread outside the U.S. As a rural Ontario teenager in the 1970s I heard this term on American sitcoms, but it had no connection to my reality. Nor were the blondes at my school thought to be sexually permissive. In the late 1980s, as a doctoral student in Quebec City, I remember the puzzlement that initially greeted blonde jokes, this humor having no relation to existing beliefs about hair color in French Canada. Today, blondes are routinely stereotyped throughout Canada as being sluttish and stupid, as if they have always been so.
This stereotype likewise came late to Europe. In the mid-1960s, Bastide (1967, p. 326) noted the following about the movie industry: “In Europe, a blond is usually the heroine, and a brunette the dangerous woman. In Brazil, the dark woman is loving and faithful, while the blond is the vamp who leads a man to ruin.”
Several generations now separate Americans from the social dynamic that created the current blonde stereotype. This is less true in northwestern Europe, where recent decades have seen immigration from North Africa, the Middle East, and South Asia. For these immigrant communities, light-colored hair symbolizes European ethnicity and, by extension, relative equality of men and women, low importance of female virginity, permissive attitudes to pre-marital sex, etc. Such stereotyping has been reported from Sweden, as noted in the following news article:
"Ah, girl, blond whore!"'
Josephine' was met with these words on the first school day at a high-school in an immigrant-dominated suburb south of Stockholm. Josephine was quite baffled, since aside from her hair color there was nothing about her appearance that would indicate she was promiscuous. She didn't use makeup and had completely neutral clothing. It was exclusively her hair-color that branded her a 'whore'.'
Josephine' is one of the informants for researcher Maria Bäckman, who did an ethnographic field study in a suburb south of Stockholm, where ethnic Swedes make up about 20% of the population.

In her study she focused on ethnic Swedish girls. They experience being linked to the notion of free, Swedish sexuality, which in the densely immigrant suburbs is not necessarily linked with something positive. The strategy for the suburb girls was therefore to play down their Swedish identity.

"Several dyed their hair. Not necessarily because they wanted to look like immigrants, but because they didn't want to look so Swedish," says Bäckman.
(Brandvold, 2010)
Conclusion
Stereotypes are not merely observations of reality. They also reflect the power relationship between the observer and the observed. Too often, the target is a group that cannot fight back. Albinos, for example, have increasingly appeared in films as hit men and other villains even though their poor eyesight makes such roles impossible in real life. From the 1960s to 2006, they appeared as ‘bad guys’ in sixty-eight films (Wikipedia, 2010). They suited the role perfectly, being easy to stigmatize and yet numerically too weak to retaliate.
Blondes have similarly faced media-driven stereotyping, and this stereotyping has persisted for similar reasons. It incurs few social penalties. It’s like the little boy who gets beaten up just because he’s weaker than the bullies who gang up on him.

Really Funny Blonde Jokes Pictures Pics Images Photos 2013