Nearby, the stark contrasts in Jean-Émile Laboureur's black-and-white woodcut "The Bal Bullier" suggest the harshness of the ballroom's electric lights.
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He speaks stirringly about undocumented immigrants who fear deportation and transgender teenagers who face a "bullier in chief," while vowing to put "community policing ahead of paramilitary policing" and to confront the state's utility giant.
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Bal Bullier Bal Bullier was a ballroom in Paris, France, created by François Bullier in the mid-nineteenth century. It closed its doors in 1940. It was located at 39 Avenue Georges Bernanos in the district of Val-de-Grace in the 5th arrondissement, at the location of Bullier Centre CROUS. The entrance fee was two francs on Thursday nights, and one franc on Saturday nights.
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Sonia Delaunay's Bal Bullier is a painting known for both its use of color and movement. The original Bullier Hall was located on the Avenue de l'Observatoire and was popular for dancing and drinking.
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Gaston Bullier was a French cyclist. He competed in the men's sprint event at the 1900 Summer Olympics.
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Bullier, J.: Integrated model of visual processing. In: Brain Research Reviews, Nr. 36, 2001, p. 96-107.Lamme, V. A. F., & Roelfsema, P. R.: The distinct modes of vision offered by feedforward and recurrent processing. In: Trends in Neurosciences, Nr. 23, 2000, p. 571-579.
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The Opera Ball, celebrated yearly for carnival, allowed some small leeway. The first big public ball that allowed cross dressing was the Bal Bullier in 1880, in the Avenue de l'Observatoire, followed by the Bal Wagram in 1910. After World War I, Paris became one of the nightlife centers in Europe, with focal points in Montmartre, Pigalle, and Montparnasse, and numerous short-lived bars catering to gays and lesbians, surviving between police raids, ruinous scandals, and the public's insatiable thirst for new thrills. Many establishments were also known for drug trafficking.
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In Paris, Romanians passed by the Cluny cafes, La café Vachette, the Chatelet brasserie, La Bullier, similar to the Moulin Rouge in the Latin Quarter or the Closerie de Lilas. Petrașcu's presence at such meetings was picturesquely evoked by Sextil Pușcariu together with Ștefan Octavian Iosif, Dimitrie Anghel, Ștefan Popescu, Ipolit Strâmbulescu and Kimon Loghi: "...With his tie tied in an artistic bow, you swore that Petrașcu was coming down from Montmartre, if his word, which was answered by the Moldavian, had not betrayed another homeland".Sextil Pușcariu: Călare pe două veacuri, Editura pentru literatură, București, 1968, pag. 177 The meetings at Closerie de Lilas were not idyllic, even if Pușcariu found a special charm.
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Lucia Joyce: To Dance in the Wake, New York: Farrar, Straus and Girous, 140. In 1928, she joined "Les Six de rythme et couleur," a commune of six female dancers that were soon performing at venues in France, Austria, and Germany.Le Bihan, Adrien (2011). James Joyce travesti par trois clercs parisiens, Paris: Cherche Bruit, 80. After a performance in La Princesse Primitive at the Vieux-Colombier theatre, the Paris Times wrote of her: "Lucia Joyce is her father’s daughter. She has James Joyce’s enthusiasm, energy, and a not-yet-determined amount of his genius. When she reaches her full capacity for rhythmic dancing, James Joyce may yet be known as his daughter’s father."Shloss, 6 On 28 May 1929, she was chosen as one of six finalists in the first international festival of dance in Paris held at the Bal Bullier. Although she did not win, the audience, which included her father and the young Samuel Beckett, championed her performance as outstanding and loudly protested the jury’s verdict.
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