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Florine Stettheimer, Self-Portrait with Palette (Painter and Faun), undated, oil on canvas.
ART PROPERTIES, AVERY ARCHITECTURAL AND FINE ARTS LIBRARY, COLUMBIA UNIVERSITY IN THE CITY OF NEW YORK, NEW YORK, GIFT OF THE ESTATE OF ETTIE STETTHEIMER, 1967
“Imagine the Fun Florine Stettheimer Would Have with Donald Trump: The Artist as Feminist, Democrat, and Chronicler of Her Time”
By BARBARA BLOEMINK
Not only was artist Florine Stettheimer an ardent Democrat, she despised anyone and anything she found pompous, misogynistic, or egotistical. As is evident in her paintings and poetry, Stettheimer’s early 20th-century political beliefs—equality for women and acceptance of all varieties of sexual preference, an unusually open-minded attitude toward African-Americans, support for immigrants escaping war, and the need for government-sponsored social programs—clashed with those of our current president. Unlike Donald Trump’s cabinet, populated largely by older, wealthy, straight, white men, Stettheimer filled her paintings with gay and immigrant artists, and with women and African-Americans enjoying themselves in their own context at a time when homosexuality was illegal and Jim Crow laws and the Ku Klux Klan were prevalent. When dealing with difficult and controversial subjects, rather than using images of violence, fear, and subjugation, Stettheimer’s primary means of documenting issues of her time was through positive imagery and humor.
The artist—whose work is on show now in “Florine Stettheimer: Painting Poetry” at the Jewish Museum in New York—cannot be described as an overtly political artist or social activist. She was an introvert and a wealthy woman tied to certain social mores. Born to a prominent New York family, she never experienced the effects of poverty or violence. However, despite her upbringing and occasional snobbishness, Stettheimer was remarkably broad-minded for her time. She was attracted to both the gaudiest forms of popular culture and the most explicit and controversial cultural arts. This unusual attitude found its way into her painting and at least those parts of her diaries that were not destroyed by her younger sister Ettie after the artist’s death. As art historian Linda Nochlin observed of Stettheimer’s painting, there is “an actively subversive component inherent to Camp sensibility itself. This subversiveness may be quite validly viewed as social or political commitment in its own right.”1
Having painted the first overtly feminist nude in art history and ignoring the baroquely masculine regionalist style and the abstraction of many contemporary modernists, she consciously developed a narrative style from the unusual perspective of the female gaze. Stettheimer’s unique mature painting style and unbiased attitude can be attributed to her unconventional, future-oriented personality and to the fact that she spent her first 40 years steeped in the far more progressive culture of European cities, particularly Paris. Between 1907 and 1910, Florine and her sisters Ettie and Carrie attended many exceptional theatrical performances that particularly featured women’s roles.2 They saw a scandalous interpretation of Richard Strauss’s Salome(1907/9) in Paris, with the notorious Russian actress and dancer Ida Rubinstein in the leading role.3 In her “Dance of the Seven Veils,” Rubinstein shed layers until, according to Jean Cocteau, the last, “most difficult of all, came away in one piece like the bark of the eucalyptus tree” and left her naked. Stettheimer’s reaction: “she looked wonderful . . . bust absurd . . .”
Florine Stettheimer, A Model (Nude Self-Portrait), 1915, oil on canvas.
ART PROPERTIES, AVERY ARCHITECTURAL AND FINE ARTS LIBRARY, COLUMBIA UNIVERSITY IN THE CITY OF NEW YORK, NEW YORK, GIFT OF THE ESTATE OF ETTIE STETTHEIMER, 1967
Evidence provided among the Stettheimers’ papers by pamphlets from the 1896 First International Feminist Congress, held in Paris, makes it clear that Florine’s feminism was already firmly in place from an early age. After attending a 1909 performance of Aristophanes’s Lysistrata in Munich, she complained that it was a horrible evening: “The play was written by a man who was completely anti-feminist . . . I concluded that they should have all the roles taken by men and the performance only for men—the way it was written, no woman could enjoy it.”
Stettheimer’s time in Paris also contributed to her attitude toward sexual preference, something that distinguished her family’s salon once they returned to New York City. In Paris, sexual relations between same-sex individuals were not illegal as they were in the United States and England. As a result, lesbians, including the Stettheimers’ cousin, the poet Natalie Barney, moved freely throughout the city. Given their close relations with all of their relations, the Stettheimers undoubtedly knew, and possibly visited, Barney’s infamous Friday afternoon salons at 20 Rue Jacob. Following 1884, new laws in France gave women the right to initiate divorce proceedings, and a powerful new symbol, the Femme Nouvelle, emerged, demanding women’s rights. Many of these New Women chose to live independently, not marrying or having children. The wearing of masculine clothing, including pants, by the Femme Nouvelle was seen as a feminist statement against the predominant marginalization of women’s accomplishments.
From her twenties or thirties, Stettheimer had a seamstress custom make her pantaloons (and later a black velvet pantsuit). After about 1916, most of her self-portraits depicted her wearing pantaloons as her “uniform,” identifying her as a professional artist, complete with artist’s palette and brush. Like her friend Georgia O’Keeffe,4 Stettheimer used her clothing as an element of her public “brand.” Despite knowing most of the most significant photographers of the time, she would not allow them to photograph her, thereby ensuring that she controlled her image via her paintings. Even into her seventies, Stettheimer also often portrayed herself as around the age of thirty, wearing her artist’s uniform, with her characteristic red stiletto heels. For the artist, wearing pants offered her ease in working, particularly given the large scale of most of her paintings, as well as carried a feminist political implication: one can imagine her saying, like mystery writer Dorothy Sayers, “If the trousers do not attract you, so much the worse; for the moment I do not want to attract you. I want to enjoy myself as a human being.”5
Florine Stettheimer, Fete on the Lake, undated, oil on cardboard, mounted on board.
ART PROPERTIES, AVERY ARCHITECTURAL AND FINE ARTS LIBRARY, COLUMBIA UNIVERSITY IN THE CITY OF NEW YORK, NEW YORK, GIFT OF THE ESTATE OF ETTIE STETTHEIMER, 1967
Leaving Europe in 1914 to escape the unrest preceding World War I, Stettheimer was “horrified by the plight of refugees” whom she and her sisters saw flooding into Switzerland. Once permanently back in New York, Florine and her sisters volunteered at the Red Cross, spending afternoons rolling bandages. They attended meetings and parades supporting the Allies and worried as their nephew Walter served in the air force. However, rather than ever dealing explicitly with the war in her art, Stettheimer celebrated the following peace process in a painting titled New York/Liberty(1919). The painting is a highly accurate, realistic portrayal of President Woodrow Wilson’s July 8, 1919, return from the Paris Peace Conference aboard the World War I battleship Washington. As in the actual event, the USS Washington in Stettheimer’s painting is escorted by the USS Oklahoma and other military ships, with a navy blimp flying overhead. Stettheimer gilded the huge Statue of Liberty where, on December 2, 1916, President Wilson had re-illuminated the torch that, through a major fund-raising campaign, had just been replaced. During the three years prior to the war’s end, the statue had become a key symbol of “America’s fighting overseas to secure Liberty in Europe.” Although she collapsed the actual distance from Grant’s Tomb on the Upper West Side down to the lower end of Manhattan, Stettheimer realistically captured the most prominent architecture of her beloved city’s skyline circa 1918–20 as a mélange of recognizable traditional and modern buildings.6
New York/Liberty records a contemporary event and, at the same time, is the visual equivalent of Stettheimer’s experience of returning to her native land. Arriving in New York not only signified her returning home permanently but offered Stettheimer an entirely fresh beginning. From this point on, many of her paintings reveal her patriotic “love affair” with America. She had spent the first three decades of her life mastering traditional academic European painting styles. Now, Stettheimer returned home as a 40-year-old, unmarried, wealthy woman with a taste for the controversial elements of the avant-garde. For years while traveling through Europe with her mother and two sisters she had constantly chafed against family obligations that kept her from having time to paint. On returning to America, she felt she was “delivered from bondage,” as she noted to a reviewer, and she wrote in her diary she had “throw[n] off old shackles” and “become free.”7As a result, Stettheimer vowed to create a completely original, contemporary style of painting that captured all that was exciting about modern 20th-century New York as she personally saw—and more important, sensorially experienced—it:
“Then back to New York
And skytowers had begun to grow
And front stoop houses started to go
And life became quite different
And it was as tho’ someone had planted seeds
And people sprouted like common weeds
And seemed unaware of accepted things
And out of it grew an amusing thing
Which I think is America having its fling
And what I should like is to paint this thing.”8
Florine Stettheimer, Lake Placid, 1919, oil on canvas.
MUSEUM OF FINE ARTS, BOSTON, GIFT OF MISS ETTIE STETTHEIMER
As a sign of her new attitude, among her first paintings in New York is the startlingly subversive circa-1915 Nude Self-Portrait. Stettheimer’s painting is the first overtly feminist self-portrait in Western art, and she is only the second-known woman artist to paint an entirely naked one.9 At the time she executed the work, it was absolutely unthinkable, even scandalous, that a wealthy, upper-class, unmarried, middle-aged woman would paint herself nude.10 During the first two decades of the century, women’s fashions rose only slightly above the ankle, and womens’ bathing suits were wool chemises that fell below the knee, often accompanied by concealing legwear.
In a humorous and provocative move, Stettheimer’s Self-Portrait is based on several well-known, controversial nudes from Western art history, including Francisco Goya’s Nude Maja (circa 1797–1800), and Edouard Manet’s painting of a prostitute, Olympia (1865).11 The similarity indicates that Stettheimer consciously intended the painting as a swan song to her decades of training in the tradition of European male artists’ work. In effect, her Nude Self-Portrait reverses centuries of nude painting conventions in Western art geared toward male voyeurism. Instead, Stettheimer portrayed the female body here as a specifically femaleexperience.
In most such traditional nudes, the subject had been depicted with her eyes closed or looking away, giving the male viewer unrestricted freedom to gaze. In her Nude Self-Portrait, by contrast, Stettheimer looks directly at the viewer, rendering anew the aspect that so scandalized viewers of Goya’s and Manet’s portrayals. Her expression is, however, altogether different from theirs. Stettheimer is not inviting male viewers’ voyeuristic enjoyment of her sexuality as in all female nude paintings prior to this, nor is she being confrontational in the manner of Manet’s Olympia. Instead her expression is mocking—ultimately an exaltation of femaleness. Stettheimer’s nude controls the gaze rather than being the object of it. The artist thereby creates a tension between the traditional male expectations of ownership and the reality of female experience. Posing naked as a 44-year-old woman, her pubic hair visible, Stettheimer was very aware of society’s lessening of a woman’s value as she ages, as is apparent in a poem she titled “Civilizers of the World”:
“They like a woman
to have a mind.
They are of
interest they find.
They are not
women of that kind.”12
One of the most important and influential events of 1920 was the August 18 passage of the 19th Amendment, granting women the right to vote (although, as in many White House meetings today, women were excluded from the ceremonial signing in Washington, D.C.). In keeping with her long-held female-centric outlook, Stettheimer devoted several major works to the subject of women, often turning her biting sense of humor on those from her own social class. In some cases, she chose to portray women engaged in activities without the need or desire for any male companionship. In others, she displayed her pointed dislike of traditional, conventional women’s roles.
Florine Stettheimer, Spring Sale at Bendel’s, 1921, oil on canvas.
PHILADELPHIA MUSEUM OF ART, GIFT OF MISS ETTIE STETTHEIMER
In Spring Sale at Bendel’s (1921), Stettheimer turned the act of shopping into a fantastic balletic comedy of vivid color and frenzied action. The painting captures a generally unseen aspect of upper-class women’s lives and, at the same time, destroys any notion of these ladies as models of controlled, decorous behavior. Slim saleswomen in plain black dresses patiently wait while their customers prance, whirl, twist, and contort before the mirror to glimpse their figures in new clothes. Each woman is isolated in self-absorbed reverie, several getting stuck trying to get in or out of dresses. Seeking the very latest fashions, they act out a frenzied dance across the floor. At the lower left, the store’s tuxedoed head manager stands on a stair platform, frowning at the viewer, while on the bottom step a small Pekingese dog sports a sweater embroidered with a dollar sign. The painting displays many signs of wealth: the sweeping, carpeted staircase; gold-fringed curtain; feather-plumed gilded mirror; and masses of luxurious fabrics. Nonetheless, the composition resembles a mad brawl, with bargains passionately contested and well-dressed women leaping across a table to grab discounted scarves from each other’s hands, as though it is instead a scene among teenage hoodlums.
In 1931 Stettheimer began a painting titled Cathedrals of Fifth Avenue, centering the composition around a high-society wedding taking place at Saint Patrick’s. Throughout her life, the artist believed marriage to be a suffocating, conventional undertaking that benefited the man but not the woman. In her mind, marriage actively limited a woman’s creative freedom and intellectual life, as she ironically wrote:
“Sweet little Miss Mouse
Wanted her own house
So she married Mr. Mole
And got only a hole.”13
Her depiction of the wedding reflects her feminist view by making the bride the least interesting aspect of the painting and ironically conflating religion with acquisitiveness.
Just as they do today, during Stettheimer’s time, wealthy New York families vied for the use of Saint Patrick’s for weddings. The cathedral’s sanctuary was completed and its great organ installed the same year that Stettheimer began the painting. Contemporary newspapers and magazines carried long articles detailing the decorations and food at weddings of the rich and the fashions of the “smart set” members attending. In Stettheimer’s painting, below the cathedral’s Gothic arch, an elaborately robed bishop and a modestly robed priest bless the newlyweds, surrounded by clearly individualized, highly detailed, members of the wedding party. As Linda Nochlin observed, the Cathedrals paintings are “secular icons presided over by contemporary cult figures.”14 In contrast to virtually all the other figures in the painting, Stettheimer depicts the bride as a characterless mass of diffused white light, her barely perceptible facial features consisting only of hazy slits for eyes and a mouth. She is a nonperson, while the groom is conventionally tall, dark, and handsome, and stands passively, like a fashion mannequin. As she often did in her group paintings of straight men, Stettheimer reversed the usual convention by making the man, rather than the woman, the object of pulchritude.
Florine Stettheimer’s studio at the Beaux-Arts Building, New York.
PETER A. JULEY & SON, 1944/SMITHSONIAN AMERICAN ART MUSEUM, PHOTOGRAPH ARCHIVES, PETER A. JULEY & SON COLLECTION
Irony and humor are evident throughout the painting’s details, particularly in the children. At the left, a bored altar boy uses his scepter to lift and peer underneath the bride’s gown. An altar boy at the right swings his censer back as if to bash a gray dog with it. A tiny flower girl positions herself directly in front of Arnold Genthe’s camera, attempting to draw attention away from the bride. Floating in the painting’s sky, Stettheimer painted references to the commercial elements of the nuptials, all found on buildings along Fifth Avenue. The engagement period is represented by the rings from Tiffany’s, the name spelled with colored jewels; Maillard chocolates, red roses, champagne, and sugar candy from Sherry’s; the bride’s preparation with face creams from Hudnuts and a designer wedding dress from Tappé; gifts of bone china from Thorley’s of Staffordshire, England; and the wedding dinner at Delmonico’s Restaurant at Fifth Avenue and 44th Street. The name of Altman’s department store is made up of various furnishings—all essential for the well-to-do couple setting up a house.
A separate “ceremony” takes place at the upper-left corner, where Stettheimer included a vignette of Charles Lindbergh’s May 7, 1929, ticker-tape parade down Fifth Avenue past 4 million people. Lindbergh’s historic flight across the Atlantic became a symbol for the focus on individual initiative in the 1920s.15 By painting a tiny image celebrating a technological hero against an overwhelming one of a huge society wedding bordered by the accoutrements of wealth, Cathedrals of Fifth Avenue is Stettheimer’s ironic comment on high society’s continuing valuation of conventional traditions over modern individual achievements.
In Paris in 1910, Stettheimer and her sisters attended the premiere of the Ballet Russes performance of Claude Debussy’s L’Après-midi d’un Faune, in which the young Russian dancer Vaslav Nijinsky caused near riots by undulating his hips as though simulating an orgasm over the abandoned scarf of the ballet’s wood nymph. Critics called the performance, “lecherous” and “filthy and bestial,” but Stettheimer’s reaction was ecstatic: “I saw something beautiful last evening . . . Nijinsky the Faun was marvelous—He is the most wonderful male dancer I have seen—and I imagine the rest of the world has never seen better. . . .”
Florine Stettheimer, Beauty Contest: To the Memory of P.T. Barnum, 1924, oil on canvas.
WADSWORTH ATHENAEUM MUSEUM OF ART, HARTFORD, CONNECTICUT, GIFT OF ETTIE STETTHEIMER, 1947
In 1920 Stettheimer painted Music, a memory of Nijinsky’s performance, as though it were a dream. Rather than accurately re-creating the ballet, however, she gave visual form to Nijinsky’s bisexuality by conflating several of his most famous roles: Nijinsky’s costume, for example, isn’t the spotted faun-colored one from L’Après-midi, but a very feminized adaptation of the costume he wore in Fokine’s Spectre de la Rose. A red gown, it now has a heart-shaped bodice revealing a slight cleavage and emphasizing a tiny waist and rounded, womanly hips. Stettheimer complicated any purely feminine reading of Nijinsky’s figure by also emphasizing the dancer’s masculine features, such as his prominent Adam’s apple, muscular biceps, hairy underarms, and thick male thighs. The figure poses with his feet en pointe, a position that was foreign to male ballet dancers, but that Nijinsky was uniquely renowned for his ability to perform.
Stettheimer’s portrayal of Nijinsky with both female and male attributes was very provocative. During the 1920s and ’30s, gay characters appeared on the Broadway stage, and New Yorkers of all classes visited gay clubs in Harlem, known as “pansy clubs.” However, a federal law prohibited “sodomy,” and New York City police made regular arrests for the crime of homosexuality, so anything other than straight sexual behavior was hidden in public.16
One of the most unusual aspects of the Stettheimers’ salon was the large number of their gay, bisexual, and lesbian friends and acquaintances, who were comfortable being their authentic selves among their straight friends. Several of the sisters’ closest friends, including Charles Demuth, Marsden Hartley, Henry McBride, Virgil Thomson, and Baron Adolph de Meyer (the latter married to a lesbian) were homosexual; Carl Van Vechten, Cecil Beaton, and Georgia O’Keeffe were bisexual; Natalie Barney and Romaine Brooks were lesbians; and Alfred Stieglitz, Marcel Duchamp, Gaston Lachaise, Marie Sterner, and Leo Stein were heterosexual. This open, natural mix of friends with different sexual preferences continued when Stettheimer held salons in her studio in the Beaux Arts building in midtown Manhattan, although later in life she also had parties where most of the guests were strong feminist women.
The fashion for women’s bodies in the 1920s was the thin, straight, small-breasted flapper style. This matched Stettheimer’s own body type, and as a result, most of the male and female figures in her paintings are portrayed as somewhat androgynous. This also derived from her laying out her compositions as though they were scenes from an active performance, the figures being actors or dancers caught moving through space. The exception to this en pointe androgyny was in her portraits of people with specific body types, or details of men with “beautiful bodies” that women are admiring.
Florine Stettheimer, Asbury Park South, 1920, oil on canvas.
COLLECTION OF HALLEY K HARRISBURG AND MICHAEL ROSENFELD, NEW YORK
During the most prolific decade of her life, Stettheimer painted a major work demonstrating her unusually open-minded attitude, for the time, toward African-Americans. Her very rare use of a specific location in the title of her 1920 painting Asbury Park South connects it with a highly significant site in the history of race relations during the last decades of the 19th century.17
During the 1880s and ’90s, Asbury Park developed as a major summer resort, attracting more than 30,000 white vacationers annually to its beaches, boardwalk, and casino. A middle-class community of African-Americans settled in the town’s West End to serve as maids, groundskeepers, and drivers, and to work the concessions, all necessary to keep the resort functioning. They also started a series of important jazz clubs that brought many significant musicians (including Count Basie and Josephine Baker), and drew white as well as black clientele. Initially, despite the “separate but equal” Jim Crow laws that enforced segregation after Reconstruction, the black residents and white tourists openly shared the beaches and boardwalk. By the turn of the century, however, the white visitors increasingly objected to the “social equality of blacks on the bathing beaches” where the white people bathed.18 Initially, the black population actively resisted segregation, with a local African-American minister stating in a New York Times article: “The colored man contributes largely to the wealth of this country . . . and we are here to stay . . . This country is for the whites and blacks alike, including even the beach of Asbury Park.”19 Eventually, citing economic reasons, such as a major decline in tourist business due to the mixing of races, Asbury Park actively restricted all African-Americans to a section of the beach on the south side of the Casino.
In 1920 Van Vechten took a number of friends, including Stettheimer, playwright Avery Hopwood, dancer Paul Théveenez, Van Vechten’s wife the actress Fania Marinoff, and Duchamp, to visit this segregated section of Asbury Park beach. Stettheimer chose to record the event in a monumental work. The subject of Asbury Park South is black beachgoers, all of whom are delighting in their day at the shore. The single most striking aspect of the painting is that all the people are fully realized, distinct personalities, just as Stettheimer painted herself and her friends in the composition. At a time when most other depictions of African-Americans by white artists were caricatures, with pure black skin, Stettheimer’s close observation is evidenced by her black figures’ skin tones, that range from light tan to the deepest brown. They are also distinctive because of their proud bearing, natural stylishness, poise, self-confidence, and vivacity. In addition, Stettheimer’s painting is completely unlike other contemporary white artists’ depictions of the circumstances of black Americans, who were inevitably portrayed only as domestics, rural workers, or entertainers for white audiences in advertisements and cartoons. Instead, in an early and rare instance in American painting, African-Americans appear as well-dressed individuals, enjoying themselves on a beautiful beach in the same context and manner as their white peers.
Stettheimer believed Asbury Park South was one of her best paintings, and submitted it to more exhibitions than any other work during her lifetime. On March 23, 1921, the French modernist Gaston Lachaise found the painting “radiant”20; Albert Gleizes thought so highly of it that in 1922 he proposed Asbury Park South for inclusion in the Paris Salon d’Automne, where it was accepted. Sixteen years later, Tom Mabry, the Museum of Modern Art’s curator, included Asbury Park South in the first exhibition of American art ever staged in Europe.21
The bedroom of Florine Stettheimer’s studio at the Beaux-Arts Building, New York.
PETER A. JULEY & SON, 1944/SMITHSONIAN AMERICAN ART MUSEUM, PHOTOGRAPH ARCHIVES, PETER A. JULEY & SON COLLECTION
Stettheimer’s democratic politics meant she closely followed every presidential election. She read voraciously throughout her life, with a preference for Proust, biographies of strong, independent women, and politics and history from both sides of the Atlantic. In 1928 she stood firmly behind the first Catholic presidential candidate, Al Smith, a progressive reformer who opposed prohibition and steadfastly championed women’s receiving the vote. Although we know she had a number of flirtations and romances with men during her younger years, after age 50, Stettheimer reserved her male adoration for Presidents George Washington and Franklin D. Roosevelt. Stettheimer once wrote to Carl Van Vechten, saying Washington “is the only man I collect.”22
In her Beaux Arts studio facing Bryant Park on West 40th Street, Stettheimer had a small “patriotic” room separated from her two-story living room by transparent cellophane curtains. There, surrounded by tall freestanding, bas-relief columns, gilded and white, were shelves filled with busts and tiny figures of Washington. On the walls, Stettheimer hung her two most “militaristic” paintings, A Day at West Point and New York/Liberty, the latter with her red, white, and blue frame surmounted by a gilded wooden eagle. She designed all the room’s tables to appear as if covered with draped white cloths fringed with gold. In one rounded corner cabinet, with an open niche surrounded by illusionistic drapery, Stettheimer installed at eye level an approximately foot-high marble bust of Washington.
Standing atop a pedestal, a huge, gilded figure of Washington is prominent in Stettheimer’s 1939 painting The Cathedrals of Wall Street. As in so many of her works, she accurately replicates the physical location, described thus by New York Times reporter Elliott V. Bell in 1938: “Here on one corner stands the Stock Exchange, on another J.P. Morgan’s and on a third the outmoded temple of the old United States SubTreasury upon which the statue of George Washington stands with lifted hand to mark the site where the first President on April 30, 1789, took the oath of office.”
Conceptually, The Cathedrals of Wall Street is a combination of themes: the pageantry and national pride sparked by the New York World’s Fair of 1938–39, Franklin D. Roosevelt’s New Deal and laws to reverse the devastation caused by the Depression, and an economy recovering with the mobilization toward World War II. Specifically, the painting illustrates the April 30, 1939, celebration held in New York City to honor the 150th anniversary of George Washington’s inauguration. Among the events recognizing the date was a public reenactment on the SubTreasury Building steps, with representatives of military organizations, marching bands, and speeches by Mayor Fiorella La Guardia and other dignitaries. The same day, the New York World’s Fair opened in nearby Queens, with “Colonial America” as its theme and an 80-foot statue of Washington on display. Stettheimer was thrilled to be invited to see President Roosevelt lay the fair’s cornerstone, and found him very charming and amusing.
In The Cathedrals of Wall Street, a huge portrait of Roosevelt in gold and white,23 his name prominently displayed, sits just above the painting’s center. His image is set off against a gold coin, under the tympanum of the New York Stock Exchange building. (For accuracy’s sake, Stettheimer sent her lawyer out to get her a piece of ticker tape so she could replicate it.)
Florine Stettheimer, Family Portrait II, 1933 , oil on canvas.
MUSEUM OF MODERN ART, NEW YORK, GIFT OF MISS ETTIE STETTHEIMER, 1956
The Stettheimers were not financially affected by the Depression and, as was characteristic of Florine, she never portrayed the poverty and suffering she must have witnessed during the late 1920s and early ’30s. The only evidence in her painting of economic hardship is at the lower left, where figures from the Salvation Army—the lady officers in uniform, one seated before the piano—sing “God Bless America.” Behind them is a tiny image of an itinerant preacher, waving his hands atop a barrel, as Elliott Bell described, “exhorting the noon-time crowds of clerks and office boys to forsake Mammon and return to God.”24
More than anything, however, the painting reflects Stettheimer’s belief in Roosevelt’s New Deal policies. The prominence of the banks’ names and the words “mortgage” and “insurance” call to mind Roosevelt’s creation of Social Security, unemployment insurance, easier access to mortgages, and, when the banks collapsed, his convincing the public that they were safe so that within a month, three-quarters of them reopened. In the painting, above Roosevelt’s portrait, are those of three men who were part of the president’s “brain trust”—extremely wealthy, influential men who assisted him—Bernard Baruch, John D. Rockefeller, and J.P. Morgan.
As she prized accuracy, Stettheimer went to great lengths to research details for her painting. She sought someone who could introduce her to Eleanor Roosevelt, to whom she gave a major, central position in the forefront of the composition, and was very disappointed not to meet her. In order to meet the popular singer Grace Moore, shown singing the National Anthem and holding the American Flag at the right side of the composition, Stettheimer had her hair done at the same hairdresser. She wrote to the military offices to get the proper information on Army and Marine uniforms, and, as contemporary photographs demonstrate, she caught the exact perspective through which Trinity Church can be seen from the side of the George Washington statue. What most distinguishes The Cathedrals of Wall Street is its sensory nature: the flags flying in the wind, the choppy water on the horizon, Moore singing the “Star-Spangled Banner” and the Salvation Army officers singing “God Bless America” from their Glory Hole. The marching, uniformed brass and drums Salvation Army Band performs, and a young Boy Scout near a gilded column plays his horn. Through all this cacophony, Stettheimer herself marches on red stilettos, at the bottom right, holding a bouquet signed, “To George Washington from Florine.”
Artist Marsden Hartley, whom Ettie supported financially, wrote letters back from Germany where he was visiting in 1936, admiring Hitler’s economic reforms and ability to give the non-Jewish German people a new sense of nationalism, “outside of the Jewish question which of course is tragic. . . .”25 When Hartley returned to New York, the Stettheimers barred him from their salons, and never spoke to him again.26 In a letter of July 16, 1938, written to her sisters vacationing in Saratoga, New York, Stettheimer described the coming horrors of World War II as seen in film reels. On September 3, 1939, Stettheimer noted in her diary that war had broken out in Europe.
She also eagerly listened to the 1940 presidential campaign speeches on the radio and was horrified to learn that her close friends Henry McBride and Clagett Wilson favored Wendell Willkie. Thrilled when Roosevelt was again elected, she noted in her diary: “Thank goodness it [the inauguration] came off—heard Oath and speech . . .” Just as she had befriended many artists, including Duchamp, Gleizes, Lachaise, and Picabia, who immigrated to New York fleeing WWI, Stettheimer praised America’s welcoming many immigrants fleeing the Nazis during World War II. As she noted in her diary, among the inauguration speeches were some of “our most illustrious refugees—[Maurice] Maeterlinck [the Belgian poet and writer,] [Ignacy Jan] Paderewski [the Polish pianist, composer, and politician for independence,] Eve Curie [the French feminist writer and war correspondent], etc.”
Florine Stettheimer, Picnic at Bedford Hills, 1918, oil on canvas.
PENNSYLVANIA ACADEMY OF THE FINE ARTS, PHILADELPHIA, GIFT OF ETTIE STETTHEIMER
Florine Stettheimer’s paintings take contemplation, repeated viewing, and, often, an understanding of the context in which they were painted to be fully understood. At a moment defined by a president prone to bombastic outbursts, incomplete sentences, and the promulgation of “alternative facts,” Florine Stettheimer’s paintings offer a newly relevant, alternative, and open-minded point of view toward many of the same issues that fill the political landscape right now. All the details in her works are based on in-depth research and factual imagery. And she achieved this in her idiosyncratic, lighthearted, consciously feminine style—a mode our current president would hate. There are few artists I can imagine more effectively mocking Trump in a visible way than Florine Stettheimer. To be sure, she would probably paint him while wearing one of her black pantsuits.
Barbara Bloemink’s biography and catalogue raisonné on Florine Stettheimer will be published in 2018. An art historian with a Ph.D. from Yale, Bloemink was previously the director of five art museums, including the Guggenheim-Hermitage and the Smithsonian National Design Museum, and has organized over 70 museum exhibitions on contemporary and modern art and design.
1 Linda Nochlin, “Florine Stettheimer: Rococo Subversive,” in Barbara J. Bloemink and Elisabeth Sussman, Florine Stettheimer: Manhattan Fantastica (New York: Harry N. Abrams, 1995), 102.
2 A small sampling of the “woman-oriented” productions seen during just two years by the Stettheimers includes:
- The Girls of Gottenberg
- Oscar Wilde’s A Woman of No Importance
- Richard Strauss’s Salome, 1907 (or 1909). Stettheimer describes seeing the performance in her diary of 1907, but histories of the performance date it 1909; and Stettheimer was not always conscientious about accuracy in dating her entries.)
- Ethel Barrymore in a play
- Patrick Campbell as Electra
- Vera Komissarzhevskaya in A Doll’s House
- Hedda Gabler (in German in German Theater)
- Lillian Russel in “racing comedy” Wildfire
- Isadora Duncan and Walter Damrosch at Metropolitan Opera with New York Symphony Orchestra.
New York, 1909:
- Ethel Barrymore in Lady Frederick
- Fiske in Salvation Nell
- Annie Russell in The Stronger Sex
- Maxine Elliott in The Chaperone
- Eleanor Robson in The Dawn of Tomorrow
- Anna Held in Miss Innocence
- Julia Marlowe in The Goddess of Reason
- Fannie Ward in The New Lady Bantock
- Kathryn Kidder in A Woman of Impulse
- Marie Doro in The Richest Girl
- Blanche Bates in The Fighting Hope
- Margaret Anglin in The Awakening of Helena Richie
3 Richard Strauss created the opera on the theme of Salome in 1905 including the Dance of the Seven Veils with Salome shedding her veils until she is ultimately virtually nude. (Although popular in Europe, the subject was banned in England when it was adapted by Oscar Wilde in a play published in 1893 with illustrations by Aubrey Beardsley.) When Ida Rubinstein appeared in Strauss’s role in 1908 and 1909 in Paris she precipitated an anti-Semitic, misogynistic backlash. Her performance was applauded by Jean Cocteau and she later became affiliated with the Parisian lesbian milieu. Marcus, Jane. “Salome: The Jewish Princess was a New Woman,” Bulletin of the New York Public Library, 1974, p. 100, n. 24.
4 Wanda Corn, Georgia O’Keeffe: Living Modern (Brooklyn Museum/Delmonico Books, 2017). This exhibition was groundbreaking in presenting O’Keeffe’s carefully controlled apparel and image through photography, her clothing, and accessories, as well as her paintings, for the first time.
5 Quoted in Carolyn G. Heilbrun, Writing a Woman’s Life (Ballantine Books, 1988), 55.
6 I have identified most of the buildings in this painting that were all built prior to Stettheimer’s 1919 painting of it. For further information please refer to my upcoming biography and catalogue raisonné of Stettheimer, due in early 2018.
7 Matthew Lonrden, “Review of the Society of Independent Artists,” in The World Magazine, March 20, 1920.
8 Florine Stettheimer, Crystal Flowers: Poems and a Libretto, ed. Irene Gammel and Suzanne Zelazo (BookThug, 2010), 79.
9 The German artist Paula Modersohn-Becker is believed to be the first woman to paint a nude self-portrait. However, her two little-known works, the full-nude Self Portrait as a Standing Nude and the sketchy study Self-Portrait as Standing Nude with Hat, both appear in traditional, male-oriented “presentation” poses, without the overtly feminist female gaze of Stettheimer’s self-portrait. To date, no other nude self-portraits painted by women have been identified between Modersohn-Becker’s two undated nude studies of 1906 and Stettheimer’s Nude Self-Portrait, ca. 1916.
10 In his biography Florine Stettheimer: A Life in Art (New York: Farrar Straus & Giroux ), Parker Tyler does not recognize that it is a self-portrait but refers to the painting as “A Model, circa 1915–16, a recumbent nude with bluish flesh-shading” and notes that the nasturtium red color of the hair is the same color the artist gave herself in the painting Self-Portrait with a Faun/Palette done at the same time. It is amazing that he did not also notice the close similarity of facial features in the two works. The Nude Self-Portrait, titled simply A Nude, was among a large group of paintings Ettie Stettheimer and lawyer Joseph Solomon gave to Columbia University, where they resided in the basement of the Art Properties department. When I was researching my Ph.D. dissertation on Stettheimer (The Life and Art of Florine Stettheimer, Yale University Press, 1995), I identified both the Self-Portrait with Chinese Screenand this Nude Self-Portrait as images of the artist herself because of the identical manner in which she painted her facial features in every previous and subsequent self-portrait, as well as by comparing the painted versions of the few available photographs of her. In the latter, as in every painting, she featured her rounded forehead and pointed chin, large almond eyes with dark crescent brows, long nose, and full lower lip. Although her hairstyle varied between dark full bangs and an open forehead with a central part, it was always in a stylish ear-length bob, and the color dark to nasturtium red. In another passage, discussing Stettheimer’s painting Soirée, Tyler described the Nude Self-Portrait incorrectly, stating, “she placed her nude (titled A Model, and a figure evidently too large for her to handle easily) at the back to contrast with the—to us—invisible canvas opposite; the nude, doubtless, had had its ideal moment, in which Florine had put much that was climactic (all her “student” fervor) but this moment was already past: the artist had come upon her new manner, her new ideal…” (Tyler, Life in Art, p. 110) still not recognizing either the self-portrait or the ironic intention of placing it on the wall as the theme of the painting.
11 Stettheimer’s Nude Self-Portrait measures 47 by 67 inches, Titian’s Venus of Urbino measures 47 by 65 inches, Francisco Goya’s Nude Maja measures 38 by 74 inches, and Edouard Manet’s Olympia measures 51 by 75 inches. Roberto C. Ferrari, curator of the Columbia University works of art collections that include Stettheimer’s Nude Self-Portrait, has written that under ultraviolet light one can see that the artist “overpainted the attenuated legs, which bear a striking resemblance to those of Ingres’s odalisque” [Grande Odalisque, 1814]. This then is another Old Master painting of a nude by a male artist that demonstrates Stettheimer’s wide knowledge of Western art history.
12 Stettheimer, Crystal Flowers, 60.
13 Ibid., 44.
14 Nochlin, Art in America, Rococo Subversive, 73.
15 Eksteins, Modris, Rites of Spring: The Great War and the Birth of the Modern Age, Houghton Mifflin, 1989, pp. 266-70.
16 In the minds of a few forward-thinking people, the view that homosexuality and untraditional gender roles was a form of insanity was slowly changing, based on the spread of Freud’s theory that all humans were born with a bisexual disposition, and represented an arresting of sexual development.
17 There is some confusion as to the dating of this work. According to a loose paper in the Stettheimer archives at Columbia University, Carl Van Vechten believed it to have been painted between 1925 and 1930, and not in 1920, as indicated in the poster of Caruso on the left side of the composition. The poster, he suggested, was an old one that had remained on the reviewing stand for several years. Van Vechten himself was at work on Nigger Heaven in 1924–26, and that obviously added to his belief in a later date. There are, however, several exhibition reviews that discuss the painting in 1921, indicating 1920 is correct.
18 Victoria Wolcott, Race, Riots, and Roller Coasters: The Struggle over Segregated Recreation in America (Philadelphia, University of Pennsylvania Press, 2012), p. 24.
19 “Answering Mr. Bradley: Colored People at Asbury Park Speak Out at Meeting,” New York Times, June 28, 1887.
20 Gaston Lachaise to Stettheimer, March 23, 1921, Stettheimer Papers, Beineke Library, Yale University.
21 Although they were both fully aware of Stettheimer’s Asbury Park South painting of 1920, in a book on the Mexican artist Miguel Covarrubias’s Negro Drawings (introduction by Frank Crowninshield; New York: Alfred A. Knopf, 1927), Crowninshield mistakenly claimed that Covarrubias was “the first important artist in America . . . to bestow upon our Negro anything like the reverent attention . . . which Gauguin bestowed upon the natives of the South Seas.” This was seven years after Asbury Park South was painted and exhibited by Stettheimer, and in many ways Covarrubias’s drawings are still caricatures. There were several very fine African-American artists who painted scenes of everyday life of African-Americans within their own context during the 1920s. These include Archibald Motley Jr., Winold Reiss, and Aaron Douglas, among others, however they did not have the opportunity to exhibit their work in the kind of significant venues and museums as white artists such as Stettheimer.
22 Stettheimer was by no means the only one obsessed with images of Washington. The first president’s picture was often reproduced, and his life was the subject of articles in popular magazines throughout the period between the world wars. In 1919 Vanity Fair ran an article describing a newly found diary of Washington covering the period 1782–83, when he was in France. Gilbert Stuart’s image of Washington graced the cover of the magazine in March 1932, with superimposed images of gangsters.
23 The facial expression indicates Stettheimer copied a contemporary black-and-white state photograph of the president that was popular at the time in which he similarly faces forward.
24 Bell, Elliott, “What is Wall Street, The New York Times Magazine, Jan. 2, 1938.
25 “North Atlantic Folk and Racial Discourse” in Donna M. Cassidy, Marsden Hartley: Race, Region, and Nation (New Hampshire Press, 2005), 263.
26 I am very grateful to Barbara Haskell for providing me this information.
Copyright 2017, Art Media ARTNEWS, llc. 110 Greene Street, 2nd Fl., New York, N.Y. 10012. All rights reserved.
By Barbara BloeminkARTnews magazine / ARTnews, 6 July 2017, © 2017, Art Media ARTNEWS, llc..


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Antennas Direct - Which to choose?
I'm planning to mount the antenna in my attic - I'm 42 miles from the farthest transmitter - most are in the 30-40 mile range. All channels are in UHF, with the exception of NBC, which is in VHF-Hi channel 11.
I've come across two flavors of Antennas Direct that are in my price range (~$80 shipped or less): the Clearstream 4 and Clearstream C2. At face value, it seems like the 4 is just a doubling of the C2.
Is it the case that more is better? I've read reviews that say these antennas do not pick up the UHF-Lo/Hi channels. Any other comments, suggestions?
Thanks in advance!
At that range I'm tempted to recommend the c4, as it will pick up more signal than the c2. The only question is whether or not you need VHF... And if you let us know where you are located it will be easy to tell.
I'm new to the antenna realm. What exactly is dipole? I'm guessing it has support for VHF and UHF, hence DI pole?
My zip code is 32935. Solid Signal lists the C4 as the #1 recommendation, but does not even list the C2.
A zip code of 32935 returns this: TV Fool
Mounting an antenna in the attic means the roof material will affect the signals.
It looks like WESH-DT 11 (2.1) NBC might be a problem.
The in the C2 image are two "rods" pointing out at the top of it. This is a dipole for VHF-Hi band and is much like a pair of rabbit ears.
It's a bit questionable if the dipole will be enough for WESH-DT.
This might be a better choice: AntennaCraft 33 Element UHF / High-Band VHF Outdoor HDTV Antenna (HBU33) from Solid Signal
I have to agree with VOS here. You might need a bit more antenna.
Thanks for the help - The AntennaCraft you recommended is 80" - That's a bit long for the position I have picked out in the attic. On a side note, does it matter if an antenna is labeled as "outdoor"?
So what this seems to boil down to is - The C2 and the C4 will likely pick up the same channels in UHF, but the C2, since it's a dipole, MIGHT be able to pick up WESH-DT, which is the only channel in my area in VHF anyway.
I think the c4 will do better for UHF and the c2v will do better for VHF. Note that there is a difference between the Clearstream 2 and the Clearstream 2V -- only the 2V will pick up VHF.
An outdoor antenna is weatherproofed and will work indoors though perhaps not as well. But it will work.
If WESH-DT isn't important, then the C4 or C2, but if it is, I doubt the dipole on the Clearstream 2V will be satisfactory.
Originally Posted by jason_mac01
This dipole isn't much more than a pair of rabbit ears, and my own experience with a VHF-hi channel at the same levels as WESH-DT is for you, with rabbit ears, is marginal.
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Graham Norton is joined by band McBusted and actors Anne Reid and Kris Marshall.
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Place in Orbit*
Place in Orbit* is a long-term artistic research and project framework. It was initiated in late 2017 with the support of the Goethe-Institut / Max Mueller Bhavan Bangalore and Srishti Institute of Art, Design and Technology, Bangalore, India. Its main focus lies in exploration, communication, education, and collaboration. It unites contemporary artistic practices and modern collaboration processes with space exploration and technologies. In particular, it is an examination of the unique methods, shapes, and tools of our time that occurred with the invention of space rockets and satellites as well as virtual spaces. The aim is to develop an artistic language of its own and to create a platform for the emerging field of space-art.
Phase one, Ignition/Lift-off, contained the first edition of the Space Art Hackathon SPARTH and the interactive installation PSLV-C37 as a proof-of-concept.
SPARTH is a 48-hour Hackathon focusing on the relation between Space and Arts through interdisciplinary work in the scope of Science and Technology. The outcome is expected to be pieces, prototypes or articulated processes of art that could be exhibited. The first edition took place in November 2017 in Bangalore.
The installation PSLV-C37 is an interactive public art experience, weaving across layers of physical objects and Augmented Reality. Connected with each other via sound, light, sensors, and interaction modes these objects monitor and engage a communication between the pieces themselves as well as with the visitors.
Thrusting and Transition
In the second phase, Thrusting and Transition, it is intended to establish a platform for public outreach and engagement: the Space Art Community Meeting SPARTHabitat. Here, the dialogue between artists, visionary entrepeneurs, and academic leaders is fostered.
As part of the artistic research, visits of the facilities of space production in Germany and Europe are planned. New interactive installation are developed, such as In Tranist and NOW. A Kinetic Life.
SPARTHabitat is a community engaging in the various relations between space and art, following a multidisciplinary agenda. It has a focus on outer space, but also investigate phenomena from the physical space to the virtual space, gallery space, or urban space. The aim is explore artistic, technological and biological implications for the human species in the ascending age of space travel and virtuality.
The interactive installation In Transit plays with the explorative nature of the human species. It encourages the user to send objects on a voyage – over and over again.
NOW. A Kinetic Life is an interactive installation that spans a visual and acoustic connection between outer space and physical spaces that surround us. It is an orchestra of movement using elements from outer space, nature and human bodies as instrumentations. It is an expression of the ever-changing moment we are living in: NOW.
Vakkalanka, Harshini. When space meets art, October 17, 2017. The Hindu.


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10 One Direction songs for the boy band's 10th anniversary. One Direction is an English-Irish pop boy band based in London. David Lewis Smith had claimed the One Direction single 'Night. High Court case claiming One Direction song 'infringed on. Who has the most solos in one direction Le carte della verit. One Direction's most played track in the UK Irish News. One Direction's Irish cutie Niall Horan releases debut solo. Niall Horan delivers soft easy listening sounds on first solo. Perfect is a song by English-Irish boy band One Direction. The song released in 2011 came out on top ahead hits including Story Of My Life and History PPL's data was released to mark the band's 10-. Former One Direction star Niall Horan is rumoured to be Ireland's entrant for the Eurovision Song Contest 2019. The track serves as a fully realized artistic statement for the Irish singer making it clear his. Different during this break He co-wrote a song The Night We Met for Irish boy band Hometown. BTS' Vocal Analysis Jungkook K-pop Vocalists' Vocal Analyses. Horan's acoustic guitar-driven melodies on songs like the title track and. Niall Horan endured an ageing process for One Direction's new single Best Song Ever Gallery 3 Niall Horan endured an ageing process for. Fair and one direction five incredible person cannot reply add your comment on. Consideration of Irish music but one genuine poetry has taken that direction. Is One Direction's love letterpromise to the fans and the lyrics of the song in its. Ed Sheeran Has Stopped Writing for One Direction Time. Former One Direction singer Niall Horan says his music definitely has.
Home One Direction song Wikipedia. Form One Direction's Liam Payne has revealed this week that Mullingar lad Niall Horan actually wrote a song about Liam's girlfriend Sophia The Irish singer. The song released on September 11 was exactly what the young group. One Direction are an English-Irish pop boy band signed to Syco composed of Niall Horan Liam Payne Harry Styles Louis Tomlinson and previously Zayn. Irish boyband star Niall Horan is unrecognizable in latest photos from One Direction's music video for their brand new single Best Song Ever. 46 Niall Liam Louis Zayn and Harry co-wrote four songs on the record 'Taken'. Who has best voice in one direction? The 10 best solo singles from One Direction members. 1 by performing One Direction songs The Irish singer included two 1D tracks in his set at the O2 Academy Brixton at his show in support of his. Night Changes is a song recorded by English-Irish boy-band. One direction an irish song and is not to receive instructions online. He's said the song is about falling back to your lowest point but many fans. One Direction at 10 Songs to celebrate the boy band's anniversary. The new One Direction song from Four which is a total Irish song.
High Court action over One Direction song is resolved RTE. English-Irish pop boy band One Direction appear on NBC's Today. One Direction ukulele songs with chords and tabs UkuTabs. One Thing Tin Whistle Letter Notes By One Direction Irish. The Impact of One Direction Ten Years Later TMRW Magazine. UPD Niall Horan rumoured as Ireland's entrant for Eurovision. For a Baritone in KPOP V has widest vocal range as per real vocal analysts of Eb2 D6 3 octaves 5 notes and 1 semitone which means he has potential of hitting high octaves with ease. Perfect One Direction song Wikiwand. Of many of One Direction's songs including the critically acclaimed top 10 hit. Niall Horan delights fans by singing 1D songs AP News. What voice type is Jungkook? Optional callback that one direction song. Harry Styles is the wealthiest of all of the members with a reported net worth of 75 million. One Direction fans in Orlando were wild about Harry on Monday but there was. One Direction is a pop punk band of the United States1 UK bandOne Direction commonly abbreviated to 1D is a UK-Irish boy band The original 5-member. Does Jungkook sing in falsetto? Irish Music Song and Ballad Lyrics for Roger Casement Anne Cox One Direction. One Direction Biography Discography Chart History. Overall One Direction has a song on the album for just about everyone.

domain: entertainment


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Samsung Heavy Industries announced on Oct. 30 that it has decided to terminate a shipbuilding contract for two drillships with Transocean, a Swiss shipping company. Drillships are vessel-type facilities for drilling oil and gas wells.
Samsung Heavy Industries terminated the shipbuilding contract on Oct. 29 after completing compensation talks on condition that it retains the US$524 million it has received in down payment and own the ships.
Greece’s Ocean League placed orders for the drillships with Samsung Heavy Industries, one in August 2013 and the other in April 2014. The orders amounted to US$1.43 billion. Samsung Heavy Industries continued to build them after Transocean took over Ocean League in 2018 but received a letter of intent to terminate the contract from Transocean in September.
“We will minimize the financial impacts of the termination of the contract by selling the drillships,” a Samsung Heavy Industries official said.
Samsung Heavy Industries has also agreed to scratch off contracts for three drillships with Pacific Drilling of the United States and Seadrill of Norway. The shipbuilder is seeking to sell off the drillships to other shipowners.

domain: news


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Another update! Sorry it took so long.
The ripper has been redesigned to support the latest AAA games
Global performance improvement of games with ripper
Critical bug fixes
Improved browser support
Game examples (not all shown): Resident Evil Village/7/4/3/2, Devil May Cry 5(DX12), Uncharted 4, Last Of Us, Spider-Man Remastered...


Transit Cheats Plague San Francisco's MUNI
A recent study to be presented to the Municipal Transportation Agency (Muni) governing board Tuesday, echoes what many Muni regulars long have griped about: Fare cheating is commonplace. In fact, the study estimates approximately 10 percent of riders do not pay a fare on the system that includes the famous trolley cars, a light rail system, and the agency's bus system.
Transit cheating occurs on crowded buses and near-empty ones. In many cases, riders board illegally through the back door; in others they ask the drivers for a "courtesy ride" or refuse to pay.
Transit operators, according to the report, give these free rides based on fear of assault. Other riders simply board on the back door of a bus, or fail to pay a fare on the trolley line.


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in conversation with tim walker
For the new issue of i-D, we teamed with British photographer Tim Walker to celebrate just some of the brilliant, inspiring young minds and talent working in London today.
denai moore and director raine allen miller use creativity as a way of dealing with anxiety
Watch their new video for Trickle as the duo talk you through the processes behind it.
little simz in conversation with anderson .paak
Fresh from appearing on Forbes' 30 under 30 list and winning Best Breakthrough Artist at Giles Peterson's Worldwide Awards respectively, Simz and Anderson .Paak discuss their songwriting methods, breaking the rules, and the relationship between drugs...


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I remember growing up in beautiful Barbados, I had an aunt that would make this on special occasions.
½ cup dark chocolate chips
1 cup hot water
¼ cup cocoa powder
¾ cup butter, softened
1 cup dark brown sugar
½ cup sour cream
2 tablespoons vegetable oil
1 teaspoon vanilla extract
1 ¾ cups all-purpose flour
1 ½ teaspoons baking powder
½ teaspoon baking soda
¼ teaspoon salt
1 cup butter, softened
2 cups powdered sugar
½ cup cocoa powder
1 pinch salt
To make the cake, mix the chocolate chips, hot water and cocoa powder in a
In a different bowl, mix the butter and sugar until creamy and pale. Stir in the
eggs, one by one, then add the sour cream, vanilla and oil.
Sift the flour with baking powder, baking soda and salt then incorporate it in
the butter mixture, alternating it with the chocolate mixture. Begin and end
Divide the batter between two 9-inch round cake pans lined with parchment
Bake in the preheated oven at 350F for 25-30 minutes.
Allow to cool then remove the cakes from the pans and level them. Place
For the frosting: mix the butter and powdered sugar for at least 5 minutes until
creamy and fluffy.
Add the cocoa powder, salt and milk and give it a good mix for 5 additional
Use half of the frosting to fill the cake then decorate it with the remaining
Serve right away or refrigerate until serving.


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Sat, 25 Feb|
Parent Mediated Therapy: A Parent-Professional collaborative approach by Ms. Dashami Poonacha & Ms. Divya S
The talk would be from our therapists on how parents and professionals can work together to improve the child's condition. How easily they can be made independent.
Time & Location
25-Feb-2023, 5:00 pm – 6:30 pm IST
About the Event
Parent Mediated Therapy is a way of providing therapy services to children via their parents in their own homes instead of in a clinic or hospital. Parents and professionals, like occupational therapists, behavior therapists, and speech-language pathologists, often work together on this kind of programme to come up with a plan that meets the child's needs. This method can be helpful for kids with developmental delays, disabilities, or other conditions like Autism that need therapy on a regular basis.
By working closely with parents, professionals can make sure that therapy activities are part of the child's daily routine and are more likely to be done consistently, which can lead to better results. Parent Mediated Therapy can also give the child a more comfortable and less scary place to be, which makes them feel more at ease and better able to do therapy activities.
To learn more on this topic and get all your questions answered - join our session on Parent Mediated Therapy: A Parent-Professional collaborative approach by Ms. Dashami Poonacha & Ms. Divya Srinivasan
Topics to be covered
- Evidence of Parent mediated therapies
- An overview of child development
- Being a parent
- Being a professional
- The parent-professional dream team
- DH journeys and testimonials
About the speakers:
Ms. Dashami Poonacha
Speech Language Pathologist
Bachelors in Speech Language Pathology and Audiologist
Dashami is a RCI licensed therapist who has completed her graduation at Dr. S.R. Chandrashekar Institute of Speech and Hearing. Her expertise is in providing Assessments and Therapies for children with Speech & Language delays and difficulties, AAC, Early intervention, and Parent training. She believes in communication for all and uses a Neurodiversity affirmative approach during therapy. She is also certified in Oral sensorimotor intervention.
She has experience working with children who have Autism, ADHD, Apraxia, Sensory issues, Stuttering, Speech sound disorder, etc
Ms. Divya Srinivasan
Bachelors in Occupational Therapy
Divya Srinivasan is a licensed Occupational therapist who has completed her graduation at the twin institute of Seth GS Medical College and KEM Hospital, Mumbai following which completed her Fellowship at Tata Memorial hospital. Her expertise lies in providing clinical assessments, early intervention programs, sensory integration, and caregiver training to children with various developmental disabilities.
She believes in inclusive healthcare for children so that they become more functionally independent without assigning labels. She is a trained Manual therapist and is experienced in working with ADHD, Autism in both children and adolescents, cerebral palsy and various other sensory and cognito-perceptual processing disorders.
Date:February 25, 2023
Time: 5 PM- 6.30 PM
Registeration is mandatory
Event is Free
For any queries, contact us on WhatsApp 9663558155
or visit https://www.daffodilhealth.com
Mail us at email@example.com

domain: psychology


text: Mp3 Hannah Kaufmann - Lost Soul Songs are real lifetime relational situations, with emotional strength and follow through for Conquering all others with true heart felt... 1. Lost Soul 2. Want to Be With You 3. Tell Me the Truth 4. Little Do You Know 4 MB Download 8.99 USD X The seller music offers you 12.0% on each sale!


I was taking a patient into Aultman ER today and the place was crawling with security and Canton Police. I found out that a postal delivery woman had been shot in the head and was being treated in the trauma room. The shooter was not in custody and the police and security were there for fear the shooter may come to finish the job. The woman later died. Canton Police and the FBI were pursuing leads but, as of late today, the shooter had still not been caught. Truly a sad day for the postal service.


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Anne Hathaway may not be known as one of the most publicly political celebrities in Hollywood, but, when it comes to Saturday Night Live, the actress and politics go together about as well as Catwoman and black latex. Take Hathaway’s first appearance on SNL — the actress oversaw an October 2008 episode that brought us the now-classic parody of Sarah Palin and Joe Biden‘s vice presidential debate. (“I believe marriage is meant to be a sacred institution between two unwilling teenagers.”) And now, just over four years later, Hathaway has come full circle, hosting the sketch comedy show for the third time just days after President Obama was re-elected for a second term, inviting a stellar, if a bit bittersweet, Romney sign-off. But Saturday’s show managed to shine the more it strayed away from politics. And the more it featured its host. Because Hathaway continued to prove to SNL audiences that Catwoman bares some sharp comedic claws.
And, sure enough, the beginning of SNL started with a farewell — what was likely the final sketch to feature Jason Sudeikis as the conceding presidential candidate, Mitt Romney. The sketch — which featured a disappointed, milk-swigging Romney who still showed Mormon-approved optimism — was well-written, if a bit oddly staged. (The silence-filled gaps between Taran Killam‘s amusing Tagg/Matt/Josh Romney pop-ups felt longer than the wait to hear Obama’s Tuesday night victory speech.) Still, the scene was a nice departure from the ripped-from-the-TV-screen political sketches of yore, and bonus points for the series’ take down of election night’s real loser, when Josh Romney tells his father to come to the living room: “Donald Trump is doing a very amusing thing where he’s racist.”
Sudeikis again seemed to acknowledge his final months with SNL — the actor is leaving the show in January — during Hathaway’s monologue, during which he talked about his “wild ride” on the show and what he’s learned “after you’ve been here for eight seasons.” But the Les Misérables star’s voice eventually took center stage during the fifth musical monologue of the season. (For the record, there have only been seven new episodes — WWJRS? That is, What Will Jeremy Renner Sing?) Of course, this one made more sense than the rest — Hathaway’s voice alone would be enough to invite awe, but the Les Mis-inspired tune (about the thrills of Sunday for the SNL cast) was more than chuckle-worthy, reminiscent of Steve Martin‘s memorable “Not Gonna Phone It In” monologue in 1991. (And Hathaway’s Stefon impression? It. Had. Everything.) With the new cast, are the SNL glory days of the ’90s back?
The series is certainly allowing its newbies to flex their comedy muscles more than previous featured players. New cast members Cecily Strong and Aidy Bryant headlined the first post-monologue sketch of the night as, respectively, a teen and her best friend-turned-third wheel. It was an amusing sketch that showcased Bryant’s droll talents — and certainly hit home for any girl who ever attended high school — even if the spot seemed more appropriate for the back third of the show. (But, speaking of the ’90s, did the sketch — and Hathaway’s valley girl impression of the new bad girl in school — remind anyone of SNL‘s “Delta Delta Delta” days?)
But the next sketch, the pre-taped “Legend of Mokiki,” was far from SNL convention. Featuring episode MVP Killam as a human experiment who becomes famous for doing a dance called “the sloppy swish” — and Hathaway as the poor soul who falls in love with him — the sketch was as random as it was obvious that it came out of a late-night, exhausted writing session. But even when shorts like these make little sense, it’s impossible not to enjoy the glimpse we get into the deranged inter-workings of the writers’ minds.
More audience-friendly was the following sketch, which proved Hathaway has another celebrity impression under her belt: Homeland‘s Emmy-winning Claire Danes. The actress’ take on Carrie Matheson, complete with the character’s patented ugly cry, was flawless — even simple phrases like “And do what?” were indistinguishable from her Showtime counterpart. But Hathaway wasn’t the only one to score in the sketch — Bill Hader‘s Saul was as impeccable as the actor’s Alan Alda, and Killam, once again, stole the scene with his Agent Brody, whose “mouth is so small, it’s hard to hear the words.”
Far less tasty was the lazy McDonald’s sketch, featuring Strong and Bobby Moynihan as two delinquent employees dead-set on insulting all of their colleagues, and Hathaway’s uptight boss. But Moynihan more than made up for the groan-worthy sketch with his Drunk Uncle, yet again the highlight of Weekend Update. (“If Nationwide is on my side, how come Obama is president? Jews-papers!”) Unfortunately, the rest of Weekend Update wasn’t nearly as funny — in fact, the writing proved to be just as progressive as Moynihan’s uncle, who lamented in his day “You couldn’t vote unless you had a cane, monocle, top hat, fancy!” Seth Meyers using the record number of women elected to office as an opportunity to make a joke about pantsuits? Really, Seth? Really?! And a joke about all women hating sports to boot? I say it again: Really?! Thank god for Moynihan and Hader, and Fred Armisen, who made up for the lackluster segment — which included a predictable Obama impression from Jay Pharaoh — with their gay couple from Maine, who are celebrating their newly established ability to wed by registering with L.L.Bean.
But SNL was quickly back in business with the brilliant Kate McKinnon as a cheerfully exhausted Ellen DeGeneres. The sketch was more or less an opportunity for the episode to showcase Hathaway’s hysterical Katie Holmes impression, but McKinnon also inspired laughs as the controversy-adverse daytime host. (“It was a big week in politics, so I’m going to talk about eating some popcorn yesterday.”) And Hathaway proved her physical comedy prowess with a unique sketch about the conception of Grant Wood’s American Gothic painting, which, in SNL‘s world, really portrayed two goofy models who loved corn puppets.
SNL closed out the show with a “Happy Fun Ball”-esque sketch for “Flaritin,” a medication for those who suffer “a made-up allergy” to gluten, cigarette smoke, yogurt, rice, meat deodorant, squirrel dander, Los Angeles, small penises, rap, and Italians for attention. But, strangely enough, any portion of the show that didn’t include Hathaway — including musical guest Rihanna‘s bizarre performance of “Diamonds,” which looked to be set in front of a karaoke music video — suffered without the host. She even managed to invite a laugh in her goodbye, telling the audience, “Thank you so much to Katie Holmes and Claire Danes.” Would it be too much to call our Catwoman the cat’s pajamas? (Yes. Yes it would.)
What did you think of Saturday’s show? Did Hathaway’s taste of Les Mis in the monologue enough to keep you wanting more?
[Image Credit: NBC]


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Nursing Care Plan Impaired Urinary Elimination
Care plan "impaired urinary elimination" | allnurses, Did they ever discover why she was retaining the urine? it would be nice to have that information because it will help to determine what the etiology of her urinary. Nursing care plan diagnosis urinary retention, This nursing care plan is for patients who are experiencing urinary retention. patients can experience urinary retention for numerous reasons.. Nanda nursing interventions: impaired urinary elimination, Nanda nursing care plan diagnosis interventions assessment nursing diagnosis: impaired urinary elimination related to mechanical obstruction.
Nursing: impaired urinary elimination | nursing care plan
Nursing diagnosis: impaired urinary elimination related to neuromuscular impairment, such as spinal cord lesions, neurogenic bladder.
Impaired urinary elimination and risk for infection r/t
Urethral stricture is more common in men than women, especially because of the difference in length of the urethra. (c. long, barbara; 1996 case 338).

domain: health