Happy Birthday Keith Haring – Style Icon

Keith Haring is someone whose work you know. You have seen it everywhere from MTV in the early days to yesterday on the side of a bus. His influence and legacy are far-reaching with no visible end in sight. I remember I bought a Keith Haring shirt one summer in Traverse City Michigan, it must have been 1990. It depicted a snake getting cut in half with the words “End AIDS” running under it. I loved that shirt, it made me feel powerful and involved and it gave me a voice.n Keith would have been 55 years old today if he hadn’t died when he was 32.  Do something today to make him proud.

If nothing else, download the Keith Haring iPad app today from iTunes.  It’s free in honor of his birthday.

 

NAME: Keith Haring
OCCUPATION: Painter
BIRTH DATE: May 04, 1958
DEATH DATE: February 16, 1990
EDUCATION: Ivy School of Professional, Art School of Visual Arts
PLACE OF BIRTH: Reading, Pennsylvania
PLACE OF DEATH: New York, New York

BEST KNOWN FOR: During his all-too-brief life, artist Keith Haring became a sensation in the art world with his bold, cartoon and graffiti influenced works during the 1980s.

The Wiki:

Born on May 4, 1958, in Reading, Pennsylvania. During his all-too-brief life, Keith Haring became a sensation in the art world with his bold, cartoon and graffiti influenced works during the 1980s.

Growing up in Kutztown, Pennsylvania, he spent many hours drawing with his father. Haring was fascinated by the popular cartoon art of Walt Disney and Charles Schultz.

Haring briefly attended the Ivy School of Professional Art in Pittsburgh after graduating high school in 1976. He dropped out after two semesters. In 1978, Haring decided to return to school, moving to New York City to become a student at the School of Visual Arts. With its thriving underground art scene, New York seemed to be the perfect fit for the young artist. He began using the city as his canvas, making chalk drawings of barking dogs and babies in subway stations. He also befriended such other emerging artists as Jean-Michel Basquiat and helped organize exhibitions at nightclubs and other alternative locations.

In 1982, Haring had his first New York one-man show at the Shafrazi Gallery. Not only did he create paintings and sculptures for the show, he engulfed the entire gallery with his bold color choices and frenetic designs. A critical success, he soon became one of most popular artists of the time with exhibits in Japan, Brazil, and many other countries.

Haring collaborated with other artists and performers, including Andy Warhol and William Burroughs.

Wanting to make his art more accessible, Haring opened Pop Shop in New York City in 1986. The store sold posters, t-shirts, and other items baring his artwork and designs. He was also interested many social causes, painting an anti-drug mural that same year. In all, he did more than 50 public works and held numerous workshops for children. In 1988, Haring discovered that he had AIDS. The next year he created the Keith Haring Foundation to support AIDS organizations and children’s programs.

Haring died on February 16, 1990, of AIDS-related complications. His works continues to be exhibited around the world and many are owned by such prestigious museums as the Art Institute of Chicago, the Museum of Modern Art in New York City, and the Centre Georges Pompidou in Paris.

Polaroid by Andy Warhol

Banned Books That Shaped America: Uncle Tom’s Cabin

The Library of Congress created an exhibit, “Books that Shaped America,” that explores books that “have had a profound effect on American life.” Many of the books in the exhibit have been banned/challenged.  Give yourself the gift of a beautiful story and read one and them imagine what your life would be like if you were never given that gift.

Fight censorship.

I understand that the truth about the past can make people feel uncomfortable, but it does not change the fact that it is the truth.  There were slaves, they were treated horribly, and called horrible names.  Those are all facts that no matter how much white guilt wants, they cannot be changed.  No one is going to read this book and use it as a How-To manual.  Read this book, make your own decisions and remember that those who forget the past are doomed to repeat it.

Uncle Tom’s Cabin, Harriet Beecher Stowe, 1852

Like Huck Finn, Of Mice and Men and Gone With the Wind, the contextual, historically and culturally accurate depiction of the treatment of Black slaves in the United States has rankled would-be censors.

uncle-toms-cabin

Having run up large debts, a Kentucky farmer named Arthur Shelby faces the prospect of losing everything he owns. Though he and his wife, Emily Shelby, have a kindhearted and affectionate relationship with their slaves, Shelby decides to raise money by selling two of his slaves to Mr. Haley, a coarse slave trader. The slaves in question are Uncle Tom, a middle-aged man with a wife and children on the farm, and Harry, the young son of Mrs. Shelby’s maid Eliza. When Shelby tells his wife about his agreement with Haley, she is appalled because she has promised Eliza that Shelby would not sell her son.

However, Eliza overhears the conversation between Shelby and his wife and, after warning Uncle Tom and his wife, Aunt Chloe, she takes Harry and flees to the North, hoping to find freedom with her husband George in Canada. Haley pursues her, but two other Shelby slaves alert Eliza to the danger. She miraculously evades capture by crossing the half-frozen Ohio River, the boundary separating Kentucky from the North. Haley hires a slave hunter named Loker and his gang to bring Eliza and Harry back to Kentucky. Eliza and Harry make their way to a Quaker settlement, where the Quakers agree to help transport them to safety. They are joined at the settlement by George, who reunites joyously with his family for the trip to Canada.

Meanwhile, Uncle Tom sadly leaves his family and Mas’r George, Shelby’s young son and Tom’s friend, as Haley takes him to a boat on the Mississippi to be transported to a slave market. On the boat, Tom meets an angelic little white girl named Eva, who quickly befriends him. When Eva falls into the river, Tom dives in to save her, and her father, Augustine St. Clare, gratefully agrees to buy Tom from Haley. Tom travels with the St. Clares to their home in New Orleans, where he grows increasingly invaluable to the St. Clare household and increasingly close to Eva, with whom he shares a devout Christianity.

Up North, George and Eliza remain in flight from Loker and his men. When Loker attempts to capture them, George shoots him in the side, and the other slave hunters retreat. Eliza convinces George and the Quakers to bring Loker to the next settlement, where he can be healed. Meanwhile, in New Orleans, St. Clare discusses slavery with his cousin Ophelia, who opposes slavery as an institution but harbors deep prejudices against blacks. St. Clare, by contrast, feels no hostility against blacks but tolerates slavery because he feels powerless to change it. To help Ophelia overcome her bigotry, he buys Topsy, a young black girl who was abused by her past master and arranges for Ophelia to begin educating her.

After Tom has lived with the St. Clares for two years, Eva grows very ill. She slowly weakens, then dies, with a vision of heaven before her. Her death has a profound effect on everyone who knew her: Ophelia resolves to love the slaves, Topsy learns to trust and feel attached to others, and St. Clare decides to set Tom free. However, before he can act on his decision, St. Clare is stabbed to death while trying to settle a brawl. As he dies, he at last finds God and goes to be reunited with his mother in heaven.

St. Clare’s cruel wife, Marie, sells Tom to a vicious plantation owner named Simon Legree. Tom is taken to rural Louisiana with a group of new slaves, including Emmeline, whom the demonic Legree has purchased to use as a sex slave, replacing his previous sex slave Cassy. Legree takes a strong dislike to Tom when Tom refuses to whip a fellow slave as ordered. Tom receives a severe beating, and Legree resolves to crush his faith in God. Tom meets Cassy, and hears her story. Separated from her daughter by slavery, she became pregnant again but killed the child because she could not stand to have another child taken from her.

Around this time, with the help of Tom Loker—now a changed man after being healed by the Quakers—George, Eliza, and Harry at last cross over into Canada from Lake Erie and obtain their freedom. In Louisiana, Tom’s faith is sorely tested by his hardships, and he nearly ceases to believe. He has two visions, however—one of Christ and one of Eva—which renew his spiritual strength and give him the courage to withstand Legree’s torments. He encourages Cassy to escape. She does so, taking Emmeline with her, after she devises a ruse in which she and Emmeline pretend to be ghosts. When Tom refuses to tell Legree where Cassy and Emmeline have gone, Legree orders his overseers to beat him. When Tom is near death, he forgives Legree and the overseers. George Shelby arrives with money in hand to buy Tom’s freedom, but he is too late. He can only watch as Tom dies a martyr’s death.

Taking a boat toward freedom, Cassy and Emmeline meet George Harris’s sister and travel with her to Canada, where Cassy realizes that Eliza is her long-lost daughter. The newly reunited family travels to France and decides to move to Liberia, the African nation created for former American slaves. George Shelby returns to the Kentucky farm, where, after his father’s death, he sets all the slaves free in honor of Tom’s memory. He urges them to think on Tom’s sacrifice every time they look at his cabin and to lead a pious Christian life, just as Tom did.

Fight internet censorship.

Fight internet censorship.

20 Awesome Examples Of Literary Graffiti

I love graffiti, well most graffiti, it is one of my main loves in the city.  Really smart, well executed, thought-provoking graffiti can change my day.  It takes a blank wall and turns it into a daydream.  Granted, I deal with annoying graffiti weekly at work, scratches in our windows and so forth, that is vandalism.  Graffiti is art.  Challenge yourself to see beauty and inspiration in unconventional places, to look forward to seeing a piece of graffiti on your morning commute because of it’s meaning to you, to remember that that paint on the wall is someone’s expression of something.  Art can be your extra something in your day, your treat to yourself, if you just know where to look.

1. Kurt Vonnegut, “Slaughterhouse Five”

Kurt Vonnegut, "Slaughterhouse Five"

3. T.S. Eliot, “The Wasteland”

T.S. Eliot, "The Wasteland"

Eliot took the line “Sweet Thames, run softly, till I end my song” from Edmund Spenser’s Prothalamion. And yes, that is the Thames.

5. George Orwell, “Animal Farm”

George Orwell, "Animal Farm"

6. Margaret Atwood, “The Handmaid’s Tale

Margaret Atwood, "The Handmaid's Tale"

Source: ndla.no

7. J. R. R. Tolkien, “The Fellowship of the Ring”

J. R. R. Tolkien, "The Fellowship of the Ring"

9. William Shakespeare, “Macbeth”

William Shakespeare, "Macbeth"

Source: lausdeo

10. William Blake, “The Marriage of Heaven and Hell”

William Blake, "The Marriage of Heaven and Hell"

Source: flickr.com

11. Emily Dickinson, “I’m Nobody! Who are you?”

Emily Dickinson, "I'm Nobody! Who are you?"

12. William Carlos Williams, “Red Wheelbarrow”

William Carlos Williams, "Red Wheelbarrow"

Source: marklaflaur

13. Edgar Allen Poe, “A Dream Within a Dream”

Edgar Allen Poe, "A Dream Within a Dream"

Source: mermaid99

14. Lewis Carroll, “Alice in Wonderland”

Lewis Carroll, "Alice in Wonderland"

This is based on John Tenniel’s famous illustration of Alice finding the door to Wonderland.

15. Allen Ginsberg, “Howl”

Allen Ginsberg, "Howl"

Source: integraldan

16. William Shakespeare, “Sonnet 116″

William Shakespeare, "Sonnet 116"

Source: etsy.com

17. Joseph Heller, “Catch-22″

Joseph Heller, "Catch-22"

Source: risager

18. J. R. R. Tolkien, “The Fellowship of the Ring”

J. R. R. Tolkien, "The Fellowship of the Ring"

19. George Orwell, “1984″

George Orwell, "1984"

20. Richard Adams, “Watership Down”

Richard Adams, "Watership Down"

Source: orderlyschism

20 Awesome Examples Of Literary Graffiti.

Dr. Seuss – Style Icon

I have been obsessed with “The 5,000 Fingers of Dr. T.” since watching it one christmas at my mother’s house.  It is insane.  I have included the full movie below.  I am a sneetch of the star-bellied variety, for the record.  I have also included the full version of that story below.  In the related articles section at the bottom of this post, I have included links to some rare Dr. Seuss books on Amazon.com, a link to everything Brain Pickings has ever done on Dr. Seuss (they are brilliant over there), and a couple links to letters that Dr. Seuss wrote posted at Letters of Note (a favorite internet spot of mine).  But closest to my heart is the episode that amazing David Rakoff did with Jonathan Goldstein for This American Life called “Oh The Places You Won’t Go” (TAL Show #470:  Show Me The Way).   You can listen to it here and I truly wish you would.  Ladies and gentlemen, Dr. Seuss.  Style Icon.

drseusswartime1

NAME: Theodor “Ted” Seuss Geisel
OCCUPATION: Illustrator, Author
BIRTH DATE: March 02, 1904
DEATH DATE: September 24, 1991
EDUCATION: Dartmouth College, University of Oxford
PLACE OF BIRTH: Springfield, Massachusetts
PLACE OF DEATH: La Jolla, California

Best Known For:  Throughout his career, cartoonist and writer Dr. Seuss published 60 children’s books, including The Cat in the Hat and Green Eggs and Ham.

Today is the birthday of a man considered to be the most popular children’s book writer in American history, the best-selling children’s book writer of all time, and a man who revolutionized the way children learned to read: Theodor Geisel, better known as Dr. Seuss, was born in Springfield, Massachusetts, on this day in 1904. He’s the author of more than 60 children’s books, including Horton Hears a Who! (1954), One Fish, Two Fish, Red Fish, Blue Fish (1960), Green Eggs and Ham (1960), Hop on Pop (1963), Oh, the Thinks You Can Think! (1975), The Butter Battle Book (1984), and of course, The Cat in the Hat (1957).

“Be who you are and say what you feel, because those who mind don’t matter and those who matter don’t mind.”

He was the grandson of German immigrants, a lifelong Lutheran, a Dartmouth graduate, and an Oxford dropout. His mom was 6 feet tall and 200 pounds, a competitive platform high diver who read him bedtime stories every night. His dad inherited a brewery from his own German immigrant father a month before Prohibition began in the U.S., and eventually became a zookeeper who took young Theodor with him to work. The future Dr. Seuss grew up around the zoo, running around in the cages with baby lions and baby tigers.
At Dartmouth, he majored in English and wrote for the campus humor magazine. But one night he was caught drinking gin with some friends; since this was during Prohibition, it was an illegal act. The Dartmouth administration did not expel him, but as a disciplinary punishment, they did make him resign from all of his extracurricular activities, including the humor magazine, of which he was the editor-in-chief. From then on, he wrote for the magazine subversively, signing his work with his mother’s maiden name, Seuss.
His mother’s family pronounced it “Soise,” the way it’s said in Germany, but people in the States kept mispronouncing it Seuss. He eventually embraced the Anglican mispronunciation: After all, it rhymed with Mother Goose, not a bad thing for an aspiring children’s book writer.

In 1937, he published his first children’s book, And to Think That I Saw It on Mulberry Street, which he said was inspired by the rhythms of a steamliner cruiser he was on. He wrote the book, and much of the rest of his life’s work, in rhyming anapestic meter, also called trisyllabic meter. The meter is very alluring and catchy, and Seuss’s masterful use of it is a big part of why his books are so enjoyable to read. The meter is made up of two weak beats followed by a stressed syllable — da da DUM da da DUM da da DUM da da DUM, as in “And today the Great Yertle, that Marvelous he / Is King of the Mud. That is all he can see.

A big study came out in the 1950s called “Why Johnny Can’t Read.” It was by an Austrian immigrant to the U.S., an education specialist who argued that the Dick and Jane primers being used to teach reading in grade school classrooms across America were boring and, worse, not an effective method for teaching reading. He called them “horrible, stupid, emasculated, pointless, tasteless little readers,” which went “through dozens and dozens of totally unexciting middle-class, middle-income, middle-IQ children’s activities that offer opportunities for reading ‘Look, look’ or ‘Yes, yes’ or ‘Come, come’ or ‘See the funny, funny animal.’”

William Spaulding, a publisher from Houghton Mifflin’s educational division, thought that maybe a guy named Dr. Seuss, who’d published a few not-well-known but very imaginative children’s books, might be able to write a book that would be really good for teaching kids how to read. He invited Dr. Seuss to dinner and said, “Write me a story that first-graders can’t put down!”

Dr. Seuss spent nine months composing The Cat in the Hat. It uses just 220 different words and is 1,702 words long. He was a meticulous reviser, and he once said: “Writing for children is murder. A chapter has to be boiled down to a paragraph. Every word has to count.”

Within a year of publication, The Cat in the Hat was selling 12,000 copies a month; within five years, it had sold a million copies.

Andy Warhol – Style Icon

Andy Warhol died my junior year of high school. Shortly after that, I became obsessed with him, his life, Interview magazine, but more specifically, his collections. I read every article I could find about the lists of belongings found in his house at the time of his death, the cookie jars, the stacks and stacks of contemporary art by his peers, the art deco furniture, the endless lists. He would go to flea markets every day and collect everything that interested him with very few criteria. Sotheby’s produced a staggering list of objects cataloged from his cram-packed six story Upper East Side townhouse when they were getting ready for the ten day auction: 1,659 pieces of Russel Wright pottery, 267 watches, 72 Navajo blankets and rugs, 61 lots of early 19th-Century American furniture, 37 Art Deco cigarette cases, 33 works by Man Ray, 18 by Marcel Duchamp, 12 Rauschenbergs.

Andy was a hoarder, but when it is a dozen Rauschenbergs, it is a collection. Hoarders have a dozen cats, Andy had rooms so full of Duchamps, he just closed the doors to avoid tripping on them. By the way, that townhouse sold for $35M (and his Montauk house for $50M) recently. He collected all the right things, he pushed the prices and demand of early 20th century utilitarian kitsch items through the roof. Ladies and gentlemen, Andy Warhol. Style Icon.

NAME: Andy Warhol
OCCUPATION: Painter, Filmmaker
BIRTH DATE: August 06, 1928
DEATH DATE: February 22, 1987
EDUCATION: Carnegie Institute of Technology
PLACE OF BIRTH: Pittsburgh, Pennsylvania
PLACE OF DEATH: New York City, New York
ORIGINALLY: Andrew Warhola

BEST KNOWN FOR: Andy Warhol is famous for his “pop” paintings of everyday consumer goods, like Campbell soup cans, as well as screen-printing portraits of celebrities, like Marilyn Monroe.

Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and member of highly diverse social circles that included Bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression “15 minutes of fame.” In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.

The highest price ever paid for a Warhol painting is US$100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the “bellwether of the art market.” $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Vincent van Gogh, Pierre-August Renoir, Gustav Klimt and Willem de Kooning have achieved.

Andy Warhol – Style Icon.

February – Style Icon Month

waldina mosaic

Maybe I have not ever explained what criteria I use when assigning people the “Style Icon” and “Not So Secret Obsession” status?

Style Icons are assigned to people I admire, if it is simply beauty or fashion, it is most likely unconventional and risky choices that provoke conversation.  They are artists, writers, musicians, politicians, humanitarians, architects, activists, actors, directors, fashion designers, scientists, basically anyone whose life work fascinates me and I admire. They are almost always dead because it is my moderate worry that dead people will be forgotten and keeping an ongoing list of them is my effort to remember them.  If, along the way, someone else likes them and discovers someone that fascinates them, even better.

Not So Secret Obsessions are usually things or events.  I am obsessed with Hardy Boys books and the 1968 Sears Holiday catalog for their retro goody-goody aesthetic.  I am obsessed with political street art:  you can be walking down the sidewalk and be visibly reminded that Republicans thing that some rape is OK.

For the month of February (and maybe a bit of a spill-over into March) I will be focusing only on Style Icons.  One a day, like a multivitamin, I will be dosing you with people that inspire me.  The format is straight-forward:  I will write a bit at the top of the post about what it is that inspires me about the person, followed by their details.  I will do my best to include links to additional reading at the bottom of the post.

10th (Self Help) Day of Xmas – Keith

There is so much I could and want to say about Keith Haring, he is a personal inspiration and style icon.  I think of this advice quite a bit and is a lot to do with how I structured waldina.com.  I wanted to chronicle what inspired me, good and bad, but mostly good.  I didn’t think too much about what it would mean to anyone else, I figured it would be somewhat interesting from time to time and maybe every now and then, someone would find something they could use in their life.  But I knew I would only think it was good if I only did it for myself.

Letters of Note: Don’t do it for anyone else.

It’s incredible to think that Keith Haring was only alive for 31 years, given the impact of his work. In New York particularly, his public pop-art greeted many thousands of people every day, and internationally he was, and still is, highly regarded. He also left behind a valuable legacy that includes, alongside his artwork, the Keith Haring Foundation; launched in 1989 “to assist AIDS-related and children’s charities”, said disease being the cause of his death just a year later.

Below: a brief letter of advice he wrote to an aspiring artist and fan of Haring’s work, circa-1987.

KEITH HARING

676 BROADWAY N.Y.C. 10012 212-477-1579

Michael -

Thanks for your letter. I draw everyday. When I was 15, I wanted to be an artist so I drew all the time. It was my only visible talent.

Whatever you do, the only secret is to believe in it and satisfy yourself. Don’t do it for anyone else.

Good luck,

Keith

7th (Self Help) Day of Xmas – Your Own Advice

This one is longer and hopefully a bit more thought-provoking.  I think about it from time to time and even just typing little notes on my phone and saving them for later seems to work for me.

Advice From Yourself

For this exercise, you are going to need a piece of paper, a pen, and some free time to think. You will need the free time first, I suggest you noodle on it while you are doing your daily thirty minutes of cardio. (You are doing thirty minutes of cardio every day, aren’t you? I’m not interested in your excuses.) Ask yourself this question:

If you could use a time machine just once to travel back and tell yourself one sentence, what age would you travel back to and what would you say?

If we had a month to go back in time and be the guidance counselors to our younger versions, I would let you write paragraphs with bullet points. I would let you outline a schedule of future events and how you should handle them. You only have a couple minutes to give yourself one sentence of advice and it should be in the form of advice. I am the first to admit that if I could, I would go back to 1985 and whisper in my ear to buy Microsoft stock when it goes public, but that really isn’t what this exercise is about.

Mine would be 14 years old and I would say “Hi, I’m you in the future, I came back to tell you that there is an amazing life for you with limitless possibilities out there, you just need to be fearless and know that you can do absolutely anything you put your mind to.”

Now that you have had time to think about it and come up with one sentence that you would want to tell the younger you, write it down on a piece of paper. I know one sentence is hard no one is going to make you diagram it if it turns out to be a bit of a run on, but try to keep it to one sentence.

You are all ready to go back in time, you have your one sentence script, you know exactly what you want to tell yourself. Go to your bathroom mirror. Read the sentence.

You can’t go back in time, but it is never too late. Life has not passed you by, it may be passing you by, it it is never too late. If you went back in time and whispered to yourself to become a teen pop star, that may not have been the best use of your one trip in a time machine, but you can still adapt it to your life today. Take singing lessons, surround yourself with kids, take hip hop dance lessons. It is never too late for hip hop dance lessons.

My guess is that most of you gave yourself advice similar to mine, to stand up, stand out, not be afraid of going after your dreams, grasp for the brass ring, to love hard and fearlessly, and to wring every ounce of juice out of life.

Tape that piece of paper to your bathroom mirror, read it every morning and honor that younger you by making up for lost time. You can’t go back in time, but it’s never too late.

Oscar Niemeyer – Style Icon

Oscar Niemeyer, perhaps the last of the real modernist architects, died Wednesday at the enviable age of 104.  Here is a great collection of his work:  http://www.archdaily.com/tag/oscar-niemeyer/

niemeyer

NAME: Oscar Ribeiro de Almeida Niemeyer Soares Filho
OCCUPATION: Architect
BIRTH DATE: December 15, 1907
DEATH DATE: December 05, 2012
PLACE OF BIRTH: Rio de Janeiro, Brazil
PLACE OF DEATH: Rio de Janeiro, Brazil
AKA: Oscar Ribeiro de Almeida Niemeyer
AKA: Oscar Niemeyer

Best Known For:  The work of Brazilian architect Oscar Niemeyer demonstrates his appreciation for free-flowing design. Examples include the Contemporary Art Museum in Niterói.

Early Career

Oscar Niemeyer was born Oscar Ribeiro de Almeida Niemeyer Soares Filho on December 15, 1907, in Rio de Janeiro, Brazil. He grew up in a wealthy family without any aspirations toward being an architect, though he started drawing at an early age. “When I was very little,” he later recalled, “my mother said I used to draw in the air with my fingers. I needed a pencil. Once I could hold one, I have drawn every day since.” After graduating from Barnabitas College in 1923, Niemeyer wed a woman named Annita Baldo, to whom he would remain married until her death in 2004.

As a young man, Niemeyer worked for his father at a typography house for a short while before entering the Escola Nacional de Belas Artes, from which he graduated in 1934. Shortly before graduation, he joined the offices of Lúcio Costa, an architect from the Modernist school. Niemeyer worked with Costa on many major buildings between 1936 and 1943, including the design for Brazil’s Ministry of Education and Health building, which was part of a collaboration with Bauhaus director Le Corbusier. Costa and Niemeyer also worked together on Brazil’s iconic pavilion in the 1939 New York World’s Fair; legendary Mayor Fiorello La Guardia was so impressed with Niemeyer’s design that he declared him an honorary citizen of New York.

In 1941, Niemeyer launched his solo career by designing a series of buildings in a new suburb of Rio de Janeiro named Pampulha. Here, Niemeyer started developing some of his design trademarks, including the heavy use of concrete and a propensity toward curves. “I consciously ignored the highly praised right angle and the rational architecture of T-squares and triangles,” he said, “in order to wholeheartedly enter the world of curves and new shapes made possible by the introduction of concrete into the building process.”

Foto: Marcel Gautherot/IMS

United Nations Building

Niemeyer’s status as a rising star in the architectural world was confirmed when he was chosen to represent Brazil as part of the team to design the new headquarters of the United Nations in New York City; the final building was based primarily on Niemeyer’s design, with significant elements also taken from his old collaborator, Corbusier. Following the completion of the United Nations building in 1953, Niemeyer won an appointment as dean of Harvard University’s Graduate School of Design, but he was refused an American work visa by the United States government due to his membership in Brazil’s Communist Party.

oscar n

Brasilia Buildings

In 1956, Juscelino Kubitschek, the president of Brazil and a close friend of Niemeyer, came to the architect with a proposal, asking Niemeyer to become the new chief architect of public buildings in the country’s new capital, Brasilia, a Modernist civic metropolis being built from scratch in the interior of the country. Niemeyer eagerly accepted, designing buildings that went along with his utopian vision of government. “This was a liberating time,” he said. “It seemed as if a new society was being born, with all the traditional barriers cast aside …. when planning the government buildings for Brasilia I decided they should be characterized by their own structures within the prescribed shapes … I tried to push the potential of concrete to its limits, especially at the load-bearing points which I wanted to be as delicate as possible so that it would seem as if the palaces barely touched the ground.”

Niemeyer designed several buildings in Brasilia, including the presidential palace, the Brasília Palace Hotel, the Ministry of Justice building, the presidential chapel and the cathedral. After the inauguration of the new capital city in 1960, Niemeyer resigned from his position as the government’s chief architect and returned to private practice.

Communist Ideology

Niemeyer had become interested in Communist ideology as a youth and joined the Brazilian Communist Party in 1945. This became a serious problem in 1964, when the Brazilian military overthrew the government in a coup; Niemeyer, viewed by the army as an individual with dangerously left-wing sympathies, had his office ransacked. Spooked, the architect left the country of his birth a year later, in 1965, resettling in France and mainly designing buildings in Europe and northern Africa. He also turned to designing furniture, which also included his trademark use of sinuous curves. Niemeyer did not return to Brazil until the end of the military dictatorship in 1985.

oscar n 3

Later Years

Niemeyer received the Pritzker Architecture Prize in 1988, the highest award in the profession, for his Cathedral of Brasilia. In his acceptance speech, Niemeyer explained his design philosophy: “My architecture followed the old examples—beauty prevailing over the limitations of the constructive logic. My work proceeded, indifferent to the unavoidable criticism set forth by those who take the trouble to examine the minimum details, so very true of what mediocrity is capable of. It was enough to think of Le Corbusier saying to me once while standing on the ramp of the Congress: ‘There is invention here.’”

Semi-retired since the mid-1980s, at the age of 103 Oscar Niemeyer still goes into his office every day to work on designs and oversee projects. Having outlived most of his old friends, intellectual sparring partners and his wife of 60 years, though he remarried in 2006, to his longtime assistant Vera Lucia Cabreira—Niemeyer continues to press for a better world through better design. “It is important,” he once said, “that the architect think not only of architecture but of how architecture can solve the problems of the world. The architect’s role is to fight for a better world, where he can produce an architecture that serves everyone and not just a group of privileged people.”

Niemeyer died in Rio de Janeiro, Brazil, on December 5, 2012. He was 104 years old. A funeral service was held in Brasilia, at the presidential palace he designed more than 50 years earlier.

“Bernice Bobs Her Hair” by F. Scott Fitzgerald

Bernice Bobs Her Hair” is a short story by F. Scott Fitzgerald, written in 1920 and first published in the Saturday Evening Post in May of that year. It appeared shortly thereafter in the collection Flappers and Philosophers.  The story was based on letters Fitzgerald sent to his younger sister, Annabel, advising her on how to be more attractive to young men. The original text was much longer, but Fitzgerald cut nearly 3000 words and changed the ending to make the story more attractive to publishers.
I adore this story.  I remember seeing the short film (attached below) as a kid and being really entertained, I am not sure why, it just seemed so exciting.  You will enjoy it too.
Bernice Bobs Her Hair by F. Scott Fitzgerald
I
After dark on Saturday nightone could stand on the first tee of the golf-coupe and see the country-club windows as a yellow expanse over a very black and wavy ocean. The waves of this ocean, so to speak, were the heads of many curious eddies, a few of the more ingenious chauffeurs, the golf professional’s deaf sister—and there were usually several stray, diffident waves who might have rolled inside had they so desired. This was the gallery.The balcony was inside. It consisted of the circle of wicker chairs that lined the wall of the combination clubroom and ballroom. At these Saturday-nightdances it was largely feminine; a great babel of middle-aged ladies with sharp eyes and icy hearts behind lorgnettes and large bosoms. The main function of the balcony was critical, it occasionally showed grudging admiration, but never approval, for it is well known among ladies over thirty-five that when the younger set dance in the summer-time it is with the very worst intentions in the world, and if they are not bombarded with stony eyes stray couples will dance weird barbaric interludes in the corners, and the more popular, more dangerous, girls will sometimes be kissed in the parked limousines of unsuspecting dowagers.But, after all, this critical circle is not close enough to the stage to see the actors’ faces and catch the subtler byplay. It can only frown and lean, ask questions and make satisfactory deductions from its set of postulates, such as the one which states that every young man with a large income leads the life of a hunted partridge. It never really appreciates the drama of the shifting, semi-cruel world of adolescence. No; boxes, orchestra-circle, principals, and chorus be represented by the medley of faces and voices that sway to the plaintive African rhythm of Dyer’s dance orchestra.From sixteen-year-old Otis Ormonde, who has two more years at Hill School, to G. Reece Stoddard, over whose bureau at home hangs a Harvard law diploma; from little Madeleine Hogue, whose hair still feels strange and uncomfortable on top of her head, to Bessie MacRae, who has been the life of the party a little too long—more than ten years—the medley is not only the centre of the stage but contains the only people capable of getting an unobstructed view of it.

With a flourish and a bang the music stops. The couples exchange artificial, effortless smiles, facetiously repeat “la-de-da-da dum-dum,” and then the clatter of young feminine voices soars over the burst of clapping.

A few disappointed stags caught in midfloor as they bad been about to cut in subsided listlessly back to the walls, because this was not like the riotous Christmas dances—these slimmer hops were considered just pleasantly warm and exciting, where even the younger marrieds rose and performed ancient waltzes and terrifying fox trots to the tolerant amusement of their younger brothers and sisters.

Warren McIntyre, who casually attended Yale, being one of the unfortunate stags, felt in his dinner-coat pocket for a cigarette and strolled out onto the wide, semidark veranda, where couples were scattered at tables, filling the lantern-hung night with vague words and hazy laughter. He nodded here and there at the less absorbed and as he passed each couple some half-forgotten fragment of a story played in his mind, for it was not a large city and every one was Who’s Who to every one else’s past. There, for example, were Jim Strain and Ethel Demorest, who had been privately engaged for three years. Every one knew that as soon as Jim managed to hold a job for more than two months she would marry him. Yet how bored they both looked, and how wearily Ethel regarded Jim sometimes, as if she wondered why she had trained the vines of her affection on such a wind-shaken poplar.

Warren was nineteen and rather pitying with those of his friends who hadn’t gone East to college. But, like most boys, he bragged tremendously about the girls of his city when he was away from it. There was Genevieve Ormonde, who regularly made the rounds of dances, house-parties, and football games at Princeton, Yale, Williams, and Cornell; there was black-eyed Roberta Dillon, who was quite as famous to her own generation as Hiram Johnson or Ty Cobb; and, of course, there was Marjorie Harvey, who besides having a fairylike face and a dazzling, bewildering tongue was already justly celebrated for having turned five cart-wheels in succession during the last pump-and-slipper dance at New Haven.

Warren, who had groan up across the street from Marjorie, had long been “crazy about her.” Sometimes she seemed to reciprocate his feeling with a faint gratitude, but she had tried him by her infallible test and informed him gravely that she did not love him. Her test was that when she was away from him she forgot him and had affairs with other boys. Warren found this discouraging, especially as Marjorie had been making little trips all summer, and for the first two or three days after each arrival home he saw great heaps of mail on the Harveys’ hall table addressed to her in various masculine handwritings. To make matters worse, all during the month of August she had been visited by her cousin Bernice from Eau Claire, and it seemed impossible to see her alone. It was always necessary to hunt round and find some one to take care of Bernice. As August waned this was becoming more and more difficult.

Much as Warren worshipped Marjorie he had to admit that Cousin Bernice was sorta dopeless. She was pretty, with dark hair and high color, but she was no fun on a party. Every Saturday night he danced a long arduous duty dance with her to please Marjorie, but he had never been anything but bored in her company.

“Warren”—a soft voice at his elbow broke in upon his thoughts, and he turned to see Marjorie, flushed and radiant as usual. She laid a hand on his shoulder and a glow settled almost imperceptibly over him.

“Warren,” she whispered “do something for me—dance with Bernice. She’s been stuck with little Otis Ormonde for almost an hour.”

Warren’s glow faded.

“Why—sure,” he answered half-heartedly.

“You don’t mind, do you? I’ll see that you don’t get stuck.”

“‘Sall right.”

Marjorie smiled—that smile that was thanks enough.

“You’re an angel, and I’m obliged loads.”

With a sigh the angel glanced round the veranda, but Bernice and Otis were not in sight. He wandered back inside, and there in front of the women’s dressing-room he found Otis in the centre of a group of young men who were convulsed with laughter. Otis was brandishing a piece of timber he had picked up, and discoursing volubly.

“She’s gone in to fix her hair,” he announced wildly. “I’m waiting to dance another hour with her.”

Their laughter was renewed.

“Why don’t some of you cut in?” cried Otis resentfully. “She likes more variety.”

“Why, Otis,” suggested a friend “you’ve just barely got used to her.”

“Why the two-by-four, Otis?” inquired Warren, smiling.

“The two-by-four? Oh, this? This is a club. When she comes out I’ll hit her on the head and knock her in again.”

Warren collapsed on a settee and howled with glee.

“Never mind, Otis,” he articulated finally. “I’m relieving you this time.”

Otis simulated a sudden fainting attack and handed the stick to Warren.

“If you need it, old man,” he said hoarsely.

No matter how beautiful or brilliant a girl may be, the reputation of not being frequently cut in on makes her position at a dance unfortunate. Perhaps boys prefer her company to that of the butterflies with whom they dance a dozen times an but, youth in this jazz-nourished generation is temperamentally restless, and the idea of fox-trotting more than one full fox trot with the same girl is distasteful, not to say odious. When it comes to several dances and the intermissions between she can be quite sure that a young man, once relieved, will never tread on her wayward toes again.

Warren danced the next full dance with Bernice, and finally, thankful for the intermission, he led her to a table on the veranda. There was a moment’s silence while she did unimpressive things with her fan.

“It’s hotter here than in Eau Claire,” she said.

Warren stifled a sigh and nodded. It might be for all he knew or cared. He wondered idly whether she was a poor conversationalist because she got no attention or got no attention because she was a poor conversationalist.

“You going to be here much longer?” he asked and then turned rather red. She might suspect his reasons for asking.

“Another week,” she answered, and stared at him as if to lunge at his next remark when it left his lips.

Warren fidgeted. Then with a sudden charitable impulse he decided to try part of his line on her. He turned and looked at her eyes.

“You’ve got an awfully kissable mouth,” he began quietly.

This was a remark that he sometimes made to girls at college proms when they were talking in just such half dark as this. Bernice distinctly jumped. She turned an ungraceful red and became clumsy with her fan. No one had ever made such a remark to her before.

“Fresh!”—the word had slipped out before she realized it, and she bit her lip. Too late she decided to be amused, and offered him a flustered smile

Warren was annoyed. Though not accustomed to have that remark taken seriously, still it usually provoked a laugh or a paragraph of sentimental banter. And he hated to be called fresh, except in a joking way. His charitable impulse died and he switched the topic.
“Jim Strain and Ethel Demorest sitting out as usual,” he commented.

This was more in Bernice’s line, but a faint regret mingled with her relief as the subject changed. Men did not talk to her about kissable mouths, but she knew that they talked in some such way to other girls.

“Oh, yes,” she said, and laughed. “I hear they’ve been mooning around for years without a red penny. Isn’t it silly?”

Warren’s disgust increased. Jim Strain was a close friend of his brother’s, and anyway he considered it bad form to sneer at people for not having money. But Bernice had had no intention of sneering. She was merely nervous.

II

When Marjorie and Bernice reached home at half after midnight they said good night at the top of the stairs. Though cousins, they were not intimates. As a matter of fact Marjorie had no female intimates—she considered girls stupid. Bernice on the contrary all through this parent-arranged visit had rather longed to exchange those confidences flavored with giggles and tears that she considered an indispensable factor in all feminine intercourse. But in this respect she found Marjorie rather cold; felt somehow the same difficulty in talking to her that she had in talking to men. Marjorie never giggled, was never frightened, seldom embarrassed, and in fact had very few of the qualities which Bernice considered appropriately and blessedly feminine.As Bernice busied herself with tooth-brush and paste this night she wondered for the hundredth time why she never had any attention when she was away from home. That her family were the wealthiest in Eau Claire; that her mother entertained tremendously, gave little diners for her daughter before all dances and bought hear a car of her own to drive round in, never occurred to her as factors in her home-town social success. Like most girls she had been brought up on the warm milk prepared by Annie Fellows Johnston and on novels in which the female was beloved because of certain mysterious womanly qualities always mentioned but never displayed.Bernice felt a vague pain that she was not at present engaged in being popular. She did not know that had it not been for Marjorie’s campaigning she would have danced the entire evening with one man; but she knew that even in Eau Claire other girls with less position and less pulchritude were given a much bigger rush. She attributed this to something subtly unscrupulous in those girls. It had never worried her, and if it had her mother would have assured her that the other girls cheapened themselves and that men really respected girls like Bernice.She turned out the light in her bathroom, and on an impulse decided to go in and chat for a moment with her aunt Josephine, whose light was still on. Her soft slippers bore her noiselessly down the carpeted hall, but hearing voices inside she stopped near the partly opened door. Then she caught her own name, and without any definite intention of eavesdropping lingered—and the thread of the conversation going on inside pierced her consciousness sharply as if it had been drawn through with a needle.”She’s absolutely hopeless!” It was Marjorie’s voice. “Oh, I know what you’re going to say! So many people have told you how pretty and sweet she is, and how she can cook! What of it? She has a bum time. Men don’t like her.”"What’s a little cheap popularity?”

Mrs. Harvey sounded annoyed.

“It’s everything when you’re eighteen,” said Marjorie emphatically. “I’ve done my best. I’ve been polite and I’ve made men dance with her, but they just won’t stand being bored. When I think of that gorgeous coloring wasted on such a ninny, and think what Martha Carey could do with it—oh!”

“There’s no courtesy these days.”

Mrs. Harvey’s voice implied that modern situations were too much for her. When she was a girl all young ladies who belonged to nice families had glorious times.

“Well,” said Marjorie, “no girl can permanently bolster up a lame-duck visitor, because these days it’s every girl for herself. I’ve even tried to drop hints about clothes and things, and she’s been furious—given me the funniest looks. She’s sensitive enough to know she’s not getting away with much, but I’ll bet she consoles herself by thinking that she’s very virtuous and that I’m too gay and fickle and will come to a bad end. All unpopular girls think that way. Sour grapes! Sarah Hopkins refers to Genevieve and Roberta and me as gardenia girls! I’ll bet she’d give ten years of her life and her European education to be a gardenia girl and have three or four men in love with her and be cut in on every few feet at dances.”

“It seems to me,” interrupted Mrs. Harvey rather wearily, “that you ought to be able to do something for Bernice. I know she’s not very vivacious.”

Marjorie groaned.

“Vivacious! Good grief! I’ve never heard her say anything to a boy except that it’s hot or the floor’s crowded or that she’s going to school in New York next year. Sometimes she asks them what kind of car they have and tells them the kind she has. Thrilling!”

There was a short silence and then Mrs. Harvey took up her refrain:

“All I know is that other girls not half so sweet and attractive get partners. Martha Carey, for instance, is stout and loud, and her mother is distinctly common. Roberta Dillon is so thin this year that she looks as though Arizona were the place for her. She’s dancing herself to death.”

“But, mother,” objected Marjorie impatiently, “Martha is cheerful and awfully witty and an awfully slick girl, and Roberta’s a marvellous dancer. She’s been popular for ages!”

Mrs. Harvey yawned.

“I think it’s that crazy Indian blood in Bernice,” continued Marjorie. “Maybe she’s a reversion to type. Indian women all just sat round and never said anything.”

“Go to bed, you silly child,” laughed Mrs. Harvey. “I wouldn’t have told you that if I’d thought you were going to remember it. And I think most of your ideas are perfectly idiotic,” she finished sleepily.

There was another silence, while Marjorie considered whether or not convincing her mother was worth the trouble. People over forty can seldom be permanently convinced of anything. At eighteen our convictions are hills from which we look; at forty-five they are caves in which we hide.

Having decided this, Marjorie said good night. When she came out into the hall it was quite empty.

III

While Marjorie was breakfasting late next day Bernice came into the room with a rather formal good morning, sat down opposite, stared intently over and slightly moistened her lips.

“What’s on your mind?” inquired Marjorie, rather puzzled.

Bernice paused before she threw her hand-grenade.

“I heard what you said about me to your mother last night.”

Marjorie was startled, but she showed only a faintly heightened color and her voice was quite even when she spoke.

Where were you?”

“In the hall. I didn’t mean to listen—at first.”

After an involuntary look of contempt Marjorie dropped her eyes and became very interested in balancing a stray corn-flake on her finger.”

“I guess I’d better go back to Eau Claire—if I’m such a nuisance.” Bernice’s lower lip was trembling violently and she continued on a wavering note: “I’ve tried to be nice, and—and I’ve been first neglected and then insulted. No one ever visited me and got such treatment.”

Marjorie was silent.

“But I’m in the way, I see. I’m a drag on you. Your friends don’t like me.” She paused, and then remembered another one of her grievances. “Of course I was furious last week when you tried to hint to me that that dress was unbecoming. Don’t you think I know how to dress myself?”

“No,” murmured Marjorie less than half-aloud.

“What?”

“I didn’t hint anything,” said Marjorie succinctly. “I said, as I remember, that it was better to wear a becoming dress three times straight than to alternate it with two frights.”

“Do you think that was a very nice thing to say?”

“I wasn’t trying to be nice.” Then after a pause: “When do you want to go?”

Bernice drew in her breath sharply.

“Oh!” It was a little half-cry.

Marjorie looked up in surprise.

“Didn’t you say you were going?”

Yes, but——”

“Oh, you were only bluffing!”

They stared at each other across the breakfast-table for a moment. Misty waves were passing before Bernice’s eyes, while Marjorie’s face wore that rather hard expression that she used when slightly intoxicated undergraduate’s were making love to her.

“So you were bluffing,” she repeated as if it were what she might have expected.

Bernice admitted it by bursting into tears. Marjorie’s eyes showed boredom.

“You’re my cousin,” sobbed Bernice. “I’m v-v-visiting you. I was to stay a month, and if I go home my mother will know and she’ll wah-wonder——”

Marjorie waited until the shower of broken words collapsed into little sniffles.

“I’ll give you my month’s allowance,” she said coldly, “and you can spend this last week anywhere you want. There’s a very nice hotel——”

Bernice’s sobs rose to a flute note, and rising of a sudden she fled from the room.

An hour later, while Marjorie was in the library absorbed in composing one of those non-committal marvelously elusive letters that only a young girl can write, Bernice reappeared, very red-eyed, and consciously calm. She cast no glance at Marjorie but took a book at random from the shelf and sat down as if to read. Marjorie seemed absorbed in her letter and continued writing. When the clock showed noon Bernice closed her book with a snap.

I suppose I’d better get my railroad ticket.”

This was not the beginning of the speech she had rehearsed up-stairs, but as Marjorie was not getting her cues—wasn’t urging her to be reasonable; it’s an a mistake—it was the best opening she could muster.

“Just wait till I finish this letter,” said Marjorie without looking round. “I want to get it off in the next mail.”

After another minute, during which her pen scratched busily, she turned round and relaxed with an air of “at your service.” Again Bernice had to speak.

“Do you want me to go home?”

“Well,” said Marjorie, considering, “I suppose if you’re not having a good time you’d better go. No use being miserable.”

“Don’t you think common kindness——”

“Oh, please don’t quote ‘Little Women’!” cried Marjorie impatiently. “That’s out of style.”

“You think so?”

“Heavens, yes! What modern girl could live like those inane females?”

“They were the models for our mothers.”

Marjorie laughed.

“Yes, they were—not! Besides, our mothers were all very well in their way, but they know very little about their daughters’ problems.”

Bernice drew herself up.

“Please don’t talk about my mother.”

Marjorie laughed.

I don’t think I mentioned her.”

Bernice felt that she was being led away from her subject.

“Do you think you’ve treated me very well?”

“I’ve done my best. You’re rather hard material to work with.”

The lids of Bernice’s eyes reddened.

“I think you’re hard and selfish, and you haven’t a feminine quality in you.”

“Oh, my Lord!” cried Marjorie in desperation “You little nut! Girls like you are responsible for all the tiresome colorless marriages; all those ghastly inefficiencies that pass as feminine qualities. What a blow it must be when a man with imagination marries the beautiful bundle of clothes that he’s been building ideals round, and finds that she’s just a weak, whining, cowardly mass of affectations!”

Bernice’s mouth had slipped half open.

“The womanly woman!” continued Marjorie. “Her whole early life is occupied in whining criticisms of girls like me who really do have a good time.”

Bernice’s jaw descended farther as Marjorie’s voice rose.

“There’s some excuse for an ugly girl whining. If I’d been irretrievably ugly I’d never have forgiven my parents for bringing me into the world. But you’re starting life without any handicap—” Marjorie’s little fist clinched, “If you expect me to weep with you you’ll be disappointed. Go or stay, just as you like.” And picking up her letters she left the room.

Bernice claimed a headache and failed to appear at luncheon. They had a matinée date for the afternoon, but the headache persisting, Marjorie made explanation to a not very downcast boy. But when she returned late in the afternoon she found Bernice with a strangely set face waiting for her in her bedroom.

“I’ve decided,” began Bernice without preliminaries, “that maybe you’re right about things—possibly not. But if you’ll tell me why your friends aren’t—aren’t interested in me I’ll see if I can do what you want me to.”

Marjorie was at the mirror shaking down her hair.

“Do you mean it?”

“Yes.”

“Without reservations? Will you do exactly what I say?”

“Well, I——”

“Well nothing! Will you do exactly as I say?”

“If they’re sensible things.”

“They’re not! You’re no case for sensible things.”

“Are you going to make—to recommend——”

“Yes, everything. If I tell you to take boxing-lessons you’ll have to do it. Write home and tell your mother you’re going’ to soy another two weeks.

“If you’ll tell me——”

“All right—I’ll just give you a few examples now. First you have no ease of manner. Why? Because you’re never sure about your personal appearance. When a girl feels that she’s perfectly groomed and dressed she can forget that part of her. That’s charm. The more parts of yourself you can afford to forget the more charm you have.”

“Don’t I look all right?”

“No; for instance you never take care of your eyebrows. They’re black and lustrous, but by leaving them straggly they’re a blemish. They’d be beautiful if you’d take care of them in one-tenth the time you take doing nothing. You’re going to brush them so that they’ll grew straight.”

Bernice raised the brows in question.

“Do you mean to say that men notice eyebrows?”

“Yes—subconsciously. And when you go home you ought to have your teeth straightened a little. It’s almost imperceptible, still——”

“But I thought,” interrupted Bernice in bewilderment, “that you despised little dainty feminine things like that.”

“I hate dainty minds,” answered Marjorie. “But a girl has to be dainty in person. If she looks like a million dollars she can talk about Russia, ping-pong, or the League of Nations and get away with it.”

“What else?”

“Oh, I’m just beginning! There’s your dancing.”

“Don’t I dance all right?”

“No, you don’t—you lean on a man; yes, you do—ever so slightly. I noticed it when we were dancing together yesterday. And you dance standing up straight instead of bending over a little. Probably some old lady on the side-line once told you that you looked so dignified that way. But except with a very small girl it’s much harder on the man, and he’s the one that counts.”

“Go on.” Bernice’s brain was reeling.

“Well, you’ve got to learn to be nice to men who are sad birds. You look as if you’d been insulted whenever you’re thrown with any except the most popular boys. Why, Bernice, I’m cut in on every few feet—and who does most of it? Why, those very sad birds. No girl can afford to neglect them. They’re the big part of any crowd. Young boys too shy to talk are the very best conversational practice. Clumsy boys are the best dancing practice. If you can follow them and yet look graceful you can follow a baby tank across a barb-wire sky-scraper.”

Bernice sighed profoundly, but Marjorie was not through.

“If you go to a dance and really amuse, say, three sad birds that dance with you; if you talk so well to them that they forget they’re stuck with you, you’ve done something. They’ll come back next time, and gradually so many sad birds will dance with you that the attractive boys will see there’s no danger of being stuck—then they’ll dance with you.”

“Yes,” agreed Bernice faintly. “I thank I begin to see.”

“And finally,” concluded Marjorie, “poise and charm will just come. You’ll wake up some morning knowing you’ve attained it and men will know it too.”

Bernice rose.

“It’s been awfully kind of you—but nobody’s ever talked to me like this before, and I feel sort of startled.”

Marjorie made no answer but gazed pensively at her own image in the mirror.

“You’re a peach to help me,” continued Bernice.

Still Marjorie did not answer, and Bernice thought she had seemed too grateful.

“I know you don’t like sentiment,” she said timidly.

Marjorie turned to her quickly.

“Oh, I wasn’t thinking about that. I was considering whether we hadn’t better bob your hair.”

Bernice collapsed backward upon the bed.

IV

On the following Wednesday evening there was a dinner-dance at the country club. When the guests strolled in Bernice found her place-card with a slight feeling of irritation. Though at her right sat G. Reece Stoddard, a most desirable and distinguished young bachelor, the all-important left held only Charley Paulson. Charley lacked height, beauty, and social shrewdness, and in her new enlightenment Bernice decided that his only qualification to be her partner was that he had never been stuck with her. But this feeling of irritation left with the last of the soup-plates, and Marjorie’s specific instruction came to her. Swallowing her pride she turned to Charley Paulson and plunged.

“Do you think I ought to bob my hair, Mr. Charley Paulson?”

Charley looked up in surprise.

“Why?”

“Because I’m considering it. It’s such a sure and easy way of attracting attention.”

Charley smiled pleasantly. He could not know this had been rehearsed. He replied that he didn’t know much about bobbed hair. But Bernice was there to tell him.

“I want to be a society vampire, you see,” she announced coolly, and went on to inform him that bobbed hair was the necessary prelude. She added that she wanted to ask his advice, because she had heard he was so critical about girls.

Charley, who knew as much about the psychology of women as he did of the mental states of Buddhist contemplatives, felt vaguely flattered.

“So I’ve decided,” she continued, her voice rising slightly, “that early next week I’m going down to the Sevier Hotel barber-shop, sit in the first chair, and get my hair bobbed.” She faltered noticing that the people near her had paused in their conversation and were listening; but after a confused second Marjorie’s coaching told, and she finished her paragraph to the vicinity at large. “Of course I’m charging admission, but if you’ll all come down and encourage me I’ll issue passes for the inside seats.”

There was a ripple of appreciative laughter, and under cover of it G. Reece Stoddard leaned over quickly and said close to her ear: “I’ll take a box right now.”

She met his eyes and smiled as if he had said something surprisingly brilliant.

“Do you believe in bobbed hair?” asked G. Reece in the same undertone.

“I think it’s unmoral,” affirmed Bernice gravely. “But, of course, you’ve either got to amuse people or feed ‘em or shock ‘em.” Marjorie had culled this from Oscar Wide. It was greeted with a ripple of laughter from the men and a series of quick, intent looks from the girls. And then as though she had said nothing of wit or moment Bernice turned again to Charley and spoke confidentially in his ear.

“I want to ask you your opinion of several people. I imagine you’re a wonderful judge of character.”

Charley thrilled faintly—paid her a subtle compliment by overturning her water.

Two hours later, while Warren McIntyre was standing passively in the stag line abstractedly watching the dancers and wondering whither and with whom Marjorie had disappeared, an unrelated perception began to creep slowly upon him—a perception that Bernice, cousin to Marjorie, had been cut in on several times in the past five minutes. He closed his eyes, opened them and looked again. Several minutes back she had been dancing with a visiting boy, a matter easily accounted for; a visiting boy would know no better. But now she was dancing with some one else, and there was Charley Paulson headed for her with enthusiastic determination in his eye. Funny—Charley seldom danced with more than three girls an evening.

Warren was distinctly surprised when—the exchange having been effected—the man relieved proved to be none ether than G. Reece Stoddard himself. And G. Reece seemed not at all jubilant at being relieved. Next time Bernice danced near, Warren regarded her intently. Yes, she was pretty, distinctly pretty; and to-night her face seemed really vivacious. She had that look that no woman, however histrionically prescient, can successfully counterfeit—she looked as if she were having a good time. He liked the way she had her hair arranged, wondered if it was brilliantine that made it glisten so. And that dress was becoming—a dark red that set off her shadowy eyes and high coloring. He remembered that he had thought her pretty when she first came to town, before he had realized that she was dull. Too bad she was dull—dull girls unbearable—certainly pretty though.

His thoughts zigzagged back to Marjorie. This disappearance would be like other disappearances. When she reappeared he would demand where she had been—would be told emphatically that it was none of his business. What a pity she was so sure of him! She basked in the knowledge that no other girl in town interested him; she defied him to fall in love with Genevieve or Roberta.

Warren sighed. The way to Marjorie’s affections was a labyrinth indeed. He looked up. Bernice was again dancing with the visiting boy. Half unconsciously he took a step out from the stag line in her direction, and hesitated. Then he said to himself that it was charity. He walked toward her—collided suddenly with G. Reece Stoddard.

“Pardon me,” said Warren.

But G. Reece had not stopped to apologize. He had again cut in on Bernice.

That night at one o’clock Marjorie, with one hand on the electric-light switch in the hall, turned to take a last look at Bernice’s sparkling eyes.

“So it worked?”

“Oh, Marjorie, yes!” cried Bernice.

“I saw you were having a gay time.”

“I did! The only trouble was that about midnight I ran short of talk. I had to repeat myself—with different men of course. I hope they won’t compare notes.”

“Men don’t,” said Marjorie, yawning, “and it wouldn’t matter if they did—they’d think you were even trickier.”

She snapped out the light, and as they started up the stairs Bernice grasped the banister thankfully. For the first time in her life she had been danced tired.

“You see,” said Marjorie it the top of the stairs, “one man sees another man cut in and he thinks there must be something there. Well, we’ll fix up some new stuff to-morrow. Good night.”

“Good night.”

As Bernice took down her hair she passed the evening before her in review. She had followed instructions exactly. Even when Charley Paulson cut in for the eighth time she had simulated delight and had apparently been both interested and flattered. She had not talked about the weather or Eau Claire or automobiles or her school, but had confined her conversation to me, you, and us.

But a few minutes before she fell asleep a rebellious thought was churning drowsily in her brain—after all, it was she who had done it. Marjorie, to be sure, had given her her conversation, but then Marjorie got much of her conversation out of things she read. Bernice had bought the red dress, though she had never valued it highly before Marjorie dug it out of her trunk—and her own voice had said the words, her own lips had smiled, her own feet had danced. Marjorie nice girl—vain, though—nice evening—nice boys—like Warren—Warren—Warren— what’s his name—Warren—

V

To Bernice the next week was a revelation. With the feeling that people really enjoyed looking at her and listening to her came the foundation of self-confidence. Of course there were numerous mistakes at first. She did not know, for instance, that Draycott Deyo was studying for the ministry; she was unaware that he had cut in on her because he thought she was a quiet, reserved girl. Had she known these things she would not have treated him to the line which began “Hello, Shell Shock!” and continued with the bathtub story—”It takes a frightful lot of energy to fix my hair in the summer—there’s so much of it—so I always fix it first and powder my face and put on my hat; then I get into the bathtub, and dress afterward. Don’t you think that’s the best plan?”

Though Draycott Deyo was in the throes of difficulties concerning baptism by immersion and might possibly have seen a connection, it must be admitted that he did not. He considered feminine bathing an immoral subject, and gave her some of his ideas on the depravity of modern society.

But to offset that unfortunate occurrence Bernice had several signal success to her credit. Little Otis Ormonde pleaded off from a trip East and elected instead to follow her with a puppylike devotion, to the amusement of his crowd and to the irritation of G. Reece Stoddard, several of whose afternoon calls Otis completely ruined by the disgusting tenderness of the glances he bent on Bernice. He even told her the story of the two-by-four and the dressing-room to show her how fruitfully mistaken he and every one else had been in their first judgment of her. Bernice laughed off that incident with a slight sinking sensation.

Of all Bernice’s conversation perhaps the best known and most universally approved was the line about the bobbing of her hair.

Oh, Bernice, when you goin’ to get the hair bobbed?”

“Day after to-morrow maybe,” she would reply, laughing. “Will you come and see me? Because I’m counting on you, you know.”

“Will we? You know! But you better hurry up.”

Bernice, whose tonsorial intentions were strictly dishonorable, would laugh again.

“Pretty soon now. You’d be surprised.”

But perhaps the most significant symbol of her success was the gray car of the hypercritical Warren McIntyre, parked daily in front of the Harvey house. At first the parlor-maid was distinctly startled when he asked for Bernice instead of Marjorie; after a week of it she told the cook that Miss Bernice had gotta holda Miss Marjorie’s best fella.

And Miss Bernice had. Perhaps it began with Warren’s desire to rouse jealousy in Marjorie; perhaps it was the familiar though unrecognized strain of Marjorie in Bernice’s conversation; perhaps it was both of these and something of sincere attraction besides. But somehow the collective mind of the younger set knew within a week that Marjorie’s most reliable beau had made an amazing face-about and was giving an indisputable rush to Marjorie’s guest. The question of the moment was how Marjorie would take it. Warren called Bernice on the ‘phone twice a day, sent her notes, and they were frequently seen together in his roadster, obviously engrossed in one of those tense, significant conversation as to whether or not he was sincere.

Marjorie on being twitted only laughed. She said she was mighty glad that Warren had at last found some one who appreciated him. So the younger set laughed, too, and guessed that Marjorie didn’t care and let it go at that.

One afternoon when there were only three days left of her visit Bernice was waiting in the hall for Warren, with whom she was going to a bridge party. She was in rather a blissful mood, and when Marjorie—also bound for the party—appeared beside her and began casually to adjust her hat in the mirror, Bernice was utterly unprepared for anything in the nature of a clash. Marjorie did her work very coldly and succinctly in three sentences.

“You may as well get Warren out of your head,” she said coldly.

“What?” Bernice was utterly astounded.

“You may as well stop making a fool of yourself over Warren McIntyre. He doesn’t care a snap of his fingers about you.”

For a tense moment they regarded each other—Marjorie scornful, aloof; Bernice astounded, half-angry, half-afraid. Then two cars drove up in front of the house and there was a riotous honking. Both of them gasped faintly, turned, and side by side hurried out.

All through the bridge party Bernice strove in vain to master a rising uneasiness. She had offended Marjorie, the sphinx of sphinxes. With the most wholesome and innocent intentions in the world she had stolen Marjorie’s property. She felt suddenly and horribly guilty. After the bridge game, when they sat in an informal circle and the conversation became general, the storm gradually broke. Little Otis Ormonde inadvertently precipitated it.

“When you going back to kindergarten, Otis?” some one had asked.

“Me? Day Bernice gets her hair bobbed.”

“Then your education’s over,” said Marjorie quickly. “That’s only a bluff of hers. I should think you’d have realized.”

“That a fact?” demanded Otis, giving Bernice a reproachful glance.

Bernice’s ears burned as she tried to think up an effectual come-back. In the face of this direct attack her imagination was paralyzed.

“There’s a lot of bluffs in the world,” continued Marjorie quite pleasantly. “I should think you’d be young enough to know that, Otis.”

“Well,” said Otis, “maybe so. But gee! With a line like Bernice’s——”

“Really?” yawned Marjorie. “What’s her latest bon mot?”

No one seemed to know. In fact, Bernice, having trifled with her muse’s beau, had said nothing memorable of late.

“Was that really all a line?” asked Roberta curiously.

Bernice hesitated. She felt that wit in some form was demanded of her, but under her cousin’s suddenly frigid eyes she was completely incapacitated.

“I don’t know,” she stalled.

“Splush!” said Marjorie. “Admit it!”

Bernice saw that Warren’s eyes had left a ukulele he had been tinkering with and were fixed on her questioningly.

“Oh, I don’t know!” she repeated steadily. Her cheeks were glowing.

“Splush!” remarked Marjorie again.

“Come through, Bernice,” urged Otis. “Tell her where to get off.”

Bernice looked round again—she seemed unable to get away from Warren’s eyes.

“I like bobbed hair,” she said hurriedly, as if he had asked her a question, “and I intend to bob mine.”

“When?” demanded Marjorie.

“Any time.”

“No time like the present,” suggested Roberta.

Otis jumped to his feet.

“Good stuff!” he cried. “We’ll have a summer bobbing party. Sevier Hotel barber-shop, I think you said.”

In an instant all were on their feet. Bernice’s heart throbbed violently.

“What?” she gasped.

Out of the group came Marjorie’s voice, very clear and contemptuous.

“Don’t worry—she’ll back out!”

“Come on, Bernice!” cried Otis, starting toward the door.

Four eyes—Warren’s and Marjorie’s—stared at her, challenged her, defied her. For another second she wavered wildly.

“All right,” she said swiftly “I don’t care if I do.”

An eternity of minutes later, riding down-town through the late afternoon beside Warren, the others following in Roberta’s car close behind, Bernice had all the sensations of Marie Antoinette bound for the guillotine in a tumbrel. Vaguely she wondered why she did not cry out that it was all a mistake. It was all she could do to keep from clutching her hair with both bands to protect it from the suddenly hostile world. Yet she did neither. Even the thought of her mother was no deterrent now. This was the test supreme of her sportsmanship; her right to walk unchallenged in the starry heaven of popular girls.

Warren was moodily silent, and when they came to the hotel he drew up at the curb and nodded to Bernice to precede him out. Roberta’s car emptied a laughing crowd into the shop, which presented two bold plate-glass windows to the street.

Bernice stood on the curb and looked at the sign, Sevier Barber-Shop. It was a guillotine indeed, and the hangman was the first barber, who, attired in a white coat and smoking a cigarette, leaned non-chalantly against the first chair. He must have heard of her; he must have been waiting all week, smoking eternal cigarettes beside that portentous, too-often-mentioned first chair. Would they blind-fold her? No, but they would tie a white cloth round her neck lest any of her blood—nonsense—hair—should get on her clothes.

“All right, Bernice,” said Warren quickly.

With her chin in the air she crossed the sidewalk, pushed open the swinging screen-door, and giving not a glance to the uproarious, riotous row that occupied the waiting bench, went up to the fat barber.

“I want you to bob my hair.”

The first barber’s mouth slid somewhat open. His cigarette dropped to the floor.

“Huh?”

“My hair—bob it!”

Refusing further preliminaries, Bernice took her seat on high. A man in the chair next to her turned on his side and gave her a glance, half lather, half amazement. One barber started and spoiled little Willy Schuneman’s monthly haircut. Mr. O’Reilly in the last chair grunted and swore musically in ancient Gaelic as a razor bit into his cheek. Two bootblacks became wide-eyed and rushed for her feet. No, Bernice didn’t care for a shine.

Outside a passer-by stopped and stared; a couple joined him; half a dozen small boys’ nose sprang into life, flattened against the glass; and snatches of conversation borne on the summer breeze drifted in through the screen-door.

“Lookada long hair on a kid!”

“Where’d yuh get ‘at stuff? ‘At’s a bearded lady he just finished shavin’.”

But Bernice saw nothing, heard nothing. Her only living sense told her that this man in the white coat had removed one tortoise-shell comb and then another; that his fingers were fumbling clumsily with unfamiliar hairpins; that this hair, this wonderful hair of hers, was going—she would never again feel its long voluptuous pull as it hung in a dark-brown glory down her back. For a second she was near breaking down, and then the picture before her swam mechanically into her vision—Marjorie’s mouth curling in a faint ironic smile as if to say:

“Give up and get down! You tried to buck me and I called your bluff. You see you haven’t got a prayer.”

And some last energy rose up in Bernice, for she clinched her hands under the white cloth, and there was a curious narrowing of her eyes that Marjorie remarked on to some one long afterward.

Twenty minutes later the barber swung her round to face the mirror, and she flinched at the full extent of the damage that had been wrought. Her hair was not curls and now it lay in lank lifeless blocks on both sides of her suddenly pale face It was ugly as sin—she had known it would be ugly as sin. Her face’s chief charm had been a Madonna-like simplicity. Now that was gone and she was—well frightfully mediocre—not stagy; only ridiculous, like a Greenwich Villager who had left her spectacles at home.

As she climbed down from the chair she tried to smile—failed miserably. She saw two of the girls exchange glances; noticed Marjorie’s mouth curved in attenuated mockery—and that Warren’s eyes were suddenly very cold.

“You see,”—her words fell into an awkward pause—”I’ve done it.”

“Yes, you’ve—done it,” admitted Warren.

“Do you like it?”

There was a half-hearted “Sure” from two or three voices, another awkward pause, and then Marjorie turned swiftly and with serpentlike intensity to Warren.

“Would you mind running me down to the cleaners?” she asked. “I’ve simply got to get a dress there before supper. Roberta’s driving right home and she can take the others.”

Warren stared abstractedly at some infinite speck oat the window. Then for an instant his eyes rested coldly on Bernice before they turned to Marjorie.

“Be glad to,” he said slowly.

Bernice did not fully realize the outrageous trap that had been set for her until she met her aunt’s amazed glance just before dinner.

“Why Bernice!”

“I’ve bobbed it, Aunt Josephine.”

“Why, child!”

“Do you like it?”

“Why Bernice!”

“I suppose I’ve shocked you.”

“No, but what’ll Mrs. Deyo think tomorrow night? Bernice, you should have waited until after the Deyo’s dance—you should have waited if you wanted to do that.”

“It was sudden, Aunt Josephine. Anyway, why does it matter to Mrs. Deyo particularly?”

“Why child,” cried Mrs. Harvey, “in her paper on ‘The Foibles of the Younger Generation’ that she read at the last meeting of the Thursday Club she devoted fifteen minutes to bobbed hair. It’s her pet abomination. And the dance is for you and Marjorie!”

“I’m sorry.”

“Oh, Bernice, what’ll your mother say? She’ll think I let you do it.”

“I’m sorry.”

Dinner was an agony. She had made a hasty attempt with a curling-iron, and burned her finger and much hair. She could see that her aunt was both worried and grieved, and her uncle kept saying, “Well, I’ll be darned!” over and over in a hurt and faintly hostile tone. And Marjorie sat very quietly, intrenched behind a faint smile, a faintly mocking smile.

Somehow she got through the evening. Three boy’s called; Marjorie disappeared with one of them, and Bernice made a listless unsuccessful attempt to entertain the two others—sighed thankfully as she climbed the stairs to her room at half past ten. What a day!

When she had undressed for the night the door opened and Marjorie came in.

“Bernice,” she said “I’m awfully sorry about the Deyo dance. I’ll give you my word of honor I’d forgotten all about it.”

“‘Sall right,” said Bernice shortly. Standing before the mirror she passed her comb slowly through her short hair.

“I’ll take you down-town to-morrow,” continued Marjorie, “and the hairdresser’ll fix it so you’ll look slick. I didn’t imagine you’d go through with it. I’m really mighty sorry.”

“Oh, ‘sall right!”

“Still it’s your last night, so I suppose it won’t matter much.”

Then Bernice winced as Marjorie tossed her own hair over her shoulders and began to twist it slowly into two long blond braids until in her cream-colored negligée she looked like a delicate painting of some Saxon princess. Fascinated, Bernice watched the braids grow. Heavy and luxurious they were moving under the supple fingers like restive snakes—and to Bernice remained this relic and the curling-iron and a to-morrow full of eyes. She could see G. Reece Stoddard, who liked her, assuming his Harvard manner and telling his dinner partner that Bernice shouldn’t have been allowed to go to the movies so much; she could see Draycott Deyo exchanging glances with his mother and then being conscientiously charitable to her. But then perhaps by to-morrow Mrs. Deyo would have heard the news; would send round an icy little note requesting that she fail to appear—and behind her back they would all laugh and know that Marjorie had made a fool of her; that her chance at beauty had been sacrificed to the jealous whim of a selfish girl. She sat down suddenly before the mirror, biting the inside of her cheek.

“I like it,” she said with an effort. “I think it’ll be becoming.”

Marjorie smiled.

“It looks all right. For heaven’s sake, don’t let it worry you!”

“I won’t.”

“Good night Bernice.”

But as the door closed something snapped within Bernice. She sprang dynamically to her feet, clinching her hands, then swiftly and noiseless crossed over to her bed and from underneath it dragged out her suitcase. Into it she tossed toilet articles and a change of clothing, Then she turned to her trunk and quickly dumped in two drawerfulls of lingerie and stammer dresses. She moved quietly. but deadly efficiency, and in three-quarters of an hour her trunk was locked and strapped and she was fully dressed in a becoming new travelling suit that Marjorie had helped her pick out.

Sitting down at her desk she wrote a short note to Mrs. Harvey, in which she briefly outlined her reasons for going. She sealed it, addressed it, and laid it on her pillow. She glanced at her watch. The train left at one, and she knew that if she walked down to the Marborough Hotel two blocks away she could easily get a taxicab.

Suddenly she drew in her breath sharply and an expression flashed into her eyes that a practiced character reader might have connected vaguely with the set look she had worn in the barber’s chair—somehow a development of it. It was quite a new look for Bernice—and it carried consequences.

She went stealthily to the bureau, picked up an article that lay there, and turning out all the lights stood quietly until her eyes became accustomed to the darkness. Softly she pushed open the door to Marjorie’s room. She heard the quiet, even breathing of an untroubled conscience asleep.

She was by the bedside now, very deliberate and calm. She acted swiftly. Bending over she found one of the braids of Marjorie’s hair, followed it up with her hand to the point nearest the head, and then holding it a little slack so that the sleeper would feel no pull, she reached down with the shears and severed it. With the pigtail in her hand she held her breath. Marjorie had muttered something in her sleep. Bernice deftly amputated the other braid, paused for an instant, and then flitted swiftly and silently back to her own room.

Down-stairs she opened the big front door, closed it carefully behind her, and feeling oddly happy and exuberant stepped off the porch into the moonlight, swinging her heavy grip like a shopping-bag. After a minute’s brisk walk she discovered that her left hand still held the two blond braids. She laughed unexpectedly—had to shut her mouth hard to keep from emitting an absolute peal. She was passing Warren’s house now, and on the impulse she set down her baggage, and swinging the braids like piece of rope flung them at the wooden porch, where they landed with a slight thud. She laughed again, no longer restraining herself.

“Huh,” she giggled wildly. “Scalp the selfish thing!”

Then picking up her staircase she set off at a half-run down the moonlit street.

The End.

The story was made into a short TV production by PBS in 1976. It was directed by Joan Micklin Silver and starred Shelley Duvall as Bernice, Veronica Cartwright as Marjorie, and Bud Cort as Warren.