title: East Harlem

text: In 2011, Manhattan Borough President Scott Stringer announced a program which would send Veggie Vans to East Harlem senior centers and housing projects. In 2012, Whole Foods announced two uptown locations, one being on 125th Street and Lenox Avenue, the other in the Upper East Side. In 2010, Aldi's Grocery opened at the East River Plaza located at E. 117th St. and the FDR Drive, providing access to affordable food for East Harlem's residents. In 2013, a new Super FI Emperior Grocery store opened up in East Harlem on 103rd Street and Lexington Avenue.


title: East Harlem

text: East Harlem is located in two primary ZIP Codes. The area south of 116th Street is part of 10029 and the area north of 116th Street is part of 10035. The extreme northwestern portion of East Harlem is also located in 10037. The United States Postal Service operates two post offices near East Harlem:


title: East Harlem

text: East Harlem generally has a lower rate of college-educated residents than the rest of the city . While 38% have a college education or higher, 25% have less than a high school education and 37% are high school graduates or have some college education. By contrast, 64% of Manhattan residents and 43% of city residents have a college education or higher. The percentage of East Harlem students excelling in math rose from 25% in 2000 to 51% in 2011, and reading achievement increased from 33% to 39% during the same time period.


title: East Harlem

text: East Harlem's rate of elementary school student absenteeism is higher than the rest of New York City. In East Harlem, 30% of elementary school students missed twenty or more days per school year, more than the citywide average of 20%. Additionally, 67% of high school students in East Harlem graduate on time, less than the citywide average of 75%.


title: East Harlem

text: As in other parts of the city, some schools require students pass through metal detectors and swipe ID cards to enter school buildings.


title: East Harlem

text: The New York City Department of Education operates public schools in East Harlem as part of Community School District 2. The following public elementary schools are located in East Harlem:


title: East Harlem

text: St. Cecilia's School in East Harlem was closed by the Roman Catholic Archdiocese of New York – which operates Catholic schools in Manhattan and the Bronx – in 1991.


title: East Harlem

text: Two additional NYPL branches are located nearby. The 96th Street branch is located at 112 East 96th Street, at the border with the Upper East Side, while the Harlem branch is located at 9 West 124th Street, near the border with Harlem.


title: East Harlem

text: The Harlem River separates the Bronx and Manhattan, necessitating several spans between the two New York City boroughs. Three free bridges connect East Harlem and the Bronx: the Willis Avenue Bridge (for northbound traffic only), Third Avenue Bridge (for southbound traffic only), and Madison Avenue Bridge. In East Harlem, the Wards Island Bridge, also known as the 103rd Street Footbridge, connects Manhattan with Wards Island. The Triborough Bridge (officially the Robert F. Kennedy Bridge) is a complex of three separate bridges that offers connections between Queens, East Harlem, and the Bronx.


title: East Harlem

text: Public transportation service is provided by the Metropolitan Transportation Authority. The New York City Subway's IRT Lexington Avenue Line runs through East Harlem, with an express station at 125th Street (served by the ) as well as local stations at the 116th Street, 110th Street, 103rd Street, and 96th Street (served by the ). There is also a Second Avenue Subway station at 96th Street on the . MTA Regional Bus Operations and bus routes serve East Harlem as well. Metro-North Railroad has a commuter rail station at Harlem–125th Street, serving trains to the Lower Hudson Valley and Connecticut.


title: Prime Minister of Ukraine

text: The prime minister of Ukraine (, ) is the head of government of Ukraine. The prime minister presides over the Cabinet of Ministers of Ukraine, which is the highest body of the executive branch of the Ukrainian government. The position replaced the Soviet post of chairman of the Council of Ministers of the Ukrainian SSR, which was established on March 25, 1946.


title: Prime Minister of Ukraine

text: Since Ukrainian independence from the Soviet Union in 1991, there have been sixteen prime ministers, or twenty, counting acting prime ministers. Yulia Tymoshenko was the first woman appointed as prime minister in the history of Ukraine. Arseniy Yatsenyuk was the first prime minister who came from Western Ukraine. Two prime ministers were born in the Russian SFSR.


title: Prime Minister of Ukraine

text: The current prime minister is Denys Shmyhal, who was sworn in on 4 March 2020 following the resignation of Oleksiy Honcharuk.


title: Prime Minister of Ukraine

text: The prime minister is appointed by the president with the consent of the Verkhovna Rada. The consent is deemed granted by the parliament when a simple majority of its constitutional membership votes in favour of the candidate nominated by the president. The highest parliamentary approval to date was received by Yulia Tymoshenko who was appointed the prime minister on February 4, 2005, with 373 votes in the Verkhovna Rada. Other prime ministers who received more than 300 votes were Arseniy Yatsenyuk (371), Yatsenyuk again in 2014 (341) Vitold Fokin (332), and Leonid Kuchma (316).


title: Prime Minister of Ukraine

text: The procedure of granting consent by the parliament is usually preceded by several days of comprehensive consultations and interviews of the candidate by the parliamentary factions. The approval by the legislature is not a mere formality. Some candidates were ratified by a narrow margin and a candidate may be turned down. For instance, in 1999, Valeriy Pustovoitenko fell three votes short of being re-confirmed after he tendered his resignation at the second inauguration of President Leonid Kuchma in 1999. Kuchma chose Viktor Yushchenko as his alternative candidate. Another example is the approval of Yuriy Yekhanurov's candidacy (he fell three votes short of approval, but was confirmed on the second attempt two days later).


title: Prime Minister of Ukraine

text: After the constitutional amendment of late 2004 and its reinstance in 2014, the president was restricted in their choice of prime minister and was virtually obliged to nominate the person proposed by the parliamentary coalition. The only exception is when the candidate cannot be nominated due to the violation in nomination procedure or the candidate's incompliance with the requirements established by the Constitution and the Ukrainian laws for the prime minister. In this case, the president informs the parliament about the impossibility of submitting a nomination for the proposed candidacy.


title: Prime Minister of Ukraine

text: The prime minister heads Ukraine's executive branch of government, the Cabinet of Ministers, and signs decrees passed by the Cabinet.


title: Prime Minister of Ukraine

text: The prime minister has the authority to propose candidates for ministry offices to the Verkhovna Rada, with the exception of the minister of foreign affairs and the minister of defense, which are proposed by the president. The prime minister can also propose candidates for the heads of regional administrations to the president for consideration.


title: Prime Minister of Ukraine

text: The prime minister can also countersign decrees and laws passed by the president. The constitution is silent on the exact regulation of the countersigning. The prime minister (and the respective minister) are responsible for the execution of laws passed by the cabinet.


title: Prime Minister of Ukraine

text: While in office, the prime minister is granted full legal immunity from all prosecutions and legal proceedings. The prime minister's office is headquartered in the Cabinet of Ministries building in central Kyiv. The prime minister was paid a yearly salary of 202,776 UAH (16,898/month) (US$26,770) in 2005. In 2013, following a petition in "Fokus" magazine, the secretariat of the cabinet stated that the monthly salary of the prime minister was 33,980 UAH (US$4,173.42), which is eleven times more than the average salary in the country.


title: Prime Minister of Ukraine

text: Prime ministers are frequently asked by individual citizens for help in solving their personal problems, sometimes successfully. In 2012, Prime Minister Azarov received dozens of personal pleas every day on his Facebook page.


title: Prime Minister of Ukraine

text: The first vice-prime minister, also known as the first deputy, heads the cabinet in the absence of the prime minister due to resignation or dismissal. Among the most notable First deputies were Yukhym Zvyahilsky and Mykola Azarov, who served as the acting prime minister for a longer period of time than anyone else. Valentyn Symonenko, Vasyl Durdynets, Oleksandr Turchynov and others also served as acting prime minister.


title: Prime Minister of Ukraine

text: Apart from the first vice-prime minister, there are also several other vice-ministers who support the prime minister and may be in charge of one or more ministries. In 1991–1992 the office of the state minister was also introduced. Traditionally vice-prime ministers are in charge of an area of general state government policy such as the agro-industrial complex, humanitarian affairs, economic affairs, or regional policy. On certain occasions, those deputies may be given regular ministerial portfolios as well, as happened in the 2010 Azarov Government.


title: Prime Minister of Ukraine

text: The prime minister, like other Cabinet members, may resign voluntarily by tendering their resignation to parliament (according to the Constitution of Ukraine, the prime minister can only be dismissed by parliamentary vote). Parliament must then consider the matter no later than the 10th day after the resignation application is received, if parliament was not in session at the time of resignation then no later than the first plenary week of the next regular session. A resignation by the prime minister results in the dismissal of the entire Cabinet. After the adoption of the current constitution in 1996, only prime ministers Pavlo Lazarenko and Mykola Azarov have left their post this way. Prime ministers do not have a set term limit, staying in office for the duration of the parliament term, resignation, or dismissal.


title: Prime Minister of Ukraine

text: Before the constitutional reform of 2004, the prime minister was usually dismissed unilaterally by the president. After the reform, the prime minister can only be dismissed by the parliament. Formally, the Verkhovna Rada needed to pass a resolution of no confidence of the cabinet, which had to result in the prime minister's resignation. However, the parliament could not put such a resolution to the vote within one year of the approval of the cabinet's official programme. The Cabinets of prime ministers Viktor Yushchenko and Viktor Yanukovych were dismissed in this way, with the latter refusing to tender his resignation to the president claiming a violation of the one-year period condition. The Cabinet of Yuriy Yekhanurov had also been formally dismissed, but the parliamentary act was subsequently repealed.


title: Prime Minister of Ukraine

text: Since Ukrainian independence from the Soviet Union in 1991, there have been 15 prime ministers (19 including acting PMs). Yulia Tymoshenko was the first (and only) female prime minister of Ukraine. Before the re-appointment as Prime Minister of Mykola Azarov, Tymoshenko was the longest serving prime minister serving for two terms and a total of 1,029 days (days serving as acting prime minister are not included in these numbers). Since Azarov was re-appointed as prime minister on 13 December 2012, he has since broken Tymoshenko's record. Azarov resigned on 28 January 2014, due to public outcry and protests following the Euromaidan. He was succeeded up by Arseniy Yatsenyuk on 27 February 2014. Yatsenyuk announced he would resign as Prime Minister on 24 July 2014; but his resignation was declined by parliament on 31 July 2014 when only 16 (of the 450) MPs voted for his resignation.


title: Bunker buster

text: A bunker buster is a type of munition that is designed to penetrate hardened targets or targets buried deep underground, such as military bunkers.


title: Bunker buster

text: Röchling shells were bunker-busting artillery shells, developed by the German engineer August Cönders, based on the theory of increasing sectional density to improve penetration. They were tested in 1942 and 1943 against the Belgian Fort d'Aubin-Neufchâteau.


title: Bunker buster

text: In World War II the Luftwaffe developed a series of unguided rocket-propelled armor-piercing bombs for use against shipping and fortifications.


title: Bunker buster

text: In World War II, the British designer Barnes Wallis, already famous for inventing the bouncing bomb, designed two bombs that would become the conceptual predecessors of modern bunker busters: the five tonne Tallboy and the ten tonne Grand Slam. These were "Earthquake" bombs—a concept he had first proposed in 1939. The designs were very aerodynamic, allowing them to exceed the speed of sound as they fell from 22,000 ft (6,700 m). The tails were designed with offset fins causing the bombs to spin as they fell. Using the same principle as a spinning top, this enabled them to resist being deflected, thereby improving accuracy. They had casings of high grade steel, much stronger than the typical World War II bomb so that they would survive hitting a hardened surface, or penetrate deep into the ground.


title: Bunker buster

text: Though these bombs might be thought of as "bunker busters" today, in fact the original "earthquake" theory was more complex and subtle than simply penetrating a hardened surface. The earthquake bombs were designed not to strike a target directly, but to impact beside it, penetrate under it, and create a 'camouflet', or large buried cavern, at the same time as delivering a shock wave through the target's foundations. The target then collapses into the hole, no matter how hardened it may be. The bombs had strong casings because they needed to travel through rock rather than reinforced concrete, though they could perform equally well against hardened surfaces. In an attack on the Valentin U-Boat pens at Farge, two Grand Slams went through the 15 ft (4.5 m) reinforced concrete hardening—equalling or exceeding the best current penetration specifications.


title: Bunker buster

text: The British "Disney" bomb (officially "4500 lb Concrete Piercing/Rocket Assisted bomb") was a World War II device designed to be used against U-boat pens and other super-hardened targets. Devised by Captain Edward Terrell RNVR of the Admiralty's Directorate of Miscellaneous Weapons Development, it had a streamlined hardened case and weighed about including the rocket assembly. The actual explosive content was about .


title: Bunker buster

text: For accuracy, the bombs had to be dropped precisely from a pre-determined height (usually ). They would free-fall for around 30 seconds until, at , the rockets were ignited, causing the tail section to be expelled. The rocket burn lasted for three seconds and added to the bomb's speed, giving a final impact speed of , approximately Mach 1.29. Post-war tests demonstrated that the bombs were able to penetrate a thick concrete roof, with the predicted (but untested) ability to penetrate of concrete.


title: Bunker buster

text: Post war, the US added a form of remote guidance to the Tallboy to create the "Tarzon", a 12,000-pound bomb (5,443 kg) deployed in the Korean War against an underground command center near Kanggye.


title: Bunker buster

text: During Operation Desert Storm (1991), there was a need for a deep penetration bomb similar to the British weapons of World War II, but none of the NATO air forces had such a weapon. As a stop-gap, some were developed over a period of 28 days, using old 8 inch (203 mm) artillery barrels as casings. These bombs weighed over two tons but carried only of high explosive. They were laser-guided and were designated "Guided Bomb Unit-28 (GBU-28)". It was proven effective for the intended role.


title: Bunker buster

text: An example of a Russian bunker buster is the KAB-1500L-Pr. It is delivered with the Su-24M and the Su-27IB aircraft. It is stated to be able to penetrate 10–20 m of earth or 2 m of reinforced concrete. The bomb weighs , with being the high explosive penetrating warhead. It is laser guided and has a reported strike accuracy of CEP.


title: Bunker buster

text: The traditional fuze is the same as a classic armor-piercing bomb: a combination of timer and a sturdy dynamic propeller on the rear of the bomb. The fuze is armed when the bomb is released, and detonates when the propeller stops turning and the timer has expired.


title: Bunker buster

text: Modern bunker busters may use the traditional fuze, but some also include a microphone and microcontroller. The microphone listens, and the micro controller counts floors until the bomb breaks through the desired numbers of floors.


title: Bunker buster

text: ATK is working on a Hard Target Void Sensing Fuze (HTVSF) for weapons to explode when they reach an open space in a deeply buried bunker.


title: Bunker buster

text: The extra speed provided by a rocket motor enables greater penetration of a missile-mounted bunker buster warhead. To reach maximum penetration (impact depth), the warhead may consist of a high-density projectile only. Such a warhead carries more energy than a warhead with chemical explosives (kinetic energy of a projectile at hypervelocity).


title: Bunker buster

text: The nuclear bunker buster is the nuclear weapon version of the bunker buster. The non-nuclear component of the weapon is designed to greatly enhance the penetration into soil, rock, or concrete to deliver a nuclear warhead to a target. These weapons would be used to destroy hardened, underground military bunkers deeply buried. In theory, the amount of radioactive nuclear fallout would be reduced from that of a standard, air-burst nuclear detonation because they would have relatively low explosive yield. However, because such weapons necessarily come into contact with large amounts of earth-based debris, they may, under certain circumstances, still generate significant fallout. Warhead yield and weapon design have changed periodically throughout the history of the design of such weapons. An underground explosion releases a larger fraction of its energy into the ground, compared to an explosion at or above the surface which releases most of its energy into the atmosphere.


title: James Abbott McNeill Whistler

text: James Abbott McNeill Whistler (; July 10, 1834July 17, 1903) was an American painter active during the American Gilded Age and based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake". His signature for his paintings took the shape of a stylized butterfly possessing a long stinger for a tail. The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative. He found a parallel between painting and music, and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony. His most famous painting, "Arrangement in Grey and Black No. 1" (1871), commonly known as "Whistler's Mother", is a revered and often parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his theories and his friendships with other leading artists and writers.


title: James Abbott McNeill Whistler

text: James Abbott Whistler was born in Lowell, Massachusetts on July 10, 1834, the first child of Anna McNeill Whistler and George Washington Whistler, and the elder brother of Confederate surgeon William McNeill Whistler. His father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell. The house is now the Whistler House Museum of Art, a museum dedicated to him. He claimed St. Petersburg, Russia as his birthplace during the Ruskin trial: "I shall be born when and where I want, and I do not choose to be born in Lowell."


title: James Abbott McNeill Whistler

text: The family moved from Lowell to Stonington, Connecticut in 1837, where his father worked for the Stonington Railroad. Three of the couple's children died in infancy during this period. Their fortunes improved considerably in 1839 when his father became chief engineer for the Boston & Albany Railroad, and the family built a mansion in Springfield, Massachusetts, where the Wood Museum of History now stands. They lived in Springfield until they left the United States in late 1842. Nicholas I of Russia learned of George Whistler's ingenuity in engineering the Boston & Albany Railroad, and he offered him a position in 1842 engineering a railroad from St. Petersburg to Moscow, and the family moved to St. Petersburg in the winter of 1842/43.


title: James Abbott McNeill Whistler

text: Whistler was a moody child prone to fits of temper and insolence, and he often drifted into periods of laziness after bouts of illness. His parents discovered that drawing often settled him down and helped focus his attention. In later years, he played up his mother's connection to the American South and its roots, and he presented himself as an impoverished Southern aristocrat, although it remains unclear to what extent he truly sympathized with the Southern cause during the American Civil War. He adopted his mother's maiden name after she died, using it as an additional middle name.


title: James Abbott McNeill Whistler

text: Beginning in 1842, his father was employed to work on a railroad in Russia. After moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Arts at age eleven. The young artist followed the traditional curriculum of drawing from plaster casts and occasional live models, revelled in the atmosphere of art talk with older peers, and pleased his parents with a first-class mark in anatomy. In 1844, he met the noted artist Sir William Allan, who came to Russia with a commission to paint a history of the life of Peter the Great. Whistler's mother noted in her diary, "the great artist remarked to me 'Your little boy has uncommon genius, but do not urge him beyond his inclination.'"


title: James Abbott McNeill Whistler

text: In 1847–1848, his family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a watercolour set with instruction. Whistler already was imagining an art career. He began to collect books on art and he studied other artists' techniques. When his portrait was painted by Sir William Boxall in 1848, the young Whistler exclaimed that the portrait was "very much like me and a very fine picture. Mr. Boxall is a beautiful colourist... It is a beautiful creamy surface, and looks so rich." In his blossoming enthusiasm for art, at fifteen, he informed his father by letter of his future direction, "I hope, dear father, you will not object to my choice." His father, however, died from cholera at the age of 49, and the Whistler family moved back to his mother's home town of Pomfret, Connecticut. His art plans remained vague and his future uncertain. The family lived frugally and managed to get by on a limited income. His cousin reported that Whistler at that time was "slight, with a pensive, delicate face, shaded by soft brown curls... he had a somewhat foreign appearance and manner, which, aided by natural abilities, made him very charming, even at that age."


title: James Abbott McNeill Whistler

text: Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister. Whistler was seldom without his sketchbook and was popular with his classmates for his caricatures. However, it became clear that a career in religion did not suit him, so he applied to the United States Military Academy at West Point, where his father had taught drawing and other relatives had attended. He was admitted to the highly selective institution in July 1851 on the strength of his family name, despite his extreme nearsightedness and poor health history. However, during his three years there, his grades were barely satisfactory, and he was a sorry sight at drill and dress, known as "Curly" for his hair length which exceeded regulations. Whistler bucked authority, spouted sarcastic comments, and racked up demerits. Colonel Robert E Lee was the West Point Superintendent and, after considerable indulgence toward Whistler, he had no choice but to dismiss the young cadet. Whistler's major accomplishment at West Point was learning drawing and map making from American artist Robert W. Weir.


title: James Abbott McNeill Whistler

text: His departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe silicon and began by saying, "Silicon is a gas." As he himself put it later: "If silicon were a gas, I would have been a general one day". However, a separate anecdote suggests misconduct in drawing class as the reason for Whistler's departure.


title: James Abbott McNeill Whistler

text: After West Point, Whistler worked as draftsman mapping the entire U.S. coast for military and maritime purposes. He found the work boring and he was frequently late or absent. He spent much of his free time playing billiards and idling about, was always broke, and although a charmer, had little acquaintance with women. After it was discovered that he was drawing sea serpents, mermaids, and whales on the margins of the maps, he was transferred to the etching division of the U.S. Coast Survey. He lasted there only two months, but he learned the etching technique which later proved valuable to his career.


title: James Abbott McNeill Whistler

text: At this point, Whistler firmly decided that art would be his future. For a few months he lived in Baltimore with a wealthy friend, Tom Winans, who even furnished Whistler with a studio and some spending cash. The young artist made some valuable contacts in the art community and also sold some early paintings to Winans. Whistler turned down his mother's suggestions for other more practical careers and informed her that with money from Winans, he was setting out to further his art training in Paris. Whistler never returned to the United States.


title: James Abbott McNeill Whistler

text: Whistler arrived in Paris in 1855, rented a studio in the Latin Quarter, and quickly adopted the life of a bohemian artist. Soon he had a French girlfriend, a dressmaker named Héloise. He studied traditional art methods for a short time at the Ecole Impériale and at the atelier of Marc Charles Gabriel Gleyre. The latter was a great advocate of the work of Ingres, and impressed Whistler with two principles that he used for the rest of his career: that line is more important than color and that black is the fundamental color of tonal harmony. Twenty years later, the Impressionists would largely overthrow this philosophy, banning black and brown as "forbidden colors" and emphasizing color over form. Whistler preferred self-study and enjoying the café life.


title: James Abbott McNeill Whistler

text: While letters from home reported his mother's efforts at economy, Whistler spent freely, sold little or nothing in his first year in Paris, and was in steady debt. To relieve the situation, he took to painting and selling copies from works at the Louvre and finally moved to cheaper quarters. As luck would have it, the arrival in Paris of George Lucas, another rich friend, helped stabilize Whistler's finances for a while. In spite of a financial respite, the winter of 1857 was a difficult one for Whistler. His poor health, made worse by excessive smoking and drinking, laid him low.


title: James Abbott McNeill Whistler

text: Conditions improved during the summer of 1858. Whistler recovered and traveled with fellow artist Ernest Delannoy through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer Auguste Delâtre. During that year, he painted his first self-portrait, "Portrait of Whistler with Hat", a dark and thickly rendered work reminiscent of Rembrandt. But the event of greatest consequence that year was his friendship with Henri Fantin-Latour, whom he met at the Louvre. Through him, Whistler was introduced to the circle of Gustave Courbet, which included Carolus-Duran (later the teacher of John Singer Sargent), Alphonse Legros, and Édouard Manet.


title: James Abbott McNeill Whistler

text: Also in this group was Charles Baudelaire, whose ideas and theories of "modern" art influenced Whistler. Baudelaire challenged artists to scrutinize the brutality of life and nature and to portray it faithfully, avoiding the old themes of mythology and allegory. Théophile Gautier, one of the first to explore translation qualities among art and music, may have inspired Whistler to view art in musical terms.


title: James Abbott McNeill Whistler

text: Reflecting the banner of realism of his adopted circle, Whistler painted his first exhibited work, "La Mère Gérard" in 1858. He followed it by painting "At the Piano" in 1859 in London, which he adopted as his home, while also regularly visiting friends in France. "At the Piano" is a portrait composed of his niece and her mother in their London music room, an effort which clearly displayed his talent and promise. A critic wrote, "[despite] a recklessly bold manner and sketchiness of the wildest and roughest kind, [it has] a genuine feeling for colour and a splendid power of composition and design, which evince a just appreciation of nature very rare amongst artists." The work is unsentimental and effectively contrasts the mother in black and the daughter in white, with other colors kept restrained in the manner advised by his teacher Gleyre. It was displayed at the Royal Academy the following year, and in many exhibits to come.


title: James Abbott McNeill Whistler

text: In a second painting executed in the same room, Whistler demonstrated his natural inclination toward innovation and novelty by fashioning a genre scene with unusual composition and foreshortening. It later was re-titled "Harmony in Green and Rose: The Music Room". This painting also demonstrated Whistler's ongoing work pattern, especially with portraits: a quick start, major adjustments, a period of neglect, then a final flurry to the finish.


title: James Abbott McNeill Whistler

text: After a year in London, as counterpoint to his 1858 "French set", in 1860, he produced another set of etchings called "Thames Set", as well as some early impressionistic work, including "The Thames in Ice". At this stage, he was beginning to establish his technique of tonal harmony based on a limited, predetermined palette.


title: James Abbott McNeill Whistler

text: In 1861, after returning to Paris for a time, Whistler painted his first famous work, "". The portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's "The Woman in White", a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer. The portrait was refused for exhibition at the conservative Royal Academy, but was shown in a private gallery under the title "The Woman in White". In 1863 it was shown at the Salon des Refusés in Paris, an event sponsored by Emperor Napoleon III for the exhibition of works rejected from the Salon.


title: James Abbott McNeill Whistler

text: Whistler's painting was widely noticed, although upstaged by Manet's more shocking painting "Le déjeuner sur l'herbe". Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.


title: James Abbott McNeill Whistler

text: Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled "". His "Lady of the Land Lijsen" and "The Golden Screen", both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings. During this period Whistler became close to Gustave Courbet, the early leader of the French realist school, but when Hiffernan modeled in the nude for Courbet, Whistler became enraged and his relationship with Hiffernan began to fall apart. In January 1864, Whistler's very religious and very proper mother arrived in London, upsetting her son's bohemian existence and temporarily exacerbating family tensions. As he wrote to Henri Fantin-Latour, "General upheaval!! I had to empty my house and purify it from cellar to eaves." He also immediately moved Hiffernan to another location.


title: James Abbott McNeill Whistler

text: In 1866, Whistler decided to visit Valparaíso, Chile, a journey that has puzzled scholars, although Whistler stated that he did it for political reasons. Chile was at war with Spain and perhaps Whistler thought it a heroic struggle of a small nation against a larger one, but no evidence supports that theory. What the journey did produce was Whistler's first three nocturnal paintings—which he termed "moonlights" and later re-titled as "nocturnes"—night scenes of the harbor painted with a blue or light green palette. After he returned to London, he painted several more nocturnes over the next ten years, many of the River Thames and of Cremorne Gardens, a pleasure park famous for its frequent fireworks displays, which presented a novel challenge to paint. In his maritime nocturnes, Whistler used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line. Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints of Hiroshige.


title: James Abbott McNeill Whistler

text: In 1872, Whistler credited his patron Frederick Leyland, an amateur musician devoted to Chopin, for his musically inspired titles.


title: James Abbott McNeill Whistler

text: I say I can't thank you too much for the name 'Nocturne' as a title for my moonlights! You have no idea what an irritation it proves to the critics and consequent pleasure to me—besides it is really so charming and does so poetically say all that I want to say and "no more" than I wish!


title: James Abbott McNeill Whistler

text: At that point, Whistler painted another self-portrait and entitled it "Arrangement in Gray: Portrait of the Painter" (c. 1872), and he also began to re-title many of his earlier works using terms associated with music, such as a "nocturne", "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. Whistler's nocturnes were among his most innovative works. Furthermore, his submission of several nocturnes to art dealer Paul Durand-Ruel after the Franco-Prussian War gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France. His good friend Fantin-Latour, growing more reactionary in his opinions, especially in his negativity concerning the emerging Impressionist school, found Whistler's new works surprising and confounding. Fantin-Latour admitted, "I don't understand anything there; it's bizarre how one changes. I don't recognize him anymore." Their relationship was nearly at an end by then, but they continued to share opinions in occasional correspondence. When Edgar Degas invited Whistler to exhibit with the first show by the Impressionists in 1874, Whistler turned down the invitation, as did Manet, and some scholars attributed this in part to Fantin-Latour's influence on both men.


title: James Abbott McNeill Whistler

text: The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining Whistler, including Camille Pissarro and Monet, while Manet and Degas stayed in France. Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists and that they had seen his nocturnes. Whistler was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan.


title: James Abbott McNeill Whistler

text: By 1871, Whistler returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled "Arrangement in Grey and Black No.1", but usually referred to as "Whistler's Mother". A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait. He had her stand at first, in his typically slow and experimental way, but that proved too tiring so the seated pose was adopted. It took dozens of sittings to complete.


title: James Abbott McNeill Whistler

text: The austere portrait in his normally constrained palette is another Whistler exercise in tonal harmony and composition. The deceptively simple design is in fact a balancing act of differing shapes, particularly the rectangles of curtain, picture on the wall, and floor which stabilize the curve of her face, dress, and chair. Whistler commented that the painting's narrative was of little importance, yet the painting was also paying homage to his pious mother. After the initial shock of her moving in with her son, she aided him considerably by stabilizing his behavior somewhat, tending to his domestic needs, and providing an aura of conservative respectability that helped win over patrons.


title: James Abbott McNeill Whistler

text: The public reacted negatively to the painting, mostly because of its anti-Victorian simplicity during a time in England when sentimentality and flamboyant decoration were in vogue. Critics thought the painting a failed "experiment" rather than art. The Royal Academy rejected it, but then grudgingly accepted it after lobbying by Sir William Boxall—but they hung it in an unfavorable location at their exhibition.


title: James Abbott McNeill Whistler

text: From the start, "Whistler's Mother" sparked varying reactions, including parody, ridicule, and reverence, which have continued to today. Some saw it as "the dignified feeling of old ladyhood", "a grave sentiment of mourning", or a "perfect symbol of motherhood"; others employed it as a fitting vehicle for mockery. It has been satirized in endless variations in greeting cards and magazines, and by cartoon characters such as Donald Duck and Bullwinkle the Moose. Whistler did his part in promoting the picture and popularizing the image. He frequently exhibited it and authorized the early reproductions that made their way into thousands of homes. The painting narrowly escaped being burned in a fire aboard a train during shipping. It was ultimately purchased by the French government, the first Whistler work in a public collection, and is now housed in the Musée d'Orsay in Paris.


title: James Abbott McNeill Whistler

text: During the Depression, the picture was billed as a "million dollar" painting and was a big hit at the Chicago World's Fair. It was accepted as a universal icon of motherhood by the worldwide public, which was not particularly aware of or concerned with Whistler's aesthetic theories. In recognition of its status and popularity, the United States issued a postage stamp in 1934 featuring an adaptation of the painting. In 2015, "New Yorker" critic Peter Schjeldahl wrote that it "remains the most important American work residing outside the United States." Martha Tedeschi writes:


title: James Abbott McNeill Whistler

text: "Whistler's Mother", Wood's "American Gothic", Leonardo da Vinci's "Mona Lisa" and Edvard Munch's "The Scream" have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture.


title: James Abbott McNeill Whistler

text: Other important portraits by Whistler include those of Thomas Carlyle (historian,1873), Maud Franklin (his mistress, 1876), Cicely Alexander (daughter of a London banker, 1873), Lady Meux (socialite, 1882), and Théodore Duret (critic, 1884). In the 1870s, Whistler painted full-length portraits of Frederick Leyland and his wife Frances. Leyland subsequently commissioned the artist to decorate his dining room (see Peacock Room below).


title: James Abbott McNeill Whistler

text: Whistler had been disappointed over the irregular acceptance of his works for the Royal Academy exhibitions and the poor hanging and placement of his paintings. In response, Whistler staged his first solo show in 1874. The show was notable and noticed, however, for Whistler's design and decoration of the hall, which harmonized well with the paintings, in keeping with his art theories. A reviewer wrote, "The visitor is struck, on entering the gallery, with a curious sense of harmony and fitness pervading it, and is more interested, perhaps, in the general effect than in any one work."


title: James Abbott McNeill Whistler

text: Whistler was not so successful a portrait painter as the other famous expatriate American John Singer Sargent. Whistler's spare technique and his disinclination to flatter his sitters, as well as his notoriety, may account for this. He also worked very slowly and demanded extraordinarily long sittings. William Merritt Chase complained of his sitting for a portrait by Whistler, "He proved to be a veritable tyrant, painting every day into the twilight, while my limbs ached with weariness and my head swam dizzily. 'Don't move! Don't move!' he would scream whenever I started to rest." By the time he gained widespread acceptance in the 1890s, Whistler was past his prime as a portrait painter.


title: James Abbott McNeill Whistler

text: Whistler's approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in 1894:


title: James Abbott McNeill Whistler

text: He worked with great rapidity and long hours, but he used his colours thin and covered the canvas with innumerable coats of paint. The colours increased in depth and intensity as the work progressed. At first the entire figure was painted in greyish-brown tones, with very little flesh colour, the whole blending perfectly with the greyish-brown of the prepared canvas; then the entire background would be intensified a little; then the figure made a little stronger; then the background, and so on from day to day and week to week, and often from month to month. ... And so the portrait would really grow, really develop as an entirety, very much as a negative under the action of the chemicals comes out gradually—light, shadows, and all from the very first faint indications to their full values. It was as if the portrait were hidden within the canvas and the master by passing his wands day after day over the surface evoked the image.


title: James Abbott McNeill Whistler

text: Whistler produced numerous etchings, lithographs, and dry-points. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings. Some of the lithographs are of figures slightly draped; two or three of the very finest are of Thames subjects—including a "nocturne" at Limehouse; while others depict the Faubourg Saint-Germain in Paris, and Georgian churches in Soho and Bloomsbury in London.


title: James Abbott McNeill Whistler

text: The etchings include portraits of family, mistresses, and intimate street scenes in London and Venice. Whistler gained an enormous reputation as an etcher. Martin Hardie wrote "there are some who set him beside Rembrandt, perhaps above Rembrandt, as the greatest master of all time. Personally, I prefer to regard them as the Jupiter and Venus, largest and brightest among the planets in the etcher's heaven." He took great care over the printing of his etchings and the choice of paper. At the beginning and end of his career, he placed great emphasis on cleanness of line, though in a middle period he experimented more with inking and the use of surface tone.


title: James Abbott McNeill Whistler

text: Whistler's famous butterfly signature first developed in the 1860s out of his interest in Asian art. He studied the potter's marks on the china he had begun to collect and decided to design a monogram of his initials. Over time this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit. He took great care in the appropriate placement of the image on both his paintings and his custom-made frames. His focus on the importance of balance and harmony extended beyond the frame to the placement of his paintings to their settings, and further to the design of an entire architectural element, as in the Peacock Room.


title: James Abbott McNeill Whistler

text: "Harmony in Blue and Gold: The Peacock Room" is Whistler's masterpiece of interior decorative mural art. He painted over the original paneled room designed by Thomas Jeckyll (1827–1881), in a unified palette of brilliant blue-greens with over-glazing and metallic gold leaf. Painted in 1876–1877, it is now considered a high example of the Anglo-Japanese style. Frederick Leyland left the room in Whistler's care to make minor changes, "to harmonize" the room whose primary purpose was to display Leyland's china collection. Whistler let his imagination run wild, however: "Well, you know, I just painted on. I went on—without design or sketch—putting in every touch with such freedom ... And the harmony in blue and gold developing, you know, I forgot everything in my joy of it." He completely painted over 16th-century Cordoba leather wall coverings first brought to Britain by Catherine of Aragon that Leyland had paid £1,000 for.


title: James Abbott McNeill Whistler

text: Having acquired the centerpiece of the room, Whistler's painting of "The Princess from the Land of Porcelain", American industrialist and aesthete Charles Lang Freer purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist Val Prinsep. Freer then had the contents of the "Peacock Room" installed in his Detroit mansion. After Freer's death in 1919, "The Peacock Room" was permanently installed in the Freer Gallery of Art at the Smithsonian in Washington, D.C. The gallery opened to the public in 1923. A large painted caricature by Whistler of Leyland portraying him as an anthropomorphic peacock playing a piano, and entitled "The Gold Scab: Eruption in Frilthy Lucre" – a pun on Leyland's fondness for frilly shirt fronts – is now in the collection of the Fine Arts Museums of San Francisco.


title: James Abbott McNeill Whistler

text: In 1877 Whistler sued the critic John Ruskin for libel after the critic condemned his painting "". Whistler exhibited the work in the Grosvenor Gallery, an alternative to the Royal Academy exhibition, alongside works by Edward Burne-Jones and other artists. Ruskin, who had been a champion of the Pre-Raphaelites and J. M. W. Turner, reviewed Whistler's work in his publication "Fors Clavigera" on July 2, 1877. Ruskin praised Burne-Jones, while he attacked Whistler:


title: James Abbott McNeill Whistler

text: For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay [founder of the Grosvenor Gallery] ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a ask two hundred guineas for flinging a pot of paint in the public's face.


title: James Abbott McNeill Whistler

text: Whistler, seeing the attack in the newspaper, replied to his friend George Boughton, "It is the most debased style of criticism I have had thrown at me yet." He then went to his solicitor and drew up a writ for libel, which was served to Ruskin. Whistler hoped to recover £1,000 plus the costs of the action. The case came to trial the following year after delays caused by Ruskin's bouts of mental illness, while Whistler's financial condition continued to deteriorate. It was heard in the Exchequer Division of the High Court on November 25 and 26, 1878 before Baron Huddleston and a special jury. Counsel for John Ruskin, Attorney General Sir John Holker, cross-examined Whistler:


title: James Abbott McNeill Whistler

text: Whistler had counted on many artists to take his side as witnesses, but they refused, fearing damage to their reputations. The other witnesses for him were unconvincing and the jury's own reaction to the work was derisive. With Ruskin's witnesses more impressive, including Edward Burne-Jones, and with Ruskin absent for medical reasons, Whistler's counterattack was ineffective. Nonetheless, the jury reached a verdict in favor of Whistler, but awarded a mere farthing in nominal damages, and the court costs were split. The cost of the case, together with huge debts from building his residence ("The White House" in Tite Street, Chelsea, designed with E. W. Godwin, 1877–8), bankrupted him by May 1879, resulting in an auction of his work, collections, and house. Stansky notes the irony that the Fine Art Society of London, which had organized a collection to pay for Ruskin's legal costs, supported him in etching "The Stones of Venice" (and in exhibiting the series in 1883), which helped recoup Whistler's costs.


title: James Abbott McNeill Whistler

text: Whistler published his account of the trial in the pamphlet "Whistler v. Ruskin: Art and Art Critics", included in his later "The Gentle Art of Making Enemies" (1890), in December 1878, soon after the trial. Whistler's grand hope that the publicity of the trial would rescue his career was dashed as he lost rather than gained popularity among patrons because of it. Among his creditors was Leyland, who oversaw the sale of Whistler's possessions. Whistler made various caricatures of his former patron, including a biting satirical painting called "The Gold Scab", just after Whistler declared bankruptcy. Whistler always blamed Leyland for his financial downfall.


title: James Abbott McNeill Whistler

text: After the trial, Whistler received a commission to do twelve etchings in Venice. He eagerly accepted the assignment, and arrived in the city with girlfriend Maud, taking rooms in a dilapidated palazzo they shared with other artists, including John Singer Sargent. Although homesick for London, he adapted to Venice and set about discovering its character. He did his best to distract himself from the gloom of his financial affairs and the pending sale of all his goods at Sotheby's. He was a regular guest at parties at the American consulate, and with his usual wit, enchanted the guests with verbal flourishes such as "the artist's only positive virtue is idleness—and there are so few who are gifted at it."


title: James Abbott McNeill Whistler

text: His new friends reported, on the contrary, that Whistler rose early and put in a full day of effort. He wrote to a friend, "I have learned to know a Venice in Venice that the others never seem to have perceived, and which, if I bring back with me as I propose, will far more than compensate for all annoyances delays & vexations of spirit." The three-month assignment stretched to fourteen months. During this exceptionally productive period, Whistler finished over fifty etchings, several nocturnes, some watercolors, and over 100 pastels—illustrating both the moods of Venice and its fine architectural details.


title: James Abbott McNeill Whistler

text: Furthermore, Whistler influenced the American art community in Venice, especially Frank Duveneck (and Duveneck's 'boys') and Robert Blum who emulated Whistler's vision of the city and later spread his methods and influence back to America.


title: James Abbott McNeill Whistler

text: Back in London, the pastels sold particularly well and he quipped, "They are not as good as I supposed. They are selling!" He was actively engaged in exhibiting his other work but with limited success. Though still struggling financially, he was heartened by the attention and admiration he received from the younger generation of English and American painters who made him their idol and eagerly adopted the title "pupil of Whistler". Many of them returned to America and spread tales of Whistler's provocative egotism, sharp wit, and aesthetic pronouncements—establishing the legend of Whistler, much to his satisfaction.


title: James Abbott McNeill Whistler

text: Whistler published his first book, "Ten O'Clock" lecture in 1885, a major expression of his belief in "art for art's sake". At the time, the opposing Victorian notion reigned, namely, that art, and indeed much human activity, had a moral or social function. To Whistler, however, art was its own end and the artist's responsibility was not to society, but to himself, to interpret through art, and to neither reproduce nor moralize what he saw. Furthermore, he stated, "Nature is very rarely right", and must be improved upon by the artist, with his own vision.


title: James Abbott McNeill Whistler

text: Though differing with Whistler on several points, including his insistence that poetry was a higher form of art than painting, Oscar Wilde was generous in his praise and hailed the lecture a masterpiece:


title: James Abbott McNeill Whistler

text: not merely for its clever satire and amusing jests ... but for the pure and perfect beauty of many of its passages ... for that he is indeed one of the very greatest masters of painting, in my opinion. And I may add that in this opinion Mr. Whistler himself entirely concurs.


title: James Abbott McNeill Whistler

text: Whistler, however, thought himself mocked by Oscar Wilde, and from then on, public sparring ensued leading to a total breakdown of their friendship, precipitated by a report written by Herbert Vivian. Later, Wilde "symbolically murdered Whistler", basing Basil Hallward, the murdered artist in his novel "The Picture of Dorian Gray" on Whistler.


title: James Abbott McNeill Whistler

text: In January 1881, Anna Whistler died. In his mother's honour, thereafter, he publicly adopted her maiden name McNeill as a middle name.


title: James Abbott McNeill Whistler

text: Whistler joined the Society of British Artists in 1884, and on June 1, 1886, he was elected president. The following year, during Queen Victoria's Golden Jubilee, Whistler presented to the Queen, on the Society's behalf, an elaborate album including a lengthy written address and illustrations that he made. Queen Victoria so admired "the beautiful and artistic illumination" that she decreed henceforth, "that the Society should be called Royal." This achievement was widely appreciated by the members, but soon it was overshadowed by the dispute that inevitably arose with the Royal Academy of Arts. Whistler proposed that members of the Royal Society should withdraw from the Royal Academy. This ignited a feud within the membership ranks that overshadowed all other society business. In May 1888, nine members wrote to Whistler to demand his resignation. At the annual meeting on June 4, he was defeated for re-election by a vote of 18–19, with nine abstentions. Whistler and 25 supporters resigned, while the anti-Whistler majority (in his view) was successful in purging him for his "eccentricities" and "non-English" background.


title: James Abbott McNeill Whistler

text: With his relationship with Maud unraveling, Whistler suddenly proposed to and married Beatrice Godwin (also called 'Beatrix' or 'Trixie'), a former pupil and the widow of his architect Edward William Godwin. Through his friendship with Godwin, Whistler had become close to Beatrice, whom Whistler painted in the full-length portrait titled "Harmony in Red: Lamplight" (GLAHA 46315). By the summer of 1888 Whistler and Beatrice appeared in public as a couple. At a dinner Louise Jopling and Henry Labouchère insisted that they should be married before the end of the week.


title: James Abbott McNeill Whistler

text: The marriage ceremony was arranged; as a member of Parliament, Labouchère arranged for the Chaplain to the House of Commons to marry the couple. No publicity was given to the ceremony to avoid the possibility of a furious Maud Franklin interrupting the marriage ceremony. The marriage took place on August 11, 1888, with the ceremony attended by a reporter from the "Pall Mall Gazette", so that the event received publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud.


title: James Abbott McNeill Whistler

text: Whistler's reputation in London and Paris was rising and he gained positive reviews from critics and new commissions. His book "The Gentle Art of Making Enemies" was published in 1890 to mixed success, but it afforded helpful publicity.


title: James Abbott McNeill Whistler

text: In 1890, he met Charles Lang Freer, who became a valuable patron in America, and ultimately, his most important collector. Around this time, in addition to portraiture, Whistler experimented with early colour photography and with lithography, creating a series featuring London architecture and the human figure, mostly female nudes. He contributed the first three of his "Songs of Stone" lithographs to "The Whirlwind" a Neo-Jacobite magazine published by his friend Herbert Vivian. Whistler had met Vivian in the late 1880s when both were members of the Order of the White Rose, the first of the Neo-Jacobite societies. In 1891, with help from his close friend Stéphane Mallarmé, "Whistler's Mother" was purchased by the French government for 4,000 francs. This was much less than what an American collector might have paid, but that would not have been so prestigious by Whistler's reckoning.


title: James Abbott McNeill Whistler

text: After an indifferent reception to his solo show in London, featuring mostly his nocturnes, Whistler abruptly decided he had had enough of London. He and Trixie moved to Paris in 1892 and resided at n° 110 Rue du Bac, Paris, with his studio at the top of 86 Rue Notre Dame des Champs in Montparnasse. He felt welcomed by Monet, Auguste Rodin, Henri de Toulouse-Lautrec, and by Stéphane Mallarmé, and he set himself up a large studio. He was at the top of his career when it was discovered that Trixie had cancer. They returned to London in February 1896, taking rooms at the Savoy Hotel while they sought medical treatment. He made drawings on lithographic transfer paper of the view of the River Thames, from the hotel window or balcony, as he sat with her. She died a few months later.


title: James Abbott McNeill Whistler

text: In 1899, Charles Freer introduced Whistler to his friend and fellow businessman Richard Albert Canfield, who became a personal friend and patron of Whistler's. Canfield owned a number of fashionable gambling houses in New York, Rhode Island, Saratoga Springs and Newport, and was also a man of culture with refined tastes in art. He owned early American and Chippendale furniture, tapestries, Chinese porcelain and Barye bronzes, and possessed the second-largest and most important Whistler collection in the world prior to his death in 1914. In May 1901, Canfield commissioned a portrait from Whistler; he started to pose for "Portrait of Richard A. Canfield" (YMSM 547) in March 1902. According to Alexander Gardiner, Canfield returned to Europe to sit for Whistler at the New Year in 1903, and sat every day until May 16, 1903. Whistler was ill and frail at this time and the work was his last completed portrait. The deceptive air of respectability that the portrait gave Canfield caused Whistler to call it 'His Reverence'. The two men were in correspondence from 1901 until Whistler's death. A few months before his own death, Canfield sold his collection of etchings, lithographs, drawings and paintings by Whistler to the American art dealer Roland F. Knoedler for $300,000. Three of Canfield's Whistler paintings hang in the Frick Museum in New York City.


title: James Abbott McNeill Whistler

text: In the final seven years of his life, Whistler did some minimalist seascapes in watercolor and a final self-portrait in oil. He corresponded with his many friends and colleagues. Whistler founded an art school in 1898, but his poor health and infrequent appearances led to its closure in 1901. He died in London on July 17, 1903, six days after his 69th birthday. He is buried in Chiswick Old Cemetery in west London, adjoining St Nicholas Church, Chiswick.


title: James Abbott McNeill Whistler

text: Whistler was the subject of a 1908 biography by his friends, the husband-and-wife team of Joseph Pennell and Elizabeth Robins Pennell, printmaker and art critic respectively. The Pennells' vast collection of Whistler material was bequeathed to the Library of Congress. The artist's entire estate was left to his sister-in-law Rosalind Birnie Philip. She spent the rest of her life defending his reputation and managing his art and effects, much of which eventually was donated to Glasgow University.


title: James Abbott McNeill Whistler

text: Whistler had a distinctive appearance, short and slight, with piercing eyes and a curling mustache, often sporting a monocle and the flashy attire of a dandy. He affected a posture of self-confidence and eccentricity. He often was arrogant and selfish toward friends and patrons. A constant self-promoter and egoist, he relished shocking friends and enemies. Though he could be droll and flippant about social and political matters, he always was serious about art and often invited public controversy and debate to argue for his strongly held theories.


title: James Abbott McNeill Whistler

text: Whistler had a high-pitched, drawling voice and a unique manner of speech, full of calculated pauses. A friend said, "In a second you discover that he is not conversing—he is sketching in words, giving impressions in sound and sense to be interpreted by the hearer."


title: James Abbott McNeill Whistler

text: Whistler was well known for his biting wit, especially in exchanges with his friend and rival Oscar Wilde. Both were figures in the Café society of Paris, and they were often the "talk of the town". They frequently appeared as caricatures in "Punch", to their mutual amusement. On one occasion, young Oscar Wilde attended one of Whistler's dinners, and hearing his host make some brilliant remark, apparently said, "I wish I'd said that", to which Whistler riposted, "You will, Oscar, you will!" In fact, Wilde did repeat in public many witticisms created by Whistler. Their relationship soured by the mid-1880s, as Whistler turned against Wilde and the Aesthetic Movement. When Wilde was publicly acknowledged to be a homosexual in 1895, Whistler openly mocked him. Whistler reveled in preparing and managing his social gatherings. As a guest observed:


title: James Abbott McNeill Whistler

text: One met all the best in Society there—the people with brains, and those who had enough to appreciate them. Whistler was an inimitable host. He loved to be the Sun round whom we lesser lights revolved ... All came under his influence, and in consequence no one was bored, no one dull.


title: James Abbott McNeill Whistler

text: In Paris Whistler was friends with members of the Symbolist circle of artists, writers and poets that included Stéphane Mallarmé and Marcel Schwob. Schwob had met Whistler in the mid-1890s through Stéphane Mallarmé they had other mutual friends including Oscar Wilde (until they argued) and Whistler's brother-in-law, Charles Whibley.


title: James Abbott McNeill Whistler

text: Whistler was friendly with many French artists, including Henri Fantin-Latour, Alphonse Legros, and Courbet. He illustrated the book "Les Chauves-Souris" with Antonio de La Gandara. He also knew Édouard Manet and the Impressionists, notably Monet, and Edgar Degas. As a young artist, he was a close friend of Dante Gabriel Rossetti, a member of the Pre-Raphaelite Brotherhood. His close friendships with Monet and poet Stéphane Mallarmé, who translated the "Ten O'Clock" lecture into French, helped strengthen respect for Whistler by the French public. Whistler was friendly with his fellow students at Gleyre's studio, including Ignace Schott, whose son Leon Dabo Whistler later would mentor.


title: James Abbott McNeill Whistler

text: Whistler's lover and model for "The White Girl", Joanna Hiffernan, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic paintings "Le Sommeil" and "L'Origine du monde", possibly leading to the breakup of the friendship between Whistler and Courbet. During the 1870s and much of the 1880s, he lived with his model and mistress Maud Franklin. Her ability to endure long, repetitive sittings helped Whistler develop his portrait skills. He not only made several excellent portraits of her, but she was also a helpful stand-in for other sitters. Whistler had several illegitimate children, of whom Charles James Whistler Hanson (1870–1935) is the best documented. After Whistler parted from his mistress Joanna Hiffernan, she helped to raise Hanson, even though his mother was the parlour maid, Louisa Fanny Hanson. Whistler had two daughters by Maud Franklin: Ione (born circa 1877) and Maud McNeill Whistler Franklin (born 1879). She sometimes referred to herself as 'Mrs. Whistler', and in the census of 1881 gave her name as 'Mary M. Whistler'.


title: James Abbott McNeill Whistler

text: In 1888, Whistler married Beatrice Godwin, (who was called 'Beatrix' or 'Trixie' by Whistler). She was the widow of the architect E. W. Godwin, who had designed Whistler's "White House", and the daughter of the sculptor John Birnie Philip and his wife Frances Black. Beatrix and her sisters Rosalind Birnie Philip and Ethel Whibley posed for many of Whistler's paintings and drawings; with Ethel Whibley modeling for "Mother of pearl and silver: The Andalusian" (1888–1900). The first five years of their marriage were very happy, but her later life was a time of misery for the couple, due to her illness and eventual death from cancer. Near the end, she lay comatose much of the time, completely subdued by morphine, given for pain relief. Her death was a strong blow Whistler never quite overcame.


title: James Abbott McNeill Whistler

text: Whistler was inspired by and incorporated many sources in his art, including the work of Rembrandt, Velázquez, and ancient Greek sculpture to develop his own highly influential and individual style. He was adept in many media, with over 500 paintings, as well as etchings, pastels, watercolors, drawings, and lithographs. Whistler was a leader in the Aesthetic Movement, promoting, writing, and lecturing on the "art for art's sake" philosophy. With his pupils, he advocated simple design, economy of means, the avoidance of over-labored technique, and the tonal harmony of the final result. Whistler has been the subject of many major museum exhibitions, studies, and publications. Like the Impressionists, he employed nature as an artistic resource. Whistler insisted that it was the artist's obligation to interpret what he saw, not be a slave to reality, and to "bring forth from chaos glorious harmony".


title: James Abbott McNeill Whistler

text: During his life, he influenced two generations of artists, in Europe and in the United States. Whistler had significant contact and exchanged ideas and ideals with Realist, Impressionist, and Symbolist painters. The artist Walter Sickert was his pupil, and the writer Oscar Wilde was his friend. His Tonalism had a profound effect on many American artists, including John Singer Sargent, William Merritt Chase, Henry Salem Hubbell and Willis Seaver Adams (whom he befriended in Venice). Another significant influence was upon Arthur Frank Mathews, whom Whistler met in Paris in the late 1890s. Mathews took Whistler's Tonalism to San Francisco, spawning a broad use of that technique among turn-of-the-century California artists. As American critic Charles Caffin wrote in 1907:


title: James Abbott McNeill Whistler

text: He did better than attract a few followers and imitators; he influenced the whole world of art. Consciously or unconsciously, his presence is felt in countless studios; his genius permeates modern artistic thought.


title: James Abbott McNeill Whistler

text: During a fourteen-month stay in Venice in 1879 and 1880, Whistler created a series of etchings and pastels that not only reinvigorated his finances (this was after he'd declared bankruptcy following the Ruskin trial), but also re-energized the way in which artists and photographers interpreted the city—focusing on the back alleys, side canals, entrance ways, and architectural patterns—and capturing the city's unique atmospherics.


title: James Abbott McNeill Whistler

text: In 1940 Whistler was commemorated on a United States postage stamp when the U.S. Post Office issued a set of 35 stamps commemorating America's famous authors, poets, educators, scientists, composers, artists, and inventors: the Famous Americans Series.


title: James Abbott McNeill Whistler

text: The Gilbert and Sullivan operetta "Patience" pokes fun at the Aesthetic movement, and the lead character of Reginald Bunthorne is often identified as a send-up of Oscar Wilde, though Bunthorne is more likely an amalgam of several prominent artists, writers, and Aesthetic figures. Bunthorne wears a monocle and has prominent white streaks in his dark hair, as did Whistler.


title: James Abbott McNeill Whistler

text: Novelist Henry James "had become well enough acquainted with Whistler to base several fictional characters on the 'queer little Londonized Southerner,' most notably in "Roderick Hudson" and "The Tragic Muse"". Whistler "also appeared as one of Henry James's most attractive minor characters, the sculptor Gloriani in "The Ambassadors", whose personality, way of life, and even home are closely based on Whistler."


title: James Abbott McNeill Whistler

text: George du Maurier's 1894 novel "Trilby" has a character, Joe Sibley, "the idle apprentice," who was meant to depict Whistler. "Whistler threatened to sue, and in subsequent editions the character was replaced by another." Whistler was also the model for a character in Marcel Proust's novel, "In Search of Lost Time" — the painter Elstir.


title: James Abbott McNeill Whistler

text: Whistler was the favorite artist of singer and actress Doris Day. She owned and displayed an original etching of Whistler's "Rotherhithe" and two of his original lithographs, "The Steps, Luxembourg Gardens, Paris" and "The Pantheon, from the Terrace of the Luxembourg Gardens".


title: James Abbott McNeill Whistler

text: The house in which Whistler was born is now preserved as the Whistler House Museum of Art. He is buried at St Nicholas Church, Chiswick.


title: James Abbott McNeill Whistler

text: A statue of James McNeill Whistler by Nicholas Dimbleby was erected in 2005 at the north end of Battersea Bridge on the River Thames in the United Kingdom.


title: James Abbott McNeill Whistler

text: On October 27, 2010, Swann Galleries set a record price for a Whistler print at auction, when "Nocturne", an etching and drypoint printed in black on warm, cream Japan paper, 1879–80 sold for $282,000.


title: Looking for Alaska (miniseries)

text: Looking for Alaska is an American teen drama streaming television miniseries created by Josh Schwartz. It is based on the 2005 novel of the same name by John Green. After a film adaptation was repeatedly delayed at Paramount Pictures, Hulu finalized a deal and ordered an eight-episode limited series. It stars Charlie Plummer and Kristine Froseth in the two lead roles Miles Halter and Alaska Young, respectively. The miniseries premiered on Hulu on October 18, 2019. It received acclaim from critics as well as fans of the book, with praise going toward its writing, acting and faithfulness to the original source material.


title: Looking for Alaska (miniseries)

text: "Looking For Alaska" tells the story of a teenage boy named Miles Halter who is obsessed with famous last words and seeking "the Great Perhaps", a concept inspired by the last words of poet Francois Rabelais. This desire leads him to enroll at Culver Creek Academy in Alabama, hoping to find something less boring and safe than the life he's always lived and gain a deeper perspective on life. At Culver Creek, he befriends his roommate Chip "The Colonel" Martin, who introduces him to Alaska Young, whom he later falls in love with, and Takumi Hikohito. Throughout his "new life" at the school, Miles learns many lessons about life, love, and the art of letting go.


title: Looking for Alaska (miniseries)

text: The film rights to the novel were acquired by Paramount Pictures in 2005 shortly before the novel was published. The screenplay was potentially going to be written and directed by Josh Schwartz (creator of "The O.C.") but, due to a lack of interest by Paramount, the production had been shelved indefinitely. It had been reported that Paramount was putting the screenplay in review due to the success of the film adaptation of John Green's breakout novel, "The Fault in Our Stars". On February 27, 2015, "The Hollywood Reporter" announced that Scott Neustadter and Michael H. Weber, screenwriters for Temple Hill Entertainment who had worked on adaptations for "The Fault in Our Stars" and "Paper Towns", would be writing and executive producing for the film. Paramount was actively casting the latest version of the screenplay, which was written by Sarah Polley. Rebecca Thomas was set to direct. Green also confirmed that Neustadter and Weber were still involved with the film. In August 2015, it was announced filming would begin in the fall in Michigan. It was later announced that filming would begin in early 2016 because of lack of casting decisions. Later in 2016, Green announced in a Vlogbrothers video and on social media that the film adaptation had once again been shelved indefinitely. Green has voiced his frustration of the development process of the film adaptation over the years. He quoted, "It has always fallen apart for one reason or another." In May 2018, Hulu finalized a deal with Josh Schwartz and Stephanie Savage, and proceeded to order an eight-episode limited series based on the book. Schwartz served as executive producer and showrunner, while Savage served as executive producer alongside John Green, Jessica Tuchinsky, Mark Waters, Marty Bowen, and Isaac Klausner.


title: Looking for Alaska (miniseries)

text: In October 2018, Charlie Plummer and Kristine Froseth were cast as the lead roles of the series, portraying Miles "Pudge" Halter and Alaska Young, respectively. In March 2019, Hulu announced six new cast members had joined the limited series; Denny Love, Jay Lee, Sofia Vassilieva, Landry Bender, Uriah Shelton, and Jordan Connor. The following month, Timothy Simons and Ron Cephas Jones were announced to join the cast as The Eagle and Dr. Hyde, respectively. In May 2019, it was reported that Rachel Matthews and Henry Zaga had been cast in recurring roles.


title: Looking for Alaska (miniseries)

text: The series was primarily shot in Louisiana. Episode 1 offers a glimpse of the Piggly Wiggly in Independence. Miss Ann's Fast Food in Amite pops up occasionally. The "school" the kids attend is really Solomon Episcopal Conference Center in Loranger.


title: Looking for Alaska (miniseries)

text: The Audubon Zoo's elephant sculpture shows up in Episode 6. The Mandeville end of the Lake Pontchartrain Causeway approach crops up in Episode 7. The Abita Springs Town Hall plays a police station in Episode 8.


title: Looking for Alaska (miniseries)

text: The soundtrack album for the miniseries, titled "Looking for Alaska (Music from the Original Series)", was released digitally on October 18, 2019, via Paramount and Sony Music Entertainment. It is a compilation album that consists of songs used in the miniseries.


title: Looking for Alaska (miniseries)

text: "Looking For Alaska" received acclaim from critics and readers of the book, with praises going towards its writing, performances (particularly that of Plummer, Froseth and Love), visuals, its soundtrack (with critics favorably comparing it to Schwartz's other series "The O.C."), directing, and improvements upon its source material. On review aggregator Rotten Tomatoes, the miniseries holds a "Certified Fresh" approval rating of 91% based on 35 reviews, with an average rating of 8.5/10. The website's critical consensus reads, "Bittersweet and beautifully performed, "Looking for Alaska" is the rare adaptation that deviates from its source material only to find something even better." On Metacritic, it has a weighted average score of 72 out of 100, based on 10 critics, indicating "generally favorable reviews."


title: Looking for Alaska (miniseries)

text: Critics called the series Schwartz's finest series to date. Kathryn VanArendonk of "Vulture" called it a "rare adaptation that dismantles the original in order to build something that works better" and praised Love's charismatic performance as The Colonel. "IndieWire"'s LaToya Ferguson graded the miniseries with an "A" and said, ""Looking For Alaska" is your standard, tried and true, coming-of-age story. And for that, it stands out from the rest." She also praised Plummer's performance as Miles, saying that he "captures the milquetoast nature of the character (both the funny and frustrating aspects of that), while also finding a way to make your heart break for him." "The Guardian"'s writer Rebecca Nicholson gave the miniseries a 3 out of 5 stars and called the performances of the young cast "excellent" and Emmy-worthy (most notably that of Froseth, Love and Plummer), and further praising the characterization of The Colonel.


title: Looking for Alaska (miniseries)

text: Alan Sepinwall of "Rolling Stone" gave the miniseries a 4 out of 5 stars and said, "It's a familiar coming-of-age story, but one executed at a high level and with far more thought than usual given to all the kids who were forced to grow up long before the main character has to". He also praised the cast as "exceedingly charming" and singling out the performances' of Froseth and Love. "Variety"'s Caroline Framke also praised the cast (particularly Froseth and Love), while further highlighting the former's performance as Alaska, saying that "As Alaska, she has to portray a character alternately depicted as mysterious and vulnerable, flinty and fragile, wildly intelligent and crushingly naive. The series and Froseth take great and obvious pains to flesh Alaska out beyond the basic role of Miles’ first love, which could so easily flatten her into nothing at all". Petrana Radulovic of "Polygon" summarized the miniseries as "a messy, raw depiction of grief — ultimately, what the book was supposed to be about, and what the show captures better" and called Froseth's performance "brilliant". Daniel Fienberg of "The Hollywood Reporter" praised the performances of Froseth and Plummer, calling the former "a marvel" and highlighting the latter's ability to nail "a tougher task" for playing Miles successfully.


title: Alice Hathaway Lee Roosevelt

text: Alice Hathaway Roosevelt (; July 29, 1861 – February 14, 1884) was an American socialite and the first wife of President Theodore Roosevelt. Two days after giving birth to their only child, she died from undiagnosed Bright's disease.


title: Alice Hathaway Lee Roosevelt

text: Alice Hathaway Lee was born on July 29, 1861 in Chestnut Hill, Massachusetts, to banker George Cabot Lee and Caroline Watts Haskell. Her younger brother was banker George Cabot Lee Jr. and her grandfather was John Clarke Lee, founder of Lee, Higginson & Co. Standing 5'6", she had "blue-gray eyes and long, wavy golden hair" and was described as strikingly beautiful as well as charming. Her family and friends called her "Sunshine" because of her cheerful disposition.


title: Alice Hathaway Lee Roosevelt

text: Lee met Theodore "T.R." Roosevelt, Jr. on October 18, 1878, at the home of her relatives and next-door neighbors, the Saltonstalls. At Harvard University, Roosevelt was a classmate of her cousin, Richard Middlecott "Dick" Saltonstall. Later writing of their first encounter, Roosevelt said, "As long as I live, I shall never forget how sweetly she looked, and how prettily she greeted me."


title: Alice Hathaway Lee Roosevelt

text: Lee received a proposal of marriage from Roosevelt in June 1879 but waited eight months before accepting. Their engagement was announced on February 14, 1880.


title: Alice Hathaway Lee Roosevelt

text: At age 19, Lee married Roosevelt on October 27, 1880, (T.R.'s 22nd birthday) at the Unitarian Church in Brookline, Massachusetts. The couple's "proper" honeymoon was delayed until the following summer due to her new husband's acceptance into Columbia Law School. After spending the first two weeks of their marriage at the Roosevelt family summer rental in Oyster Bay known as "Tranquility," the couple went to live with Theodore's widowed mother, Martha Stewart "Mittie" Bulloch.


title: Alice Hathaway Lee Roosevelt

text: Along with her new husband, Roosevelt participated in the social world of elite New York and toured Europe for five months in 1881. In October 1882 Roosevelt moved to her husband's Albany boardinghouse and learned about New York state politics. When she became pregnant in the summer of 1883, the Roosevelts planned for a large family and bought land near Tranquility for a large home. She returned to live with her mother-in-law in New York City later that fall.


title: Alice Hathaway Lee Roosevelt

text: Roosevelt gave birth to the couple's daughter at 8:30 pm on February 12, 1884; the child was named Alice Lee Roosevelt. Her husband, then a member of the New York State Assembly, was in Albany attending to business on the Assembly floor. He had been convinced their child would be born on Valentine's Day, the fourth anniversary of their engagement. After Assemblyman Roosevelt received a telegram the morning of the 13th notifying him of the birth, he made arrangements to leave that afternoon and be with his wife. Another telegram was sent and received regarding her ill health, and she was in a semi-comatose state by the time he arrived home, around midnight. Roosevelt languished for several hours while her husband held her; dying the afternoon of February 14, 1884, from undiagnosed kidney failure. It was determined that her pregnancy had masked the illness. Alice Roosevelt was 22 years old at the time of her death.


title: Alice Hathaway Lee Roosevelt

text: Distraught following Alice Roosevelt's death, her husband hardly spoke of her again. Much to the frustration of their daughter, all Theodore Roosevelt revealed following his wife's death was a diary entry and a short, privately published tribute:


title: Alice Hathaway Lee Roosevelt

text: In the immediate aftermath of Roosevelt's death, her widowed husband turned the care of their newborn daughter, Alice Lee Roosevelt, over to her aunt Anna "Bamie" Roosevelt, the older sister of Theodore Roosevelt, because it was already clear to Roosevelt that his sister would remain unmarried. As she grew, Alice Lee learned of her mother primarily from Bamie Roosevelt and her Lee grandparents. Roosevelt never spoke to his daughter about her mother. He tore pages from this diary about his wife, and burned almost all of the letters they had written to each other over the years. Theodore Roosevelt and his second wife, Edith Kermit Carow, took custody of his daughter when she was three years old.


title: Alice Hathaway Lee Roosevelt

text: Roosevelt was buried in Green-Wood Cemetery in Brooklyn, New York, next to her mother-in-law Mittie, who had died just hours before her. The families of each held a joint funeral for the women at New York's Fifth Avenue Presbyterian Church.


title: Sika Anoa'i

text: Leati Sika Amituana'i Anoa'i (born April 5, 1945), better known as Sika Anoa'i or simply Sika, is an American Samoan retired professional wrestler. He is best known as one-half of the tag team The Wild Samoans with his brother Afa. Championships held by Anoa'i over the course of his career include the WWF World Tag Team Championship. He was inducted into the WWE Hall of Fame in 2007 and the Professional Wrestling Hall of Fame in 2012. He is a member of the Anoa'i family and the father of professional wrestlers Rosey and Roman Reigns.


title: Sika Anoa'i

text: Anoa'i was born in the village of Leone on the island of Tutuila in American Samoa on April 5, 1945; one of thirteen children born to Amituana and Tovale Anoa'i. In 1959, at the age of 14, Anoa'i moved with his family to San Francisco, California in the United States. Shortly after the move, Anoa'i enlisted in the United States Merchant Marine, working on ships sailing to the Philippines and Japan. Anoa'i left the Merchant Marine in 1969, working as a stevedore before deciding to become a professional wrestler like his older brother Afa.


title: Sika Anoa'i

text: Anoa'i was trained as a wrestler by his brother Afa and Kurt Von Steiger, debuting in 1973 in Stampede Wrestling as "Sika". Calling themselves "The Wild Samoans", the brothers and gained notoriety due to their large, wild afros, sarongs, and habit of wrestling barefoot and eating raw fish in the ring. Throughout the 1970s, The Wild Samoans appeared with promotions including Big Time Wrestling, the Continental Wrestling Association, Gulf Coast Championship Wrestling, NWA All-Star Wrestling, NWA Mid-America, Stampede Wrestling, and the World Wrestling Council, winning multiple tag team championships.


title: Sika Anoa'i

text: In January 1980, The Wild Samoans debuted in the World Wrestling Federation with Lou Albano as their manager, quickly establishing themselves as a force in the tag team division through a series of decisive victories. In addition to competing in the tag division, the brothers wrestled as singles, with Anoa'i unsuccessfully challenging Bob Backlund for the WWF Championship in March 1980.


title: Sika Anoa'i

text: On April 12, 1980, The Wild Samoans defeated Ivan Putski and Tito Santana to win the WWF World Tag Team Championship. Their reign lasted until August 9, 1980, when they lost to Backlund and Pedro Morales at Showdown at Shea. As Backlund was the then-WWF Champion, he and Morales were forced to vacate the championship, and The Wild Samoans regained the championship on the September 9, 1980, episode of "WWF Championship Wrestling", defeating Tony Garea and Rene Goulet in the finals of a tournament. Their second reign lasted until November 8, 1980, when they lost to Garea and Rick Martel. The Wild Samoans left the WWF in December 1980.


title: Sika Anoa'i

text: In January to February 1981, The Wild Samoans toured Japan with New Japan Pro-Wrestling, performing as "The Samoan #1" (Afa) and "The Samoan #2" (Sika) respectively. They competed in the New Year Golden Series, repeatedly facing Antonio Inoki and Seiji Sakaguchi. The Wild Samoans made a second tour of Japan in November and December 1981, competing in the Madison Square Garden Tag League.


title: Sika Anoa'i

text: In April 1981, The Wild Samoans debuted in the Oklahoma City, Oklahoma-based promotion Mid-South Wrestling. They were initially managed by Ernie Ladd before betraying him to align themselves with Skandor Akbar. The Wild Samoans held the


title: Sika Anoa'i

text: Mid-South Tag Team Championship on three occasions between June 1981 and May 1982, feuding with Junkyard Dog and his partners. They left the promotion in May 1982.


title: Sika Anoa'i

text: In March 1982, The Wild Samoans began competing for the Atlanta, Georgia-based promotion Georgia Championship Wrestling, where they were managed by Sonny King. In August 1982, they defeated The Fabulous Freebirds to win the NWA National Tag Team Championship. They held the championship for several months, vacating it in December 1982 upon leaving the promotion to return to the WWF.


title: Sika Anoa'i

text: The Wild Samoans returned to the WWF in January 1983, once again adopting Lou Albano as their manager. They won the WWF World Tag Team Championship for a third and final time on March 8, 1983, defeating Chief Jay Strongbow and Jules Strongbow. During their reign, Anoa'i sustained an injury, with his nephew Samu substituting for him in several title defences. The Wild Samoans' reign ended on November 15, 1983, when they lost to Soul Patrol (Rocky Johnson and Tony Atlas) after Albano accidentally hit Afa with a chair.


title: Sika Anoa'i

text: After splitting from Albano, The Wild Samoans challenged Soul Patrol on several occasions but were unable to regain the championship. In April 1984, Anoa'i unsuccessfully challenged Hogan for the WWF Championship in one of Hogan's earliest title defenses. In mid-1984, The Wild Samoans turned face and began a lengthy feud with The North-South Connection (Adrian Adonis and Dick Murdoch). They left the WWF once more in January 1985.


title: Sika Anoa'i

text: The Wild Samoans appeared with multiple different promotions in 1985 and 1986, among them the American Wrestling Association, Jim Crockett Promotions, and International Championship Wrestling.


title: Sika Anoa'i

text: With Afa now semi-retired, Anoa'i returned to the WWF in August 1986 as a singles wrestler. Managed by The Wizard, he spent several weeks undefeated before losing to Pedro Morales in November 1986.


title: Sika Anoa'i

text: In March 1987, Anoa'i formed a tag team with Kamala, aligning himself with Kamala's manager, Mr. Fuji, and "handler", Kim Chee. The duo wrestled a series of matches against The Can-Am Connection and took part in several tournaments. The team was dissolved in August 1987 when Kamala left the WWF. In September 1987, Anoa'i competed in the King of the Ring tournament, losing in the first round to S. D. Jones. On the October 3, 1987 "Saturday Night's Main Event XII" (recorded September 23, 1987), Anoa'i unsuccessfully challenged WWF Champion Hulk Hogan in the main event. He went on to wrestle a series of matches against Bam Bam Bigelow and then against Jake Roberts. At the Slammy Awards ceremony on December 16, 1987, the "Song of the Year" category ended with no winner after Anoa'i ate the envelope containing the winner's name.


title: Sika Anoa'i

text: In early 1988, Anoa'i's regular opponents included Lanny Poffo, George Steele, and Hillbilly Jim. On March 27, 1988, he appeared on his first pay-per-view, competing in a battle royal at WrestleMania IV. Anoa'i left the WWF once more following the bout.


title: Sika Anoa'i

text: After leaving the WWF, Anoa'i wrestled a handful of matches on the independent circuit. He formed a short-lived tag team with his nephew Kokina in Continental Wrestling Federation, where they were managed by Alan Martin. He retired later that year.


title: Sika Anoa'i

text: Following his retirement, Anoa'i remained active in wrestling. He trained wrestlers at the Wild Samoan Training Center, a professional wrestling school run by Afa in Minneola, Florida. In 1999, he founded XW 2000, an independent wrestling promotion based in Pensacola, Florida.


title: Sika Anoa'i

text: On March 31, 2007, The Wild Samoans were inducted into the WWE Hall of Fame by Sika's son Matt and Afa's son Samu.


title: Sika Anoa'i

text: Anoa'i is married to Patricia Hooker but they are currently separated. The couple have five children, two boys, Matthew and Leati Joseph, both of whom also became professional wrestlers. Matthew, who was best known for competing for WWE as "Rosey", died on April 17, 2017. Leati Joseph played college football for Georgia Tech from 2003 to 2006 before beginning a professional wrestling career in 2010, ultimately joining WWE as "Roman Reigns" and winning the WWE Championship on multiple occasions.


title: Wilfrid Laurier

text: Sir Henri Charles Wilfrid Laurier, ( ; ; November 20, 1841 – February 17, 1919) was a Canadian lawyer, statesman, and politician who served as the seventh prime minister of Canada from 1896 to 1911. The first French Canadian prime minister, his 15-year tenure remains the longest unbroken term of office among Canadian prime ministers and his nearly 45 years of service in the House of Commons is a record for the House. Laurier is best known for his compromises between English and French Canada.


title: Wilfrid Laurier

text: Laurier studied law at McGill University and practised as a lawyer before being elected to the Legislative Assembly of Quebec in 1871. He was then elected as a member of Parliament (MP) in the 1874 federal election. As an MP, Laurier gained a large personal following among French Canadians and the Québécois. He also came to be known as a great orator. After serving as minister of inland revenue under Prime Minister Alexander Mackenzie from 1877 to 1878, Laurier became leader of the Liberal Party in 1887, thus becoming leader of the Official Opposition. He lost the 1891 federal election to Prime Minister John A. Macdonald's Conservatives. However, controversy surrounding the Conservative government's handling of the Manitoba Schools Question, which was triggered by the Manitoba government's elimination of funding for Catholic schools, gave Laurier a victory in the 1896 federal election. He paved the Liberal Party to three more election victories afterwards.


title: Wilfrid Laurier

text: As prime minister, Laurier solved the Manitoba Schools Question by allowing Catholic students to have a Catholic education on a school-by-school basis. Despite his controversial handling of the dispute and criticism from some French Canadians who believed that the resolution was insufficient, he was nicknamed "the Great Conciliator" for offering a compromise between French and English Canada. Two issues, the United Kingdom demanding Canadian military support to fight in the Second Boer War, and the United Kingdom asking Canada to send money for the British Navy, divided the country as English Canadians supported Britain's requests whereas French Canadians did not. Laurier's government sought a middle ground between the two groups, deciding to send a volunteer force to fight in the Boer War and passing the 1910 "Naval Service Act" to create Canada's own navy. In addition, his government dramatically increased immigration, oversaw Alberta and Saskatchewan's entry into Confederation, constructed the Grand Trunk Pacific and National Transcontinental Railways, and put effort into establishing Canada as an autonomous country within the British Empire.


title: Wilfrid Laurier

text: Laurier's proposed reciprocity agreement with the United States to lower tariffs became a main issue in the 1911 federal election, in which the Liberals were defeated by the Conservatives led by Robert Borden, who claimed that the treaty would lead to the US influencing Canadian identity. Despite his defeat, Laurier stayed on as Liberal leader and once again became leader of the Opposition. During World War I and the Conscription Crisis of 1917, Laurier faced divisions within the Liberal Party as pro-conscription Liberals joined Borden's Unionist government. The anti-conscription faction of the Liberal Party, led by Laurier, became the Laurier Liberals, though the group would be heavily defeated by Borden's Unionists in the 1917 federal election. Laurier remained Opposition leader even after his 1917 defeat, but was not able to fight in another election as he died in 1919. Laurier is ranked among the top three of Canadian prime ministers. At 31 years and 8 months, Laurier is the longest-serving leader of a major Canadian political party. He is the fourth-longest serving prime minister of Canada, behind Pierre Trudeau, Macdonald, and William Lyon Mackenzie King.


title: Wilfrid Laurier

text: The second child of Carolus Laurier and Marcelle Martineau, Henri Charles Wilfrid Laurier was born in Saint-Lin, Canada East (modern-day Saint-Lin-Laurentides, Quebec), on November 20, 1841. He was a sixth-generation French Canadian. His ancestor François Cottineau, "dit" Champlaurier, came to Canada from Saint-Claud, France. Laurier grew up in a family where politics was a staple of talk and debate. His father, an educated man having liberal ideas, enjoyed a certain degree of prestige about town. In addition to being a farmer and surveyor, he also occupied such sought-after positions as mayor, justice of the peace, militia lieutenant and school board member. At the age of 11, Wilfrid left home to study in New Glasgow, Quebec, a neighbouring village largely inhabited by immigrants from Scotland. Over the next two years, he familiarized himself with the mentality, language and culture of British people, in addition to learning English. In 1854, Laurier attended the Collège de L'Assomption, an institution that staunchly followed Roman Catholicism. There, he started to develop an interest in politics, and began to endorse the ideology of liberalism, despite the school being heavily conservative.