davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

had a passion for 1t. and when my friends
used to say, 10 not in so many words, at least
by their i~nsinuations, that it ives impossible
for a girl to pose and be good il used 10
make me feel so sed that l used to cry my
self nearly sick.
When I was ty~pewrtting and posing
evenings even my mother had doubts for
a time. But it ia ell different now. I am
successful, and I owe it all TO myself.
Il don't say a girl is successful as an
artistic model unless she makes at least
$50 . week. Some weeks | make $50 and
when during the operate season ! sing in
grand opera-in the chorls-another soodly
sum is added.
Il suppose one reason why l have been
successful is that ! can act the part Of the
chlracterI represent. The mo snt l put
on a Spanish COSTUME. ! am spanish to
nv finger tips. II a French costume, then
am I French.
Il feel every character part I pose in and
lose myself in it. | never want to give up
posing and don't mean to, even il I marry.
until I get so old that | I'm not wanted any
more. It's life to me
It's always easier to go with the current
than against it, and it would have been lots
simpler to have kept on being a typewriter
to the end Of mydays than have encountered,
not only the parental wrath but the CUES
tioning looks Of my friends and neighbors.
To their mind. to be an artists mode was
to be tripping ioyously on the path to per-
dition. It's different now"
An observer might, at first glance, be
more impressed by Miss Longfelder's ON
posture Of manner than by her beauty.
Though possessing the easy, languorous air
OF the Southern beauties, the girl is wholly
self -controlled. both mentally and physi-
cally. The oval of her face is n OF her
chief charms. and next in order. doubtless,
comes her black wavy hair, which when
loosened hangs in great waves to far below
her waist. And she isn't obliged to have
it MARCHED. either. Her eyes are dark.
lustrous and expressive.
Her figure, which has never known the
confinement Of a corset. has. at first glance,
a suggestion II plumpness, which is mis-
leading. as she is really slight and svelte.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11
MIDDEES IN THE MAKING.
Naval Cadets Learn 20 Splice Ropes. FurI
sails. &C.

IL il probably not generally known how
the United States Government trains the
youth uron whose shoulders will rest the
responsibility of maintaining the high
accoruIng to Lesiie's Weekly, Is not unlike
that OF any other yo' ng man learning a
trade; the fundamental principle being
the proper kind Of t~ools-when and how
to USe them.
A midshipnan's tools, 40 to speak. are
ships, thus ltndering a thorough knowledge
OF seamanship an essential part Of the train
ing. This begins with lessons in srIicinR
hemp and wire rope, after which the young
men are given practice in handling sails
on the indoor, mast in the seamanship
building. which IL an exact counterpart
Of the mizzenmast Of the training ship
Severn and il p feet in height.
The midshipmen go aloft, furl, reef and
set sails, &c.-in fact, go through the entire
~seamanship drill. A net IL spread al the
on the concrete floor would be far more
serious than on the deck Of a ship. 40
cidents, however. are i%nfreguent.
Drills on the Severn begin early In the
spring and continue throughout the cruise,
which lasts from IL until Septem Der.
The midshipman thus becomes accustomed
to ship life. The work In hard and the
discipline severe during these drills. Their"
" little tendency to shirk dLty, and Il Q
future Admirals do ever thing on ship
board. on deck and alOft, ever to clearing
up the deck and slowing away the ropes.
From n picturesque point Of view seaman
ship practice on the Severn surpasses all
other similar exercises. IL seems that on
shipboard tho sense OF the reality Of the
thing Is ever present. and one accustomed
TO witnessing these drills notices that on
the deck OF the OH Sever the middies are
more active. more in earnest, n the
manner In which they climb and swing
around the rigging does credit 20 an old
sailor. .
Each mar starts in with a practical sea-
mans duties, and a. he continues his
course is advanced TO the duties Of the
petty officers and later 20 those Of the
Junior commissioned officers.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

and was generally uncomplimentary; and
he has, / have since learned, uttered the
same remarks to others in regard to my
work.
Another artist, a sculptor, acknowledged
that the general estimate Of me was cor
rect. only he didn't care for my type. Well,
that n rather uncomplimentary, but
/ would much prefer that he tell ME SC out
right than to say he would send for me
later when he has no intention OF so doing.
"On the other hand, it frequently hap
pens that | am just the type an artist is
searching for. A curious thing, apropos
Of this, happened the other day.
Il was walking down Broadway and
did not particularly notice a man who
stopped short in front Of me until he tipped
his hat, saying:
Pardon, madam, I am not trying 10
hlrt. am al artist and 1 want you to pose
for me-
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

audiences did not laugh at them. Yet
Lewis and Ryan made a greater success
than any two new men that had beer on
Broadway in years. They are repeating
that same success over the country starring
in Little Johnny Jones'
when Weber and Fields opened up on
Broadway they brought some talent from
the music haIls with them. They put Charles
Ross and Mabel Fenton into the kim Of
burlesques they introduced and both of
them nave stayed there ever since. Up-
town theatregoers hardly knew the names
of either Of these clever people before.
Yet they had been acting in the vaudeville
theatres for years. These two actors
we're not dependent on the Weber and Fields
b~urlesuues. for they have n ged to find
their services in demand for musical comedy
ever since.
After they separated these two men
did not give up trying to introduce new
talent to upper Broadway. Lew Fields
brought Harry Fisher all the way from
Grand to Forty-seconh street to make
him he funny in 1t Happened in Nord-
land He was funny enough to supply
most of the laughs in that play. although
his elevation 10 BroadN y broke up the
old firm Of Fisher and Carroll, which had
for a long time been popular in the vaude-
vile theatres.
Weber after he had TO supplant Lew
Il NNAA NN " 4 NOAAlEAAhh HL
up from the BOwery Harry Morris, whom
his colleagues had long considered the
| est man in that line of work on the variety
stage. Morris did not make good the first
night. The audience. accustomed to Lew
Fields, did not take to him. He soon fell
i'll. left the cast and died. Many persons
think that he would nave become as popular
"a any Of the company if he had been able
to get into the part"
This argument in favor of the perspicacitv
Of the actors who are also did
not altogether meet with the indorse-
ment Of another in the group who remem-
bered that a. many good variety actors had
been brought into the legitimate recently
through regular managers.
I'll admit that some have made rood after
the regular managers had picked them
out ;" said the first speaker. But I will
prove the greater skill OF the actor In select
ing them by showing the number that failed
70 make good when they were selected by
the managers and not the actovs,
The two hat were m out succt ssfnl were
Montgomery and Stone, who we're picked
out TO help out a dreary piece called The
Girl From Up There They we're the only
things in the show that kept it from going
40 high up the first night that IL never
could get down. Charles Frohman in
picking out Maude Nugent, Eva Stetson
and others TO sing In his English farceS
never met with any SUCCESS, az they not
only failed 10 help the play but usually
we're taken out Of the cast az the end of a
week. Oscar Hammerstein took the Rus
sell brothers, two of the most successful
Of the variety actors, 20 make a team OF
stars for a musical farce but met with no
success. Billy Van, who was brought up
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

tions." said Miss Longfelder. "Some girls
l know Of can't possibly make more than
IS or 50 a week at posing. and despite
the fact they cling TO the belief that they
have been called to the work. But that il
their fault. not the fault of the profession
or the artists.
There is no re-son why any girl who
wants work in New York sholld starve
where there is so much work todo Of one sort
or another. see il on every hand, but one
mustn't sit home and expect it to come to
one. Not at all. When l first started out
l sought work steadily and persistentiy and
never missed an opportunity to rise in my
profession.
Proportional to the opportunities there
are just as many artists models looking for
work in the city as there are actres es pa
trolling the Rialto in search of engage
ments. The army Of impecunious models
is quite as great p oportion as the army of
chorus aspirants VINO wear odt the patience
of managers, to say nothing of shoe leather,
in making the rounds of the agencies.
Zone difference, however, lies in favor OF
the model, for artists have hearts, while
stage nag ers have not, or if they have
they take mighty good care that no n
kI OWE IL.
-Of the 300 and odd girls who seek adj
mission to the studios of the city as models
not more than o1e in fifty is successful,
and when l say successful l mean
able to make more han they would in
some commercial o5c IpItion. Artists are
simply overwhelmed with applications that
they are constantly obliged to turn down
simply because OF the lack Of ability on the
part OF the girls.
do you need a model to-day" is the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

for doing it. either; for this. l hold, is an
important part Of the Office Of the artists
model.
Much Of the models success depends
upon the sympathy which exists her
self and the artist. A good model should
be an inspiration to an artist by her I'M
spoken sympathy. expressed in the en-
deavor to put herself in his place and try
to fulfil in pose and expression the ideal
he has created in his mind. ~No less does
an artist convey by the same telepathic
means his approval of the models efforts.
In short. they must be en- rapport with
each other.
Then there is another side TO it. Not
every artist likes the same model, however
successful she is, however popular with
the craft in general. For instance, one
artist for whom I posed the other day for
six hours steadily, complained when l
got through that | was stiff and unyieIding
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

He introduced himself and proved to be
me of the most prominent artists Of the
city. For months he had been looking for
some one just my type and when he came
across me he couldn't res st speaking 10 me.
Il did pose for him subsequently, and
upon reaching his studio found an unfin-
ished painting that might nave been taken
for me. IL was the study Upon which he
had been working for 80 long and had looked
in vain for a model that correspondent with
his ideal. l im now sitting for him for a
very important picture that will be e1-
hibited later on"
do artists make love to their models?"
1T all depends upon the girl. One Of the
girls is always telling me Of experiences
which l seldom suffer, and | am sure il is
her own fault. Some of the girls smoke
with the men, and hat at once lowers them
in their estimation and paves the way for
further familiarities.
a good many men have pretended to
be in love with me, have talked nonsense,
proposed and said a lot Of foolish things
that probably they wished were unsaid a
day later. Generally the matter settles
itself when 1 tell them that | don't care for
that sort of thing and that | do not want to
get married.
"In two cases, however. the men were SO
persistent that ! finally had TO stop posing
for them. 1t was disagreeable, you know,
to ave the subject always brought up, for
there wasn't anything in il.
Personally l won't tolerate liberties
for a moment. The artists know it and. |
think, respect me accordingly.
One day / had been posing steadily
for a couple of hours for a picture in which
my hair was down. l had stopped to rest
for a moment when suddenly the artist
stepped up to me and kissed my head.
II was indignant and though / didn't
fly of the handle az most girls might have
done, | made il plain to him that it must
not occur again. He confessed he couldn't
help it, but agreed that the offence would
not be repeated and we parted the best Of
friends. I am going 10 pose for him again
and / know l will not have any trouble.
Il love the work and would rather do
it than anything l know. l have always
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11
PEOPLE AT THE GAME.
Men who Grunge or Yell or Swear. rs the
Case May he.

Some people suffer horribly at football
games, yet you cannot keep them away.
One OF my classmates, writes Jesse Lynch
Williams in Outing. could never endure
the dreadfully glorious opening moment
tie always turned his face away and then
kept beseeching the rest OF us in "a low
moan to tell him what was going on which
we never did.
Il know another man who always goes
alone and will not allow any one he knows
to sit near him IL he can help it. He wears
a cap and sweater and pnys no attention
to any thing but football, yelling with
delight when a thing pleases him and swear
irg .qu ietly to himself when there seems
n I'D of il.
Once upon a time he was the best foot
ball player OF his department in the whole
country, bit that was so many years ago
that they no longer call upon his services
a. a coach, so he sits IN the grand stand
and has a lonely debauch Of football emo
ton.
Most OF us, however. need soma one 20
talk to, some n To say the name, obvious
things to, u M 'Ha! Third down.
when every one knows il, and Going to
kick!' when fifty or sixty thousand other
eyes can see the punter drop back for that
Most especially do we need some one
TO pond on the back when things 90 our
way, some one 20 exchange looks with
when they 60 the other way. There Ii
n man In our class. 6, pposed by some
to be without emotion, who II really danger
Gus at football games, he strikes out 40
hard and wildly.
There IL another mar not in our class,
who goes TO every gane and tho Igh we
always hope TO avoid him he turns : p in
our proximity with a regularity which
makes US nudge each other and say. OF
course
He is Of the noisy breed, stirs up die
sensions, gives the umpire advice before
il il requested and lets it be known TO evory
one within four rows just how much he
we look the other way and pretend that
he has merely assumed our cOlleye colors
for the occasion. There h one advantace
Of eng near him, however, he never
hes tates to ! elbow Down in 'front.' TO men,
women or children
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

wholly and absurdly unbelievable by any
a man familiar with legislative con-
ditions in Washington at this or n pre-
vious period. Many Of the yarns are the
happenings in connection with corrupt
state Legislatures adapted to non-existent
conditions in " a~shington.
The m thical woman lobbyist OF Wash
ington. too, has been ludicrously exploited,
verJ often in novels that pretend to PORTRAY
official and legislative Washington. The
woman lobby list is general a strapping.
queenly person, with in Ky masses of hair
and flashing black q es-the conventional
stage adv enturess OF the ten-twent' -thirt'
theatrical circuit-who holds the destinies
Of dozens OF madly infatuated Senators and
Representatives in the palm Of her lily
hand, who visits them in their home libra
rios in the middle Of the night to demand
that they do her legislative bidding or be
cr-r-r1shed. and who sweeps with Theodore
stride through the corridors Of the Capitol,
whitening her n'lay ed lawma' ing victims
IN her baleful glares and at the same time
dit using a captiV ating aroma Of orrs.
There are old and shrewd men working
in the midst Of public affairs down here who
would give almost ANYTHING within reason
TO have a look at one Of these superb crea-
lures. Just for the novelty OF the experience.
The onl" woman lobb' lists thev ever see in or
around the Capitol are the occasional pitt
able old women in seedy black and twisty
DOnneJS VINO mleTC epi SenatOrB ana REPRE-
sentative o. in the hallwa = to invoke their
aid in Pushin- purely imaginary claims
through Congress.
The tigress type of woman lobbyist
who scratches wax matches wherewith
to light her cigarettes On the high French
heel Of her lace hidden shoe. il as much
an actual figure in the real life OF Washing-
ton "A the dodo IL in modern o~rnithology.
And unlike the dodo, she never was.
Right along, every year, session after
session. men come to Washington to attend
to matters before Congress. They repre-
sent certain interests and they make no
bones about &C nowledginy il.
Very often they come TO Washington
upon the inv itation Of Conversational COM
mlttees. Thew come to Washington to
see about matters Of legislation affecting
their interests or the interests Of their
principals. In almost all cases thew are
expHrts on matters appertaining to the
projected LEGISLATION.
e or bod" knows what thew come N
coming and going are printed in the news
papers. Thew tell Senators and Repre-
sentatives what they thint Of certain affairs
wh"n 'h"'r orir'on Is solicited. The Away :
know wha y e. or their principals want.
II they g't Il, well and rood. In that
cas-" they pack up their grips and go away
from here well pleased. II they don't
get IL, they rack up their grips and go
awav from here not pleased at all.
But they don't stink. They don't keep
under COY er. They don't Turk in Capitol
corridors. They don't b%uttOnhole and
buzz.
They don't frame up BabyIonian feasts
and S~aturnalian reveIs for wicked cid
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

Il thoroughly agree with the statement
that typewriting is hell"
1t was one of the best paid and most
successful artists models in the city who
spoke thus. forcefully. But owing b an
attractive little drawl Characteristic of the
speaker the words were shorn Of their
hanhness. Miss Longfelder. who poses
for such artists as f. Rowland Blashfeld.
Howard Chandler Christy. Heinemann and
Francis Day. speaks feelingly on the subject.
for circumstances and her family COM
btned to try to make a commercial machine
out Of q woman with an artists soul and
that they were not successful was owing
To her marked individuality. which be-
speaks itself in the determined tilt of her
pretty nose and her resolute tread.
1t wasn't that l couldn't make a living
at typewrS0y." went on Miss Longfelder,
while a y or more Of her portraits looked
down from the walls Of her little Harlem
fat sympathetically. 1T wasn't that l
wasn't a successful typewriter, for I made
SIS a week. and that. l fancy. is more than
the majority Of girls get to-day.
But the routine was simply killing me.
II was like Harvesting a thoroughbred
horse 10 a street car. II was simply a ques-
ton Of throwing the work up or going
mad. 30 l chose the former"
Then she talked Of studio life in New
York, Of the chances Of an artists model
to rise in her profession. Of the reasons
why so few succeed and Of the 10, Gus side
Of the life, for according to Miss Longfelder
there is only one aspect.
There is tragedy, perhaps. in the thought
that so many girls deceive themselves
into thinking that they can pose when they
should be occup. ing commercial posi-
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11

Representative dug his hand into his right
ha nd overcoat pocket to get his gloves.
lnsgead OF his gloves he found some things
in hat pocket that cracked most pleasantly.
He took the pleasantly cracking things out
Of the pocket and carrie d them TO the light
OF a street lamp TO have a look ct them.
They were five $40 1000 bills. The poor
but stubborn Representative was not, OF
course, required TO entertain any idea as
to how those five SIC, 900 bills got into his
ri9ht hand overcoat pocket. He voted for
the measure in which the lobbyist was in
terested OF course.
THIS yarn has tcen resurrected and refur-
bished year in and year out ever s nee the
ness OF the story Is indicated by the kind of
currency the lobbyist is said to use in his
business $40 900 bills.
Almost all Of the money in the overcoat
pocket yarns make the bills OF. the $40 900
variety. A pool Representa- We in Con ress.
struggling along on his salary in so OK
rensIve a city az Washin1 ton, would OF
course lie fixed out by a smart lobbyist
with ylO, 900 ills as en- the kind OF money
that would attract the least attention when
Yarns in which lobbyists are pictured as
purposely los M vast sums OF money at
poker TO Senators and Representatives
whose votes they wanted all date J ack 70
antef elum antiquity, tut once IN a while
tn old les end is rehashed even in modern
The designing lobbyist is portrayed as
betting some such little matter as 100000
or 80 on q pair OF dences a alnst a Con-
gress onal Jackpot opener TO whom, as
dealer, he has served a pat royal flush. The
lobbyists of old must have lost Incalc lal le
millions at this unselish sort OF tnlng. II
one Lel.eves these yarns.
Many OF the lobbyist yarns that bark
pack TO the antique days are set down as
having happened In 1873, 70 synchronize
with the financial panic OF that year, in
which a number OF Senators and Repre-
sentatives we're really damaged. Tbs tales
picture these damaged ones as having
been financially saved or restored or ret
up or what not by lobbyists who, Of course,
traded their ~salvaging efforts outright for
votes.
An Eastern Senator, for instance, is
, said TO have owned one Of the Thousand
LlAnds. upon which he had built a beautiful
summer non e. He lost the property
saith the narrative-in the 70 panic.
When Congress- assembled that year
me Senator was vieitcd by a land lobby ist
who desired n certain little legislative item
10 be attended 10. The Senator baked
at the proposition and ordered the lobby
ist from his presence.
On the following morning the Senator
received by registered nail the Iced to
his I Thousand Islands property which he
had been compelled 20 sacrifice TO pay his
debts. FOrthN it'll the Senator took up
the lobby lists measure, INC finally jamn.cd
II through. This Is tine tyre Of the lobby
list tale Of %.
There are scores and hundreds Of lobbyist
stories, most Of them in a sort OF heredit. ~
circulation In the West and South, that are