King Paul
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That's a concept that Paul would rather not think about. \"I doubt if I'd be a very good king,\" he says. \"We've done so well as a country without a king, so I think George made the best decision.\" His family, which includes three sons and one daughter, are fifth-generation descendants of George's oldest brother, Samuel. But Paul would've been the ninth or tenth king of America depending on which of the lines you follow. \"A guy would get the crown and then live forever, or have no children, or just have a girl and that would send the crown careening across the family tree,\" Smolenyak says of the lineage, which she spent a month whittling down using a process of elimination, usually while looking at genealogical software on two computer monitors, often while singing Queen's \"Another One Bites the Dust.\"
But perhaps the wisest thing that Bill has learned from studying his own hypothetically royal family is that you have to watch what you say around the \"king.\" Nearly all of his relatives, including his father, are Republican supporters who appreciate the legacy of George W. Bush and will probably vote for the McCain/Palin ticket. And recently, when Bill ordered a copy of \"The Tudors,\" a television show about Henry VIII, he realized the consequences for his personal dissension. \"I don't think I'd be a very good subject,\" he says, \"I would have my head chopped off a long time ago.\" So for Bill Washington's sake, God save the president.
Eggert joined the faculty at UC Santa Barbara as an assistant professor from 1980 to 1983 before embarking on a two-decade career in industry, jumping between his own startups and larger companies. It was at his second startup Twin Sun, Inc., that he first encountered the time zone database in 1991.
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Every decade has its seer, or sibyl, of style, a designer who, above all others, is able to divine the desires of women. In the 1910s this oracle was Paul Poiret, known in America as the \"King of Fashion.\" Dress history credits Poiret with freeing women from corsets and with inventing such startling creations as \"hobble\" skirts, \"harem\" pantaloons, and \"lampshade\" tunics, but these details have detracted from Poiret's more significant achievements. Working with fabric directly on the body, Poiret pioneered a radical approach to dressmaking that relied on the skills of draping rather than tailoring and pattern making. Looking to antique and regional dress, Poiret advocated clothing cut along straight lines and constructed of rectangles. It was an approach that effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history.
The ubiquitous reach of Poiret's designs extended to every detail of a woman's wardrobe, including hats, shoes, fans, parasols, and even stockings. In their conception and production, Poiret's accessories were presented as unique works of art. A pair of shoes called \"Le Bal,\" for instance, which were made by the great cobbler André Perugia for Denise Poiret in 1924, is completely overembroidered in colored seed beads in a pattern that depicts Paul Poiret on one foot and his wife on the other creating a sensation as they enter a crowded ball.
Denise Poiret herself was brilliant at combining accessories. A 1913 article in Vogue reported, \"Mme. Poiret it was who first wore the plain satin slipper in vivid colors without buckle or bow, and the stocking to match the skirt color.\" The article went on to reveal that Poiret \"introduced high, wrinkled morocco boots through his wife.\" Styled with a low heel and a square toe, they were made for her by the bottier Favereau. Vogue reported that Denise had versions in red, white, green, and yellow and that she wore them \"wrinkled on the legs nearly to the knees.\" Even in footwear, it appears that Denise Poiret was the inspiration for some of her husband's greater flights of fancy.
Poiret's vision of modernity embraced not only fashion but also its representation. Early in his career Poiret recognized the potential of fashion illustration to evoke the look, sense, and mood of his costumes in ways that photography could not. Working with artists associated with the avant-garde, Poiret created a number of limited-edition deluxe albums in which the visual and the sartorial merged to create a unique and stylish brand of modernism.
During the two years Poiret worked at Doucet, he dressed many of the most famous actresses of the period, including Réjane and Sarah Bernhardt. When Poiret left Doucet and began working for the House of Worth in 1901, both actresses continued to patronize him, as they did when he opened his own atelier two years later. It was while he was at Worth that Poiret's reductive approach to construction, with its emphasis on Platonic geometry, began to emerge. Inspired by the essential flatness of the kimono, Poiret created a mantle with Chinese-style embroidery from one large rectangle of black wool. Although its structural simplicity proved too shocking for Worth's royal clients, the mantle later became the model for a series of cloaks entitled \"Confucius.\" The version on display, the \"Révérend\" of 1905, was especially popular. Worn in the photograph by the British actress and courtesan Lillie Langtry, it is the earliest surviving example of Poiret's concept of dress based on geometric lines and flat construction.
In his memoir The King of Fashion (1931) Poiret wrote, \"Am I a fool when I dream of putting art into my dresses, a fool when I say dressmaking is an art For I have always loved painters, and felt on an equal footing with them. It seems to be that we practice the same craft, and that they are my fellow workers.\" Dismissing the sibling rivalries that have always dogged the fine and the applied arts, Poiret believed that art and fashion were not simply involved but indivisible. This belief was central to Poiret's vision of modernity, which, to a large extent, was achieved through his deployment of art discourse.
As well as presenting himself as an artist and a patron of the arts, Poiret promoted his fashions as unique and original works of art in and of themselves. He did so by marshaling the visual and the performing arts and by working with artists associated with the avant-garde. Among Poiret's various collaborations, the most enduring was with Raoul Dufy, whose career as a textile designer he helped launch. Such signature creations as \"La Perse\" coat, \"La Rose d'Iribe\" day dress, and the \"Bois de Boulogne\" dinner dress (which is made from a fabric that Dufy designed in conjunction with Bianchini-Férier) demonstrate how Dufy's flat, graphic patterns were ideally suited to Poiret's planar, abstract designs.
Poiret's radical approach to dress-making was inseparable from his ideas about the body, which found their ultimate expression in his advocacy of an uncorseted figure. While Poiret was not the only designer to promote an integrated and intelligible corporeality, he was among the first to link it to the naturalism of Greco-Roman dress.
The earliest display of his classical sensibility appeared in Poiret's fashions of 1906, the year he abandoned the corset. However, as seen in his \"1811\" dress, which reflects the proportions and cylindrical silhouette of the Directoire, it was classicism through the lens of the late eighteenth century. The same allusive, rather than academic, classicism is manifested in Poiret's \"Théâtre des Champs-Élysées\" evening dress, which Denise Poiret wore to the premiere of Igor Stravinsky's Sacre du Printemps, marking the opening of the Théâtre des Champs-Élysées on April 1, 1913.
Poiret's most enduring and fundamental Orientalism, however, resides less in his vivid colors, or even in his opulent fabrics and lavish embroideries, than in the construction of his garments. The reductive planarity of such dress types as the caftan and the kimono, cut along straight lines and constructed of rectangles, inspired and influenced Poiret's radical changes of silhouette. In his typically sybaritic manner, however, Poiret tended to conflate Western and non-Western apparel traditions. While utilizing the geometric simplicity of regional costumes, Poiret introduced the shaping of Western dressmaking approaches to create garments that could exist only in the fictive, mythical East of his imagination.
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In a proceeding by the Commission on Judicial Conduct, the evidence before the hearing officer, whose conclusions were adopted by the commission, was sufficient to support his findings (a) that the judge had engaged in a pattern of making derogatory and obscene references to members of the bench and bar, in violation of Canons 1, 2 (A), and 5 (A) of the Code of Judicial Conduct [604-605]; (b) that the judge had engaged in a pattern of drinking to excess in public and then urinating in public, in violation of Canons 1 and 2 (A) [605]; (c) that the judge
Special counsel began an extensive inquiry. In the process, he obtained evidence of additional potential improprieties in the Judge's conduct that had not been covered in the commissioner's report or the complaints. Therefore, the Commission on March 24, 1988, filed a supplemental complaint to complaint no. 87-56. This supplemental complaint set forth additional allegations against the Judge as follows: (1) in 1982, the Judge imposed unusually high bail on four black defendants in retaliation for the overwhelming rejection of his brother (former Governor Edward J. King) by black voters during a recent gubernatorial primary election; (2) throughout the 1980's, the Judge openly and regularly fraternized with a Dorchester attorney whom he was contemporaneously appointing to represent numerous defendants; (3) the Judge systematically and without notice confiscated bail money posted by friends and relatives of nondefaulting defendants and applied it to court costs and other obligations of those defendants; (4) the Judge was publicly intoxicated at a December, 1986, retirement party for two court officers; (5) the Judge regularly and openly urinated in public view in the parking lot of a Dorchester restaurant; (6) the Judge drove his car onto Dorchester Avenue after becoming intoxicated and urinating beside his car; and (7) on a public street, the Judge offered wine to a woman who appeared to be a prostitute. 59ce067264
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