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rabbitcruiser · 2 years

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Ascension Day

We commemorate Jesus Christ’s ascension into heaven (as per Christian belief) by celebrating Ascension Day, which occurs on the Thursday, which is 40 (or 39) days after Easter. This year, it will take place on May 26. Known by multiple names — The Feast of the Ascension, The Ascension of Jesus, Ascension Thursday, Holy Thursday, or Solemnity of the Ascension of the Lord — this is a Christian holiday that doubles as a public holiday in many countries like Austria, Belgium, Denmark, Germany, France, Switzerland and more.

History of Ascension Day

One of the earliest Christian festivals, Ascension Day marks the end of the Easter season. This event is celebrated primarily by Catholics and Anglican Christians; most Protestant churches do not follow this tradition anymore. The date, too, differs in different geographic locations. Western Churches prefer to use the Gregorian calendar for calculating this date, while many Eastern Orthodox Churches calculate this date according to the Julian calendar. As a result, their celebrations occur at a later date than the Western event.

As per the New Testament in the Bible, after Jesus Christ’s crucifixion on Good Friday, he was resurrected from the dead in three days, on the day we know as Easter Sunday. For 40 days after this, he stayed with his Apostles (the primary disciples of Christ) to instruct them on how to carry out his teachings. As the Bible says, at the end of day 40, Jesus Christ and his disciples went to Mount Olivet (or the Mount of Olives), near Jerusalem. After asking them to stay, Christ then ascended to heaven to take his seat at the right hand of God, under the gaze of his disciples. To Christians, the ascension signifies that Christ completed his work on Earth and allowed him to prepare a place for his followers in heaven.

Initially a part of Easter celebrations, this day was later separated from Easter, along with Pentecost. Celebration of Pentecost ends the cycle of Easter-related events in the Christian calendar.

Ascension Day timeline

68 A.D. The Tradition Begins

Ascension Day begins to be observed, albeit with two other holidays — Easter Sunday and Pentecost.

300 A.D. Ascension Day Develops As A Separate Tradition

A decree declares this celebration now must be observed separately — it is moved to 40 days after Easter.

385 A.D. First Written Evidence Appears

We see the very first piece of written evidence that the Ascension Day Feast is celebrated.

5th century Ascension Day Starts Appearing In Art

Christian art showcases this holiday.

6th century Art Begins To Reflect Different Versions

Syria develops a different version of the Ascension, which is later adopted by Byzantine art.

18th century Germany Celebrates Father's Day

Ascension Day coincides with Father's Day in Germany — they celebrate Jesus returning to the Holy Father.

19th century Germany Celebrates With Colourful Parades

To replicate the way the Apostles walked with Jesus, Christians begin to host colorful parades as a commemoration.

How To Observe Ascension Day

Go to church

Attend church processions

Listen to hymns

Learn how your local church celebrates this day. Take some time to attend a Mass or Christian church service. Clarify the details before you go, as these services differ based on whether the church is Protestant or Catholic.

Tradition says this holiday is observed by a three-day procession, then the feast itself, which includes a procession of torches and banners to symbolize Christ’s journey to the Mount of Olives and entry into heaven. While your local church might not have such grand festivities, find out if they are still carrying out a procession.

Listening to hymns is a traditional part of Ascension Day celebrations. A medley of these religious songs can have you humming along for days. Even popular artists have been known to hum a hymn or two over the years. Check out Carrie Underwood’s ‘Something In The Water,’ or U2’s ‘Where The Streets Have No Name,’ or even John Legend’s ‘Preach.’

Facts About Ascension Day

In Sweden, people go on early morning walks

The British celebrated by 'beating the willow'

Welsh people don’t work on this day

Portugal celebrates by keeping wheat in their houses

Indonesia has a public holiday on Ascension Day

Many people go out into the woods at 3 AM or 4 AM to hear the birds at sunrise, believing that hearing a cuckoo from the east or west brings them good luck — this activity is called ‘gökotta.’

In the olden days, as young boys were driven along the parish boundaries, they were beaten with willow branches to drive away evil.

It is more than a holiday celebration in Wales — Welsh people believe that it is unlucky to do any work on Ascension Day.

Traditionally, rural Portuguese households keep wheat in their homes throughout the coming year — this day is associated with peace and prosperity and, to them, wheat symbolizes prosperity.

Despite Christianity being a minor religion in Indonesia, Ascension Day is designated as a public holiday.

Why Ascension Day Is Important

It is an opportunity for reflection and to gain inner peace

We learn about Christian traditions

It helps us expand our cultural horizons

Instances, where we can simply sit, reflect, and learn the true meaning of peace, are rare in our busy worlds. This is why we recommend holding onto such chances with both hands. Ascension Day church services center around this theme. If you are not a religious or church person, simply take a moment to sit by yourself and reflect on your journey so far and how you would like to continue. There’s no better way to celebrate this day than by centering yourself and your thoughts.

Expanding our knowledge is good for us. Plus, learning about Ascension Day not only helps us expand our store of general knowledge, but also inspires us to observe some of the traditions.

Such traditions have been prevalent for a long time, and have taken on varying degrees of importance around the world. Even festivities change as per the customs of a certain region. Learning more about these traditions changes our views of cultures and gives us extended knowledge of people from other nations.

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julierysava · 8 months

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Trivia Thursday: Test Your Knowledge with Fun Facts and Figures! 📚🧮

Hello, curious minds of Tumblr! 🌟 It's that time of the week again when we embark on a thrilling journey through the realms of knowledge and challenge our intellect with a medley of mind-bending trivia questions. From history's hidden gems to science's captivating wonders, pop culture's iconic moments, and beyond, we've curated a treasure trove of brain-teasers to pique your curiosity and spark your passion for learning. So, let's dive into the fascinating world of trivia and let our quest for wisdom begin!

📚 History Trivia 📚

What ancient wonder of the world was located in Alexandria, Egypt?

Which historical figure is famously associated with the quote, "Let them eat cake"?

🧮 Science Trivia 🧮

What is the chemical symbol for gold?

Which planet is known as the "Red Planet"?

🎬 Pop Culture Trivia 🎬

Who starred as the titular character in the "Harry Potter" film series?

Which animated film features a singing crab named Sebastian?

🌍 Geography Trivia 🌍

Which river is the longest in the world?

What is the capital city of Brazil?

🎶 Music Trivia 🎶

Which legendary musician is known as the "King of Pop"?

What English rock band released the album "The Dark Side of the Moon"?

💡 General Knowledge Trivia 💡

What is the primary gas that makes up Earth's atmosphere?

How many colors are there in a rainbow?

Feel the excitement building up? Your quest for knowledge is about to be rewarded! Dive into the comments section and share your answers, insights, and maybe even a bit of healthy competition. But remember, it's not just about getting the right answers; it's about embracing the thrill of learning, expanding our horizons, and celebrating the diversity of human wisdom.

🏆 Trivia Thursday Continues 🏆

Guess what? The journey doesn't stop here! Trivia Thursday is a weekly celebration of curiosity, and we're here to guide you through the labyrinth of facts and figures. So, stay tuned for more captivating questions, engaging discussions, and a healthy dose of brain-teasing fun. Keep your minds sharp, your hearts open to discovery, and let's embark on this incredible quest for knowledge together.

Until next time, happy trivia hunting, Tumblr fam! 📚🧮🌟

#TriviaThursday #KnowledgeIsPower #CuriousMinds #FunFacts #ExpandYourHorizons #LearningJourney #BrainTeasers #ThursdayThoughts #StayCurious #EngageYourMind #ChallengeAccepted #KeepLearning #DiscoverNewThings #PopCultureTrivia #GeographyQuiz #MusicKnowledge #GeneralKnowledge #StaySharp #EmbraceCuriosity #DiveIntoLearning #ExploringWisdom #NeverStopDiscovering #EnrichYourMind #UnlockingKnowledge #FeedYourCuriosity

#julie #julierysava

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zukadiary · 7 years

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Asami Hikaru 10th Anniversary Dance Live Tour 「will」~ 2017

A full write-up for posterity, since I'm never sure I’ll see these things again. It’s gonna be a lot...

10 years out of Takarazuka. Visually I think she’s aged backwards since then, and the girl can still turn out a dance medley without sweating more than a sheer glistening veil of fairy dew that might in fact just be her aura. I’ve watched her Takarazuka career many times over, I’ve seen her in celebratory OG productions, I’ve heard her talk and reminisce with her fellow graduates... but I’ve missed the vast majority of this past 10 years, most of which has been lost to the videoless void. Seeing an homage to that, and participating in the celebration of the career that she’s built as she’s become her fully realized self, was distinctly different and so lovely.

It was also the most intimate performance I’ve seen her in, both in the production of it and the atmosphere around it. At first it felt a bit too short and simple, but the more time I spent bathing in her glow the more deeply I fell in love with it. She had four shows in Tokyo, two in Osaka, and one in Sendai. The fan club organized everything, which, having seen the production quality, is kind of a marvel... and as a result we got the best seats every time, in already small theaters. From more than one of my seven different vantage points I could hear her breathe, see wisps of feather drift off one of her costumes, appreciate the scene-by-scene variations in her flawless lip color. Our staff made custom tickets adorned with gorgeous freshly-shot photos. Flowers were allowed and encouraged (!!) and we teamed up to get big ones with our names on plaques (cursing myself for not thinking to take up a collection from her overseas base). She sang the songs that meant the most to her and danced the scenes she knew meant the most to us. The rotating guests all adored her and expressed as much, each in their own way. I felt like I could see every minute element, every second of work that went into tenderly crafting this show, and every tiny detail was filled with love. The only time I ever felt a more direct exchange of love was when she physically held my hands and looked me in the eyes.

Act 1

Every number in the show is drawn from her OG career. There were four dancers to Asami Live’s two, which is interesting considering Umegei backed the latter and this was self-produced. One was from Asami Live and the other three—two women and a man—were great. Beautiful dynamic dancers that complemented her perfectly when she was onstage glued everything together when she wasn’t. They set the mood and she walks out from the left, wearing a feminine take on a tailcoat: black tuxedo pants, a sleeveless white shirt and bowtie, and a glitter-trimmed sleeveless little vest with a swath of flowing white chiffon in place of the tails (here, she actually graced twitter with her presence while wearing it). She dances a career medley that’s listed in the program as “medley,” so, from memory:

My favorite song from DNA Sharaku (which had beautiful music if nothing else), with Komu, to my delight, singing Naoto Inti Raymi’s part in her range instead of her part which is not in her range

Something I didn’t recognize... but it was whimsical. She takes out a giant rubber ear and pretends to listen very closely to all of us while the dancers smell her and blow her kisses (I don’t know...)

Shakalaka Baby from Bombay Dreams, which I cried over missing even though she had barely any scenes because she bedazzled her very visible belly button. No belly button this time, but definitely some moves I’d longed to see come out of Komu’s body

Me and my Baby blending into Hot Honey Rag. On the last night she got overexcited and mouthed AND MEEEEEEE very dramatically at us before sort of catching herself, as there was not supposed to be any singing at that moment

One Night Only from Dreamgirls (I think this showed up in her first and only OG dinner show). The sharp finale, when the glisten kicks in.

She saunters toward the right wing and trades her fake girly tailcoat for a real one (although still tailored close to her tiny body). How creepy is it that I love moments like this? She’s on stage... it’s not like this process is meant to be completely hidden... but on the days when I could clearly see her change her jacket and sip water from my seat, I got little shivers of anticipation (the smoky red lighting and dark little teasers of a tango beginning to trickle out of the band area probably had something to do with it too). The announcement of four male and zero OG guests made me resign myself to a show firmly rooted outside her Takarazuka life, so I expected no references to it... but here she is doing Jealousy of all things in full kuroenbi with one of the male dancers, wholly and flawlessly in otokoyaku mode. Thinking about it now, it seems natural that in a show so full of love she’d include a nod to her idol Ooura Mizuki, and Dancin’ Crazy was post-taidan... one of my favorite bits of Komu interview, a rare moment in which she actually lets us glimpse her feelings, is on the bonus track of the Dancin’ Crazy DVD. Komu, who did not want to retire despite the frightening degree to which she’d wasted away, says having the opportunity to dance in a show with Natsume, and particularly watching her during the kuroenbi, made her feel for the first time that she was blessed to leave exactly when she did. So here we have Jealousy, and as I never tire of the sight of Komu in a tailcoat, I’ll take it more than gladly.

The remaining 3 dancers collect her and entertain us with the silliest song from Omohide Poro Poro while she changes into a voluminous feathered coat for Kiss of the Spider Woman, which she sang in HER VOICE, bless. UGH, her sustained low notes still shake me through and through, they’re so rich and full and powerful and her. I wish she’d do that show again, I’d love to see her in it. When the song ends she loses the feathers and reveals a red lace and ruffle dress cinched with a black leather corset before jumping into Gimme Love, also from Kiss of the Spider Woman. This was definitely one of my favorite numbers, for the choreography, the continued use of Komu voice, and the diva faces she made while belting “Let’s make looooooove” in said voice. The final number of this costume change is a leggy dance to Habanera with fans and chairs and fishnets. Komu twitter has been grumbling this week that the upcoming Carmen production went to Ohana, and while Carmen is not my favorite story I have to agree I would not be opposed to seeing Komu do more of that.

After an impressive interlude the four dancers become black angels and draw Komu magnetically out to an instrumental Yami ga Hirogaru. The lighting was so cool here... she’s glowing in a white dressing gown and everything else is dark blue and misty. The Elisabeth bit was a little disappointing at first; my heart leapt at the first few notes, but before I could even finish thinking “is she gonna sing it??” the song evolved into something else. She ended up doing a very low-key interpretive dance to an instrumental Watashi Dake ni. It seemed like nothing to me at first; I wanted her to sing it or actually dance, but the more times I saw it the more I realized she was just emoting, and that was the point, and she was killing it. The only ACTUAL disappointment of the show was the Roman Holiday bit that followed; it was nearly identical to the one in Asami Live, AND she’s doing actual Roman Holiday again in a month. As beautiful and packed as this show is, it’s also short... and I selfishly wanted every moment to be precious and new to me.

To close Act 1, she sings the theme song from her post-taidan recital Primary Colors, which is perfect in this spot; it’s nostalgic but its message is future-facing, and it’s uplifting but in a way that kind of makes your heart ache. She wore the white dress that was under her Elisabeth gown with a twirly watercolor skirt, and she radiated palpable happiness and gratitude. I tried to beam happiness and gratitude back at her. After intermission she let out another rare bit of her feelings, telling us that when she started rehearsing the song she cried so hard she couldn’t finish it, remembering how confusing and scary it was to be thrust from Takarazuka into the real world, and thinking about how grateful she is for the life she’s been able to lead since then. Guh </3

Act 2

She comes out in a stunning approximation of the dress she wore in the promo images (easier to move in but still glittering, beaded, and backless) and sings Kare Koso Kiseki from Cyrano before giving her little above-mentioned speech and introducing the guest of the moment. They were Spi, her 15 years younger boyfriend from DNA Sharaku; Irei Kanata, the first to play Rudolf to her Elisabeth; Ishii Kazutaka, with whom she starred in Kiss of the Spider Woman and Amakakeru Kaze Ni; and Ishikawa Zen, Franz to her Elisabeth. They each had a talk with Komu, a duet, and then a solo while she changed. I wasn’t stoked about this segment going in, but every guest was thoroughly enjoyable, and it was fascinating to see her change from guest to guest. Who talked about what is jumbled in my brain at this point, and my comprehension level plummets when I’m faced with high-speed man speech, but here are the highlights I remember from each:

Spi:

Guested twice. He was the only one I’d actually seen perform with her, and I was kind of taken aback by how good their chemistry was at the time. He’s younger than me, half American, and a bit of a weirdo... but endearing in a completely inexplicable way. He showed up to the first talk EXTREMELY RELAXED and Komu had to get into full mom mode.

Komu’s first impression was that she didn’t think they could get along; he was quiet, gruff, and terse and wouldn’t greet anyone properly. He was also the only one of the Edo-period characters who showed up to rehearsal without a kimono—because it “hadn’t arrived from Amazon yet” (Komu said that in a hilarious dudebro voice, drag him girl). But once they got to know each other it seems they got on extremely well.

After failing to drum up interesting conversation the first time around (intentionally... he was unintentionally hilarious), he pulled it together for his second appearance and asked her proper questions. Spi gets bonus points for making her talk about NY. She BEAMED when it came up and went off in giddy reminiscence. Hearing her talk about NY with the level of joy in her voice that I feel when I see her makes me SO GODDAMN HAPPY.

They sang their duet from DNA Sharaku... it was nice, but that song was not made with her in mind.

Spi gets a second round of bonus points for swallowing his bro schtick for a second and saying something so heartfelt and beautiful about Komu I cried: when he was trying to decide what to choose for his solo, he wanted to make sure he went with something that really expressed love—to honor Komu properly—because how could a person be so utterly beautiful unless it comes from a place of deep deep love? ;A;

Spi gets a third round of bonus points for choosing to sing Seasons of Love in English, leaving me wibbling at him with big wet eyes and feeling like I was in on a secret.

Irei Kanata:

Guested twice. He’s also quite a bit younger than her (but not younger than me), and QUITE taken with himself. He was confident and cocky, which was annoying on a primal level but kind of fun in practice because he wasn’t afraid to say anything to her. He also hugged her a lot...

His Tokyo appearance featured Let’s Drag Koike-sensei Part 1. One time he lectured Kanata for 40 minutes and at the end of it he had no idea what his feedback even was.

In Sendai they talked a lot... and weirdly a lot about Urai Kenji who was the double-cast Rudolf at the time. Komu, as a self-described “person who constantly wants to consume delicious things,” often insisted on taking the two of them out to eat.

Komu said that Elisabeth was about the time she started to feel like she might actually be a lady after all. Kanata said she came across as thoroughly ladylike when they met, except for when she’d boss the younger boys around.

They sang Boku wa Mama no Kagami Dakara with impressive emotion considering the silliness of their chatter. When they finished the first time, Kanata whined “Mamaaaa” to lighten the mood and Komu doubled over laughing on stage with a full on raspberry spit.

Probably my favorite exchange was Kanata exclaiming (in slight frustration) something like “why is everyone here so damn classy, it’s throwing me off!” and Komu replying something along the lines of “these are MY flawless ladyfans you’re dealing with!”

Ishii Kazutaka:

Guested once. This was a complete 180 from mama Komu trying to keep her boys in check... Ishii Kazutaka is a very charming grown-ass man and they loooooove each other. This dude wishes her happy birthday on twitter even though she doesn’t have a twitter and won’t see it. Komu was kind of in awe of him, but also a bit flirtatious, definitely making a visible effort to put forth her best self... and he was so adoring and deeply respectful of her. I barely remember what they talked about, other than reminiscing about the roles they had together and how much they’d like to do them again.

They sang a duet from Amakakeru Kaze Ni which I didn’t get to see, but all my fan acquaintances kind of lost it... apparently it was a good one. Komu forgot the lyrics partway through... but even the way she apologized to him and the way he responded was absurdly sweet and adoring.

Speaking of sweet tweets, after his appearance he wrote, “Komu-chan is an expert dancer and constantly seeking out greater depth in her acting. She’s also a pure, unadorned natural airhead (haha). She’s a lady I just can’t help but love.”

Seriously, their energy is something. If they got married tomorrow I’d be like “yeah ok.”

Ishikawa Zen:

Guested twice in the same day in Osaka. WHAT A SWEET KIND LOVELY MAN! I could listen to him talk all day, he’s one of those people who walks around in a contagious cloud of gentle positivity.

They’ve only performed together once, but apparently he and Komu’s older sister (who has worked in some capacity related to the theater business since before Komu entered music school, I had no idea!) were classmates, so they’ve spent a lot of time together at group gatherings unrelated to work.

Lots of reminiscing about Elisabeth, featuring Let’s Drag Koike-sensei Part 2: one time he had Zen practice minute variations in his standing posture for two hours while Komu waited on them (she did an adorable impatient bounce in illustration). This particular drag sesh went on for a good 10 minutes.

Komu described herself as hideous during rehearsal. I don’t believe you, Komu.

Zen had watched the previous Takarazuka versions of Elisabeth to soak in as many viewpoints as possible in preparation for his role. So when he met Komu his first thought was “Oh, Rudolf is here!”

NY came up again. Zen said he saw and loved her Roxie. Me too, man.

Favorite story: one day while Komu was waiting in the wings concentrating heavily and gearing herself up to go out for an intense scene, Zen walked by and yelled a line from Susano-o at her.

They sang Yoru no Boat, and gaaawwwwddd. They got so deep into it they both cried. Zen just has incredible emotive power in his face. His eyes were visibly watering when the song finished, and Komu took one look at him and went WEEEEEEEEEH. The second time she didn’t quite burst into tears, but she said that every time they sang that song during Elisabeth she wanted so badly to apologize to him.

After each guest’s solo, the dance team does a scene from La La Land before Komu comes out for her final number, which is a gorgeous flowing barefoot dance to an original song that the music arranger Mori Toshio composed for her. Her dress is mint and white chiffon with crystals and no sleeves or back... so you can see her amazing boneless arms and beautiful back muscles, and the rest is like water flowing around her. I know I’m beyond hopeless off the deep end fan trash, but I swear I saw her whole career in it and felt all her thanks in it. I LOVE THIS WOMAN SO MUCH IT HURTS.

If anyone made it this far I’m... slightly concerned, but have some pictures from the show’s twitter

#asami hikaru #reviews #will #Dramatic S(ummer 17)

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minename0-blog · 5 years

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25 Townhomes Replacing Cabinet Warehouse on 600 block of McClellan

By Sequoia Medley for the Passyunk Post

Say goodbye to this sad view. 6th and McClellan looking northwest. Google Maps.

The September 12th meeting of the East Passyunk Crossing Civic Association’s Zoning Committee was more crowded than usual. Neighbors overflowed the available seating at the East Passyunk Community Center. Although another property was discussed, most were there to see the presentation about the redevelopment of the north side of the 600 block of McClellan Street.

…and say hello to these handsome townhomes. CANNODesign.

This much-anticipated project proposes to replace the cabinet warehouse currently located along the north side of the 600 block of Moore Street to allow for the construction of 25 single-family townhouses. Developer Kumas Homes also has plans to build multi-family units on Moore Street, but this presentation focused expressly on the McClellan Street section of the property.

View of the warehouse on the south side of the 600 block of McClellan, looking east. Google Maps.

Future view. Provided by CANNOdesign. Designs by CANNOdesign show running-bond brick facades with metal canopies over the entry doors. Aluminum-sided pilot houses allow access to roof decks with metal railings. The facades alternate from light gray/tan to darker red brick.

This was the third time the developer met with the community. Two prior information-gathering sessions helped inform the plans presented. As in previous meetings, parking was a primary focus of the discussion. During their presentation the developers repeatedly pointed out design features that were direct responses to feedback from the neighbors, including:

Elimination of curb cuts, creating 5 additional on-street parking spots on the block

Provision of up to two private parking spaces per new residence accessed by a shared-drive aisle which will bisect the block, running east/west from 6th to 7th Streets

No gate on the driveway

A dedicated trash room for each residence

View of parking details. Note “Future Development” site along Moore Street. CANNOdesign.

The project requires zoning variances since the developer hopes to create one lot rather than 25 separate parcels, in part to provide the parking in the rear. Owners of these row homes will be part of a homeowners association which will maintain the parking area. A variance is also required since the parking spaces eliminate the required rear yard. The developer stressed their good-faith efforts to listen and respond to the community since, ‘by-right’ they could make a number of different design choices. One concession to neighbors is the recent removal of towing signs to free-up parking on the block. Although some disagreed with the very nature of the development, many neighbors expressed support for the project. In response to the desire for more greening, the properties will feature green roofs, as well as planting spaces in the front of the buildings. Developers also agreed to donate land on the 700 block of Emily Street to preserve a community garden used by residents of the area’s Burmese and Bhutanese community.

“Language Labs” mural on the 7th Street facade of the building.

Many neighbors voiced sadness at the potential loss of the “Language Labs” mural by artist Shira Walinksky. Located on the 7th Street side of the property, the colorful mural was completed in 2015 as part of the Southeast by Southeast project. The developer is in discussion with Mural Arts about possibilities of preserving the public art, or creating another work at the site.

A view of the building from 7th and McClellan, looking east, before the mural was completed in 2015. Google Maps.

Practical concerns about debris remediation during demolition were addressed, as well as the potential impact on SEPTA’s 47 bus route. Although support for the project among attendees was mixed, a majority of those present voted in favor of the project. The EPX Civic Zoning Committee board also voted in favor of the project. If approved by the Zoning Board of Adjustment (ZBA), the developers hope to start work in three to six months. 20-days notice will be provided to neighbors before demolition begins. This project will go before the ZBA on Wednesday, September 19th between 2pm and 5pm. Zoning hearings are open to the public to advocate for or against the project. ZBA meetings are held on the 18th floor of 1515 Arch Street. EPX Zoning Meetings are held on the second Wednesday of the month at the East Passyunk Community Center, 1025 Mifflin Street.

Source: http://www.passyunkpost.com/2018/09/20/25-townhomes-replacing-cabinet-warehouse-at-600-block-of-mcclellan/

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cockholmsyndrome · 7 years

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omfg who did you drag in your final paper

this paper was just drag after drag after drag, i felt like i was on some type of drug while writing it lmfao..

“Well, That’s Not Fair:” Subtle Racism withinFeminism

August 24 of2014 was a memorable night in the music industry. It was the night of VideoMusic Awards, a well known award show for musicians. It was overall a verysuccessful year of accomplishments for Beyoncé Knowles Carter. However, sheopted to use her remarkable status in the music industry to highlight feminismduring her VMA performance. Towards the end of her 16-minute medley, the wholestage went dark and the word ‘Feminist’ brightly lit in the background. To nosurprise, she was heavily criticized for her bold statement. Would this samestyle of performance be shamed if Beyoncé were white? Does feminism equate withcertain skin tones? Each decision made by a female artist is essentiallycrucial to her career. It can drastically take a negative toll on the way thepublic views her. Though, the way society treats black female artists and whitefemale artists have shown a questionable trait upon the matter of feminism.

ParentsTelevision Council quickly responded with their thoughts concerning thisperformance by Beyoncé. Tim Winter, the PTC president stated, “It is perplexingthat a performance would include, on the one hand, strong, positive writtenmessages above the stage about honoring and respecting young women and endinggender-based double standards; while on the other hand the female performersare on stripper poles with back up dancers in flesh-toned bikinis.” Hedisregarded the fact that while being a feminist, you can also express sexpositivity, which was the main goal of Beyoncé’s performance. Women areconstantly shamed for being too sexualized, or they’re sexualized against theirown will. In comparison, we haven’t seen as muchharshly negative commentary about Miley Cyrus’ sexualized dancing that tookplace during the same award show in 2013. She was able to be show sexualizedtraits on stage with Robin Thicke and the PTC President had nothing to publiclyannounce about her behavior. Why didn’t he show the same type of response for Beyoncéthe following years? Curiosity strikes once again when you begin to wonderwhether or not race has anything to do with the way media and the communityreacts to different types of women.

Race is one keyfactor that no one really thinks about when talking about the treatment offemale artists. Society tends to group women all together and state that allwomen face the same type of issues, when that’s merely just speculation tobroaden the term ‘feminism’. All women certainly face scrutiny. Though,different women face distinct levels of scrutiny based on their racialidentity. There have been multiple scenarios where a white female artist hasbeen treated with the upmost respect; meanwhile, a black female artist has beentreated differently in similar situations. Specifically, media outlets haveshown this discrete pattern with the way Caucasian women are portrayed versusthe way black women are presented.

Susei Carneirowrote an article about the struggles that Brazilian black women face frommedia, labor, and society. She begins her discussion of media by mentioning thestereotypes and stigmas that damage the representation of black women. Inaddition, emphasizing the amount of power media holds over society. “Becausethe naturalization of racism and sexism in the media systematical reproducesthe stereotypes and stigmas that damage the social value of this group… Thesymbolic exclusion, the lack of representation, or the distorted image of blackwomen in the media are forms of violence that are so painful, cruel anddamaging that it could be regarded as a human rights issue,” she argued.Consequently, these distinctions in the treatment towards women of color have mainlybeen driven by the stereotypes that have been formed about them overtime.

A commonstereotype that’s been applied to black female artists is their habit of havingan angry attitude. This stereotype has been broadcasted by multiple mediaoutlets that commonly write about musicians and celebrities. Media journalistsare well known for the subtle racist behaviors implemented into theirdiscussion of musicians. It’s typical for competition to arise in such anintense industry, though, the presentation of different artists have been basedupon their racial skin tone. A recent heated discussion in pop culture was thefeud between two female artists that go by the names of Taylor Swift and NickiMinaj.

Billboardarticles are well known in this industry for spreading the news about recentevents in the music industry. Though, a sliver of their racist view point wasrevealed for a moment. An animation of the two celebrities was plastered at thetop of an article about the feud. In the image, Taylor Swift had her handrested on her hip and her facial expression was calm. Simultaneously, for NickiMinaj, her arms were crossed defensively and a frown was smeared across herface like an upset child. Two parties were involved in this feud, but one (awoman of color) was portrayed as the villain, while the opposite party (aCaucasian female) was presented as the victim. These little distinctions in thephoto had exposed who Billboard had supported in this feud. It wasn’t justBillboard participating in these subtly racist acts. Multiple other sources woulduse images of this black female artist in the middle of yelling or just lookingdisgruntled. On the other hand, Taylor Swift was portrayed as a straight Astudent that could do no wrong. Of course, this isn’t meant to sound demeaning towardsMs. Swift. It’s a valid point that emphasizes the cruel differences between thetreatments of women of color in media versus Caucasian women discussed inmedia.

Surprisingly, Nicki Minajand Taylor Swift concluded their feud by shaping it into a positive message byperforming on the Video Music Awards together in 2015. In society, women havebeen raised in such a manner that they’re constantly comparing themselves toeach other. Whether it’s their clothes, their bodies, or their facial features,competition of beauty between women has been shaped by societal norms. Throughthis notion, cat fighting within the music industry was found very common.Society has sculpted the culture of femininity to also have a characteristic ofbeing selfish and catty. From the competition that arises in the musicindustry, media outlets try to form rivalry among successful female artists.Rather than emphasizing their achievements for celebration, it’s for dramatizedgossip.

It’s understandablethat media outlets are going to be strongly opinionated in their discussions ofevents in the music industry. They will toss aside the concept of unbiasedwriting for the sake of getting views on their work. It’s the audience choiceto believe what they read or to form their own opinion. Surprisingly, it isn’tjust media outlets that have been treating women differently based on skin. Thepublic in general, have been showing signs of giving torment to black women atan intensified degree in comparison for white women doing similar things.

Throughouthistory, Caucasians have been given privileges. That includes their ability toenter black culture without any penalization. Though, if the roles wereswitched, then negative comments were sternly made. A primary example of thishypocrisy took place during the Country Music Awards and the BlackEntertainment Television Awards. Country Music Awards is a time to appreciatethe genre of music that’s been categorized under country, a genre of musicthat’s primarily Caucasian. With Beyoncé broadening her talent andexperimenting her abilities, she released a song that fell under the style ofcountry music. She titled the song ‘Daddy Lessons’ and managed to perform thesong with Dixie Chicks during the Country Music Awards. Though, the audiencethat had an intense passion for this genre didn’t take her presence on stagelight-heartedly. The New York Times wrote an article about the intense backlashshe had received from the public. An individual claimed that, “her policereform and Black Lives Matter movement had no place at the ceremony.” Though,she simply performed a song about her father and didn’t even show a singleindication of the Black Lives Matter movement. The article quotes a commenteron Facebook that stated, “Why are you showing Beyoncé and Dixie chicks? Onedoesn’t believe in America & our police force while the other didn’tsupport our president & Veterans during war. Neither are country andBeyoncé could not be bothered to put on some clothes for the occasion.” Whilesimultaneously being sexist and racist, the commentator seemed to show a muchmore intense distaste towards Beyoncé, the only colored woman on the stage thatnight.

The BlackEntertainment Television Awards are meant to celebrate minorities across theindustries of music, acting, sports and more. A turn in the opposite direction wastaken when Iggy Azalea was offered the chance to perform for the show in 2014.She attended this ceremony that was specifically meant for minorities and performeda rap song titled ‘Fancy’. As a result, she was only praised for entering thisgenre of music that’s solely been formed through the struggles of minorities.Several comments from the public floated around stating ‘Iggy Azalea Rocks 2014BET Awards’, filling their titles with complete admiration towards thisCaucasian female artist. Simultaneously, Beyoncé received harsh criticismmerely for performing a country song during the Country Music Awards.Essentially, the artists themselves aren’t the issue on knowing theirboundaries, but the way media outlets/audiences respond to these events in sucha hypocritical manner.

Opportunitieshave been formed differently for individuals throughout centuries. It’ssomething that’ll still be fought for in the future. Though, at a certainpoint, when an opportunity is so misconstrued it begins to get questioned.Rolling Stones released an article that explained how Beyoncé was shot downfrom even submitting her song ‘DaddyLessons’ into the Grammy nominations. The public found this situation to bequite confusing since she was just asking for a submission for her song.“Beyoncé earned nine Grammy nominations when the categories were revealed onDecember 6th. While the bulk of the singer’s notations were in all-genre, popand rap categories …. Inclusion there makes the outright rejection of thetwangy “Daddy Lessons” somewhat more of a head-scratcher.” Nepotism is predictablein such an industry. Though, the award show had essentially put a firm barrierin front of this successful black artist. This barrier had resisted her fromsubmitting a country song into a country nomination. People who don’tunderstand the subtle behaviors of racism within the music industry, willalways find this action as a head scratcher.

The adversitiesthat minorities had faced throughout decades of violence and theft had amassive effect on the way people see ‘beauty’. With the way, history has shapedthe lives for darker skinned people; it’s understandable that white women havebeen glorified for their skin tone. The commonality of having straight hair andlight skin has gotten women of color to seek themselves as not naturallybeautiful. Gail Hilson Woldu stated, “Sociologically [Nicki] is reallyfascinating because she is not only dressing up to be a woman, but she’sdressing up to be a white woman”. This was applied to multiple other women ofcolor within the industry. They suffered societal shame that was given to theirskin tone and hair texture. By implementing white features to their appearance,they were attaining attention and glorifying this concept of being white toanother extreme degree. This concept of white-washing was driven by the lack ofglorification towards colored women.

There hasalways been controversy behind the concept women of having sexual appeal.Whether it’s the way they dress, act, or dance, it’ll always be criticized. “Formany black women performers, having a voluptuous rear end was an asset and nota defect that needed to be camouflaged”, Woldu states by mentioning thesexualized actions towards black women. While it may be acceptable for them tohave bold sexualized features, it’s also been expected for them to have these voluptuous rear ends. “In “Baby’sGot Back,” by rapper Sir-Mix-a-Lot, black women’s protruding behinds are theobject of desire and lust, whereas white women had flat as a pancake behinds …and the fashion industry that celebrated anorexic looking white women aremocked in this music.” In the hip-hop culture, black men were only capable ofshowing appreciation towards the curviness of black women in their music. Withblack men objectifying black females in their music, it develops the heighteneddesire of sexualization towards black women over white women.

“Thesexualizing of black women is a continuation of slavery mindset in thetwenty-first century that is being perpetuated not only by black rappers, butmany of the white audiences who fuel the consumer base. There is nothinginherently sexual about black women, but instead, there is a sexuality placedupon their bodies, first by colonizers, then by the slaveholders, and now bythe popular media,” Lindsey Wiltse stated in her article. Essentially, all thehorrific actions inflicted onto the minorities over the several centuries ofhistory have sculpted this over-bearing habit of sexualizing women of color. Thehypersexualization of women that has been shown through hip hop culture, hasallowed for the white gaze to look into black females from a sexualized viewpoint. With the white gaze involved in hip hop culture, there’s an extraneousamount of sexualization towards black women. In reality, hip hop culturewithout the white gaze, focuses on its roots such as jazz and reggae. Themainstream aspect of hip hop has been inclusive to the white gaze and it hasresulted in a difference of sexual appeal in black women versus white women.

Overall, womenare constantly being challenged by the barriers of sexism that has beendeveloped over history. Female artists are still intensely sexualized andlooked upon as objects in the industry. Regardless of whether the artist is awoman of color or Caucasian, it’s expected for them to have a sexual appeal intheir appearance. In addition, women are criticized for not upholding multipleexpectations for their talent. For the music industry, having a pretty face anda marvelous singing ability won’t be enough for a woman to achieve success.They’re expected to reach a strict standard of beauty, attain the ability todance in uncomfortable heels, be charming and so on. For male artists, the mostthat’s expected for them is to wear basic clothing and have an ability tosing.

Men arediscussed for their actions and their music. For women, they’re typicallyoverlooked for their talent and mainly looked upon as sexualized objects topoke at. A recently well known example would be LA Weekly posting amisogynistic article about Sky Ferreira. The article stated, “A third unnamedgroup that included me couldn’t help but reminisce on the past, on herdefiantly atomic boobs — the two knockers that altered the course of humanhistory.” As a result of the article, Sky Ferreira swiftly responded by statingthat she was more than just her body and that she was a musician. Sheemphasized a point that she is more than her sex appeal and her “knockers” andthat they’re two traits that she’ll never be ashamed of when discussing hercareer. With enough attention from the audience, the article was shortlyremoved along with an apology from the LA Weekly writer. Rather than focusingon her talent, or her ability to sing and write music, LA Weekly settled on theconcept of analyzing her body. This is routinely applied to only femaleartists. Though, for men, they’re commonly focused on their lyrics aren’tpresented in media at all.

Society tendsto just throw all the issues that women face under the title of feminism.Simultaneously, society forgets the specific type of issues that only women ofcolor have to battle each day. The barriers formed by sexism shouldn’t blur thelines within feminism. It shouldn’t be forgotten that white women clearly havean advantage in the world over women of color. When the non-Caucasian relatedissues are lost in the mix of feminism, it becomes ‘white feminism’. Commontopics that are connected to feminist discussions include rape, abortion,sexual assault and wage gap. Those topics are essentially the introductorycourse to the entire range of actual feminism that’s inclusive to all types ofwomen. While these commonly known topics are bringing awareness to issues, manymembers of society don’t really focus on the race aspect that lies withinfeminism. The manner of how a black women experiences sexism and inequality iscompletely different from the way a white woman experiences these issues. Toview feminism from a one-sided view of white women is not feminism at all.Kimberley Crenshaw stated in 1989, “The view that woman experience oppressionin varying configurations and in varying degrees of intensity. Culturalpatterns of oppression are not only interrelated but are bound together andinfluenced by intersectional systems of society.” White feminism needs to beadjusted into a better understanding of issues faced by women of color. They’remore likely of being a target of hate and criticism than white women. Ofcourse, this isn’t to say that white women aren’t treated unfairly. But it’simportant to acknowledge how the issues that aren’t related to white women areoverlooked during the topic of feminism.

#so many names lfalgmaofgjofisgjfsog #Anonymous #taylors in there #nick is in there #so many names i totally forgot #BEY IS IN THE FIRST PARAGRAPH

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koinoriderkick · 7 years

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Hello, hello. Once again, Chi-chan has shared the latest KRGS set list, detailing the songs performed at their 7th one-man live 2017 ~GAME START~ show at Astro Hall in Harajuku. It had a very special set up! The first half of the show was a 4-person live, and part 2 was 5-person and featured the final appearance of Endo Mitsuki. So here’s the setli - notes at the end:

－－－Part 1ー－－ 1. B.A.T.T.L.E.G.A.M.E. 2. Let's Go Rider Kick 2011 3. Just the Beginning 〜Enemies Appear〜 4. Last Engage 5. Scarlet Savage 〜GIRLS Defeat〜 6. 風の向こうへ (Kaze no Mukou e/Toward the Other Side of the Wind) ←NEW!!! 7. PEOPLE GAME 〜FINAL BATTLE〜 8. exploded 9. 血まみれのメサイアたち (Chimamire no Mesaiya-tachi/Bloodstained Messiahs) 10. Stormy Story ←NEW!!! －－－Part 2ー－－ 11. Movin' on 12. LoL 13. O.K Alright! 14. Fourze Medley (Giant Step〜Cosmic Mind〜Shooting Star〜Voyager〜Switch On!) 15. 咲いて (Saite/Blooming) 16. Let's Try Together 17. E-X-A (Exciting x Attitude) 18. Girls Anthem ~with our BIG LUV~ －－－Encore－－－ 19. Time of Victory ←NEW!!! 20. Primary colors 21. 咲いて (生演奏) (Saite/Blooming (Played Live)) 22. HERO 23. E-X-A (Exciting x Attitude)

According to her blog, the song order was chosen for the lyrics, and tells a story. Both Kaze no Mukou e and Stormy Story are Kamen Rider Ex-Aid BGMs with lyrics added. Aya-chan choreographed Stormy Story for their performance. PEOPLE GAME is also an Ex-Aid song; this is the Girls Version of Poppy Pipopapo’s insert song!

Chisato says she began crying during Saite and couldn’t sing. And then the music cut out, and it became a surprise a capella song, so she was able to get back into it through that.

During the encore, another new song was performed, but Chisato just asks fans to look forward to that one. Micchan was also surprised with a graduation ceremony having taken their cues from Fourze. After Primary colors, the song that Micchan herself wrote for the 2nd album exploded, came another surprise. The members had secretly practiced and performed Saite again themselves; Aya conducting, Hii-chan on guitar, Jiena on hand sonic and Chisato on piano.

[Mitsuki] Thank you very much for yesterday’s Kamen Rider Girls 7th one-man live! From now on as well, please support us.

It was a very emotional but exciting one-man for everyone. Now the Girls Live Week continues with today’s Kawaiion events (where they showed off their new costumes!) and tomorrow’s Tonight Is Your Fest live. Congratulations, everyone! Congratulations on your graduation, Micchan. Good luck on your dreams!

#kamen rider girls #endo mitsuki #akita chisato #hitomi isaka #sumi tomomi jiena #kuroda ayako #krgs

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boxofcakestuff-blog · 5 years

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Special Wedding Cakes. Let’s Celebrate!

Admiring to make your wedding more special? Or want to make your wedding more memorable? Then, yes the best and preferred way to fulfill these wishes is to cut a special wedding cake on the most special day. In our country, everyone celebrates marriages with good spirit and enthusiasm and adding a wedding cake on this most memorable day gives more flavor to the occasion.

The marriage tradition ought, to begin with, a sugary cake. Wedding cake comes in plethora types like smaller cakes, flavored cakes, traditional marriage cakes, cupcakes, and frosted cakes. However, if you are looking for the best cakes variety for a wedding then your search ends here…As below are some options you can prefer for:-

Most Adorable Ideas For a Wedding cake:

1. Colour burst –

For brides who are crazy about colors as they are about their husband, a colorful wedding cake is the best choice to bring in a fun element. Marriage cakes don’t ought to ancient and white any longer. If you wish a colorful cake you’ll still keep it fashionable and keep it from looking like a birthday cake. Strive to not use to a plethora of contrasting colors- rather use different colors from the same color pallet.

2. Photo Cakes –

These cakes are quite popular. If your partner likes personalized gifts, then a photo cake will be a good choice. Customize your cake with the image of both. This will make your wedding more special and memorable.

3. Champagne bottle cake –

The base of the cake is shaped like the shape of a Champagne bottle. The cake is then decorated with sweet balls and stars. Some ice cubes are placed at the top of the champagne bottle and silver bucket to bring out the actual look of the grand celebration. This is the best cake for your wedding as the uniqueness of it can earn you some extra Brownie points.

4. Chocolate cake –

Chocolate cake has been among the most popular wedding cake. A childhood favorite cake is a mix of most delicious flavors like mint, strawberry, and orange and this can be elevated to a sophisticated level when it is mixed with chocolate flavor. Indulge in richness which chocolate fudge, or lighten the flavor by choosing a German chocolate cake.

5. Red velvet cake –

It is one of the second favorite cake for women. Red velvet cake is the best cake to show your love and romance on your wedding day. Its flavor is not quite chocolaty yet not quite vanilla either. It is rich with cream cheese frosting and is smooth. These red velvety delights are also available in little cupcake variants which are perfect for a gift.

6. Black or celestial cake –

Forget a traditional white cake, this tiered wedding cake by Alice Broadway is midnight black with marbled layers. It almost looks like you are gazing into the Milky Way ( and not the chocolate kind). Meanwhile, a black, ruffled middle tier draws out the color in the flowers.

7. Furbished choco butterscotch –

his wedding cake is moist and tender. A satiny smooth chocolate frosting is used to frost the cake. This is the best cake for festive occasions. It doesn’t really need any garnish, but you could decorate with some colorful sprinkles, or it looks great with the medley of fresh berries piled in the center.

8. Hearts and Roses clock cake –

If you are planning to give a special surprise to your bride, then preferring hearts and Roses clock cake will be a good choice. The pink and red & white rose mixture with the clock on it is just exceptional. A round white forest cake base and a heart shared decor cake with red rose designs, topped with a cute tiny clock design will make the message more special and clear. There is nothing more important than a wedding cake at your wedding and making it specially says you care for your soulmate.

9. Strawberry cakes –

Strawberry cake is a cake that uses strawberry as a primary ingredient. It takes some tweaking and good baking skills to get an intense strawberry flavor without adding too much moisture to the cake. A delicious cake loaded with the freshness of strawberries and give you an everlasting flavor splash.

10. Botanical cakes –

Especially cactuses, succulents or edible flowers – Herbs and edible flowers are used to make top cakes by Bees Bakery and is perfect for either an outdoor wedding or a rustic wedding theme. Bees Bakery is based in the UK too and has had features in Vogue Magazine and on the Jamie Oliver website. The second cake combines cacti, a naked cake and metallic drips for something smaller but frankly pretty cool.

11. Floating Tiers –

This isn’t your mama’s floating tier cake. Impressive cakes that look like they’re doing balancing acts will take the spotlight in 2019. Whether they’re floating on flowers or 3-D shapes, a floating cake has done right is nothing short of magical.

12. Single Level –

A single-tier cake is the pinnacle of chic minimalism. Worried it won’t be able to feed all of your guests? Don’t be—you can have a sheet cake in the kitchen for extra slices (it’s the oldest trick in the book). In fact, simple design doesn’t mean the flavor has to be boring—use it as an opportunity to incorporate fun fillings.

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thornburgrealty · 6 years

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Ability to strike team outstanding 4th a disciplined player

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musicrevu · 1 year

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Hello my lovely lumas! It’s been a hot second! <3 I finally released a debut video with my new models so be sure to check it out!

#mmd #mmdmikumikudance #mikumikudance #project diva future tone #Future Tone #Project Diva #Project Diva X #MusicRevU #Beginning Medley - Primary Colors

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nofomoartworld · 7 years

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Hyperallergic: Thomas Trosch’s Pointed Confections

Thomas Trosch, “A Call from the Coast” (2017), oil on canvas, 40 x 53 inches (all images courtesy of Fredericks & Freiser, New York)

The wonderfully satirical artist, Florine Stettheimer (1871-1944), is going to have a show of more than 50 paintings and drawings, supplemented by a selection of related material, at the Jewish Museum (May 5 – September 24, 2017). Perhaps Jeffrey Deitch knew about this, which is why, for this year’s Armory Show (March 2 – 5, 2017), he reprised a group exhibition focusing on Stettheimer that he did more than twenty years ago. Stettheimer, who was one of the most interesting artists to emerge in the 1920s (along with Marsden Hartley and Stuart Davis), also ran a salon with her sisters, Ettie and Carrie, and their mother Rosetta. Marcel Duchamp, Alfred Steiglitz, Isamu Noguchi, and Georgia O’Keeffe and many others were frequent guests. A number of her paintings are in Metropolitan Museum of Art, New York, where I often stop by to see them.

The dapper Deitch turned his Armory booth into what he called Florine Stettheimer Collapsed Time Salon. Behind a curtained entrance, there were hot pink walls, a couch, and end tables, along with works by various living artists on the walls. All the writers who cited Deitch’s booth predictably praised the museum-sanctioned, mainstream darlings they found there: John Currin, Elizabeth Peyton, Cecily Brown, and Laura Owens. These artists were spotlighted no doubt because the Armory Show is an extravaganza for collectors on the lookout for that special something — which Florine would have found wicked and amusing. During her lifetime, she never had an exhibition or sold her work, preferring to give things to friends. She asked her family to destroy her work after she died, but, luckily for us, they did not heed her words.

Thomas Trosch, “Musical Comedy Medley #7” (1996), oil on canvas, 74 x 60 inches

I was particularly struck by the fact that no writer I came across mentioned Thomas Trosch’s paintings. Perhaps that’s because he is so good at what he does, reviewers might have mistakenly thought they were actually looking at Stettheimers. For years, he has been channeling this idiosyncratic artist, whose work was rediscovered by accident in the late 1970s. Stettheimer’s primary subject seems to have been pleasure, which for her included witty conversations at her salons. In her paintings, she synthesizes astute observation and extreme contrivance into something unique. Her palette ranges from high-key to pastel, all of which Trosch pushes to the point of courting the sickly sweet, as in the largely pink encaustic, “Two Ladies” (2013).

The other reason that writers might not have singled out Trosch is because he has not had a solo show in New York since 2009, which is more than a generation and nearly a lifetime in art-world years. So you can imagine my delight when I learned of Thomas Trosch: Paintings New and Old at Fredericks & Freiser (April 20 – May 26, 2017).

The 16 paintings in the exhibition are dated from 1993 to 2017, which amounts to a much-deserved survey. They range in size from 12 by 12 inches to 84 by 70 inches. Trosch uses oil, often applying it in a thick paste the consistency of peanut butter or putty in florid, hothouse colors and pale, pastel hues — pinks, mauve, celadon greens, sunburst yellows, deep blues, and reds. The space is compressed, which the thick paint collapses further. In some works, the built-up areas and saturated colors might bring to mind Play Doh.

Thomas Trosch, “The Unknown Masterpiece” (2017) oil on canvas, 23 3/4 x 39 3/4 inches

Trosch’s paintings are laced with pictorial instances of satirical frivolity; they are sharp, odd, profligate, and clunky. Their counterparts in fiction would be the claustrophobic novels of Ivy Compton-Burnett mixed with the extravagant looniness of Ronald Firbank. His work adds up to a comedy of manners in which the subject includes collectors and artists.

In the five large paintings in the smaller gallery, the paint isn’t as thickly applied as in the later paintings, which date from the past few years. The women, wearing poofy or bouffant hairdos, are standing or sitting around, chatting with a friend, who is sometimes male. There are cartoon balloons above their heads in which Trosch has written something dizzy they have said about art and the finer things in life. In “Musical Comedy Medley #7” (1996), we read: “Around you there lies pure enchantment in disguise” and “You’ll never grow old / and you’ll never grow poor / if you look to the rainbow / beyond the next moor.” The phrases come from the 1968 musical Finian’s Rainbow directed by Francis Ford Coppola. Yep, Coppola.

Thomas Trosch, “Dorothy Rodgers’ Decorating Lesson #14” (1993), oil on canvas, 84 x 70 inches

In “Dorothy Rogers’ Decorating Lesson #14” (1993), a seated woman, who has not taken off her ostentatious hat, coat, scarf, or put down her pocketbook, announces at the end of a long statement about her health (“eyework” and “footwork”) that: “On the other hand I can now truly love and live happily with such non-objective contemporaries as Jackson Pollack James Brooks Riopelle and Soulages”). I take the misspelling of Pollock to reflect upon the speaker, not the artist. The yellow wall behind her and the other two at this gathering, where the woman in the middle is pouring tea for the gentleman on the right, is decorated with generic abstract paintings. Can these people tell the difference?

In his later paintings, in which surfaces tend to be impasto and there are no cartoon balloons, Trosch often depicts a woman (patron) and a macho male artist, who has a thick head of hair and is often bare-chested. In “A Royal Visit” (2013), the regally dressed woman in a violet stole is holding a brush as she applies the finishing touches to a tall object in the center of the composition while the shirtless artist on the right holds a framed painting under his arm. Have the roles been reversed? What exactly is the nature of their relationship, which certainly strikes me as an important question to ask in this day of trophy art and collectors raging for the latest fads. Maybe the paintings in the background of some of Trosch’s works are sly examples of zombie formalism, or what Rob Colvin calls “like art.”

Thomas Trosch, “A Royal Visit” (2013) encaustic on panel, 18 x 24 inches

Along with Stettheimer, who is an obvious reference point, I was reminded of Peter Dean, who was a member of the Rhino Horn group, as well as Bob Thompson — figurative artists who packed a composition with stuff and loved to jam color next to color. More importantly, Trosch implicates himself in his depictions of artists trying to please a collector. He doesn’t ignore the complicit relationship between artist and art patron. His paintings are funny and sharp, but there is nothing superior or smug about them.

Stettheimer and the late-Rococo painter Jean-Honoré Fragonard have inspired his palette. The difference is that he replaces Fragonard’s painterly exuberance and delicate flourishes with a plodding awkwardness, which becomes a contradiction. Hedonism is slowed down. The people who care so much about their appearance begin to look silly. The paintings are patiently built up, with surfaces and colors that recall cake frosting, and squiggly lines made by squeezing paint directly from the tube. There is nothing hurried about them, an approach that runs counter to the self-important people he depicts, and this includes the artists. I get the feeling that as much as Trosch depicts a world he needs, he recognizes that he will never feel comfortable in it. Assimilation is not his strategy.

This is very different from the tack taken by Eric Fischl, whose recent paintings of collectors at art fairs talking on their cell phones feel so false — and not just because they are so badly painted. The celebrity portraitist who now claims to be critical of anonymous collectors is a tad self-righteous, isn’t it? But, as the recent elections have proven, phoniness goes a long way in this society. That’s why I was interested to discover how many writers focused on the celebrated artists in Deitch’s booth, since Trosch actually had something very fresh to offer. That freshness is necessary to the art world’s healthiness, even if it is not fashionable.

Thomas Trosch: Paintings New and Old continues at Fredericks & Freiser (536 West 24th Street, Chelsea, Manhattan) through May 26.

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