#The Frick Pittsburgh Employment

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The Frick Pittsburgh

The Frick Pittsburgh: A Historical and Cultural Oasis The Frick Pittsburgh is more than just a museum. This cultural and historical complex serves as a testament to the life and times of the illustrious industrialist and art aficionado, Henry Clay Frick. Nestled in the residential East End of Pittsburgh, the Frick complex spans almost six acres of verdant lawns and beautiful gardens, offering an…

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The steel industry was distinguished from other industries by a number of factors. The first, of course, was the large size of its plants and the sizable amount of capital invested in each location, something by which virtually every commentator has been struck. As Horace Davis notes, "American steel makers have astonished the world not only by the size of their furnaces and mills but by the way they scrapped an old plant before it was worn out, in order to build a bigger one". In addition, the industry, especially compared with wood, coal, and textiles, was distinguished by the concentration of ownership, which can be seen from Table 4.3. The top ten producers accounted for 84% of the steel capacity in the United States. While U.S. Steel was clearly the dominant firm in the industry, its sway was most important in western Pennsylvania and the Midwest. On the East Coast, it was Bethlehem that had the largest share of production. This horizontal combination was not based exclusively on the technical requirements of the industry. As Davis notes, even relatively smaller producers were sufficiently large and well capitalized to be at the vanguard of technical innovation and productivity in their plants. Rather, it was the need to control the market, prices, and ultimately profits that led to the increased concentration of ownership. The push for this concentration came from the banks and financiers who quite literally controlled the industry. Because of the need for large amounts of investment capital, Morgan financial interests not only controlled U.S. Steel, but had important interests in Bethlehem and other companies. Mellon interests had a major influence on many independents, while Mark Hanna's banking empire had important control over Republic Steel; also in evidence were the fingerprints of financier Cyrus Eaton, who by 1927 had become the major shareholder in the newly reorganized Republic Steel.

There was also little worry that the federal government would find any of these relations a violation of federal anti-trust laws. Some have suggested that capitalist influence on governments in capitalist societies is indirect, a result of societal "logic," not direct or, as they would say pejoratively, "instrumental." Such criticisms are mostly unfounded when one looks at the influence of the steel bourgeoisie: much of the federal government does indeed appear to be, in Marx's words, their "executive committee." Davis examines these ties in detail and they are indeed rather lurid. Philander C. Knox, the U.S. attorney general when U.S. Steel was formed in 1901, was the former chief council for Carnegie Steel Corporation and an intimate of Henry Clay Frick, a prominent USS director. When Knox was replaced (to become secretary of state), it was by George W. Wickersham, previously USS's attorney. Another former attorney for USS, Elihu Root, had preceded Knox as secretary of state. Secretary of the Navy was a position also filled by several former USS officials. When U.S. Steel received a tax rebate of 96 million dollars, it was Pittsburgh steel financier Andrew Mellon who was secretary of the treasury, who okayed the deal, supposedly guarding Americans' taxpayer dollars. These connections are just a titillating sampler. Of course, it is perhaps arguable that these connections were really secondary, and the welfare of USS was just part of the accepted ethos of ruling class America. Such is a legitimate conclusion that one might have drawn when the Supreme Court, in what Davis calls a "coat of judicial whitewash," exonerated USS for anti-​trust violations, the imprimatur being given by the highly liberal judge Oliver Wendell Holmes, whose bleeding heart went out to USS.

The bigger employers controlled a large percentage of the raw material and related product industries. U.S. Steel, for example, dominated most of the Great Lakes ore in the 1930s and more than 10% of the coal resources in the entire country. Certain major companies had their own steel mills, including International Harvester, which owned Wisconsin Steel in Chicago, and Ford in Dearborn, Michigan, which even recycled old automobile parts as scrap in making steel. Thus, the fate of literally millions of workers was controlled by decisions made by banking officials and top managers in steel and steel-​related industries. These companies and officials had the ability to mobilize enormous resources against any challenges to the absolute control of their labor forces.

Michael Goldfield, The Southern Key: Class, Race, and Radicalism in the 1930s and 1940s

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actual frick pittsburgh employee here. front-line staff were not consulted and have been some of the primary voices against the museum's decision; commenters using them as an excuse are naive at best. it was announced as a "scheduling conflict" internally as well and did not change until news pressure fell on them this week. absolutely sad display all-around. recommend everyone to continue sending thoughts to the executive director. complete support to you, and thank you for posting about this

re this. thanks for this! really sorry your employer is using you guys this way. that's bosses for you.

[rainybirdsweets]

Sports Wear: Between Fashion, Innovation and Sustainability

Sport is an important part of many people’s lives—as both recreation and entertainment. It is also a sizeable industry with political and economic ramifications in today’s world. Within the last half-century or so, sports wear has become a driving force for new trends in fashion and for textile innovation. This special issue of Fashion Practice was inspired by the “Spandex to Sportstech—Fashion and Innovation in Sportswear” conference, organized in 2011 by guest editor Mette Bielefeldt Bruun at the Danish National Research Foundation’s Centre for Textile Research at the University of Copenhagen.

The stated purpose of Fashion Practice is to provide a site for multidisciplinary treatments of the practices of fashion. “Spandex to Sportstech” was designed as a cross-disciplinary forum for renewed consideration of functional, social, aesthetic and environmental issues connected with sportswear, and some of the papers presented here are rooted in original conference contributions. This journal issue is truly cross-disciplinary, beginning with fashion history, represented by Michael A. Langkj?r with “Urban Fitness, Gendered Practices, and Fine Art: The Significance of Antonio Lopez’s Sporty Styling of Fashion” and moving on to the sportswear industry itself with its brands and markets, represented by Kristine Holm-Jensen with “Specialized in Sportswear: Transformations of the Generic Knitwear Industry in Post-War Denmark.” Several articles then consider fiber and textile technologies and their design applications. Jane McCann leads this group with her “Sportswear Design for the Active Ageing.” McCann is followed by Deborah A. Christel and Nicole H. O’Donnell with “Assessment of Women’s Plus-Size Swimwear for Industry Applications.” Alicia Potuck, Sarah Meyers, Ariana Levitt, Erik Beaudette, Hong Xiao, C. C. Chu, and Huiju Park complete the group with their “Development of Thermochromic Pigment Based Sportswear for Detection of Physical Exhaustion.” In “What’s the Problem? Odor-control and the Smell of Sweat in Sportswear,” Ingun Grimstad Klepp, Madeline Buck, Kirsi Laitala and Marit Kjeldsberg look at how fiber technologies connect with our social values associated with body odor and its suppression; in doing so, Klepp et al. also mention the issue of sustainability. A forthright appraisal of the problem of sustainability within the sportswear industry is given by an industry representative to Lena Erdnü? in “A Perspective on Sustainability Initiatives of a Swedish Outdoor Brand: An Interview with Lennart Ekberg from Hagl?fs.” Finally, Lauren Downing Peters has contributed a review of the Museum of the City of New York’s 2013 exhibition: “Stephen Burrows: When Fashion Danced.”

A 'tool to empower': The evolution of women's sportswear

Before the advent of designer activewear, women's sports wear ranked low on the list of fashion priorities. But a new exhibition demonstrates that sporting attire has long been a valuable tool for self-expression and an important path towards greater liberation."Sporting Fashion: Outdoor Girls 1800 to 1960" includes about 65 ensembles from mainland Europe, the UK, and the US, ranging from Victorian hunting dresses and couture-level leisure wear to tailor-made team uniforms. Organized by the FIDM Museum at the Fashion Institute of Design & Merchandising in Los Angeles and the American Federation of Arts, the show opens at the Frick Art Museum in Pittsburgh on July 3, before touring nationwide through 2024.

Design innovationGarments from the early 1800s are tailored to strolling in parks, gardening, and ice skating -- easy, acceptable activities for women propelled outside by an interest in horticulture, health and fresh air.

The idea of a woman exerting herself was still taboo: In 1806, an article in the popular British magazine La Belle Assemblée, excerpted in the show's comprehensive catalog, warned that, "the constitution of women is adapted only to moderate exercise; their feeble arms cannot perform work too laborious and too long continued, and the graces cannot be reconciled with fatigue and sun-burning."

That's the outlook for men's sports wear as the fall wholesale buying season gets under way this week. And while merchants and manufacturers have been expressing their traditional optimism as the new lines open, the unknown factors resulting from President Nixon's economic stabilization program have brought a modicum of caution to the trade.

Consumer spending for men's and boys’ apparel amounted to approximately $16‐billion last year, with sportswear a major but undefinable percentage of the total. What is even more significant, however, is that while production of a number of other categories of men's wear, such as suits and dress shirts, declined during the year, sportswear manufacturing was greater in 1971 than ever before.

And while statistics on the sportswear category are not collected by any government agency or trade association, conversations with retailers last week indicated that 1971's volume advances would he continued at the same rapid pace in 1972.

WHY ARE SPORTS BRAS IMPORTANT

Physical activity makes breasts bounce up, down and even in a figure-eight. Continuous and repetitive movements can result in soreness, pain and sagging.

Women's sports bra is made to reduce this movement. Breasts have no muscle, yet without proper support, the skin and Cooper's ligaments (ligaments near the breast which give them their size and shape) can break down and cause sagging. Once your Cooper's ligaments stretch out, they do not bounce back.

It doesn't matter what size breasts you have, everyone experiences bouncing during physical activity. Therefore, every woman, no matter what size she is, should wear a sports bra while running or exercising.

TYPES OF SPORTS BRAS

Compression bras work the way they sound, by compressing breasts against the chest to restrict movement.

Encapsulation bras have individual cups. Each cup surrounds and supports each breast. Most regular bras are encapsulation bras and have no compression.

Combination compression/encapsulation bras combine compression with individual cups and offer the most support.

Bra tanks, also known as shimmels, are tank tops with a built-in shelf bra. These are okay for low impact activities, but not for running.

Finally, there are differences in straps. Spaghetti straps provide less support than wider straps. Racer-back straps are more supportive than both spaghetti and scoop back.

FITTING A SPORTS BRA

You want a sports bra that fits well, both in the band and cups. Overall, your sports bra should feel a bit tighter than a regular bra, however, you should be able to breathe deeply and comfortably. Hook it in the middle and take some deep breaths. Is this comfortable? Good. It should be.

The band shouldn't move. It should fit snugly and comfortably. Raise your hands above your head. Did the elastic band move? If it crept up your rib cage, try a smaller band. If the bra has straps, try adjusting them.

Your breasts shouldn't bulge, pay close attention to any bulging at the top or by the underarm. Furthermore, the cups shouldn't have any wrinkles or gaps. If the cup fabric is wrinkled, try a smaller size.

Make sure there is nothing rubbing or chafing around the armholes, straps, seams, hooks, clasps or anything else. Many sports bras offer adjustable straps. Adjust them to feel supportive, yet not uncomfortable. Furthermore, make sure the straps aren't digging into your shoulders.

Underwires are supposed to sit flat on your ribs, not on your breasts. The front (between the wire) should be against your chest bone.

Luckily, most newer sports bras use high-tech fabrics, including moisture wicking. This can improve breathability and help remove excess moisture from sweat which can cause chafing. Cotton bras will stay wet, this can lead to uncomfortable skin irritations.

For the last step, jump up and down, jog in place, do jumping jacks. If it feels supportive, you're set! If not, keep looking.

How Sportswear Took Over Your Wardrobe

“Sportswear as casualwear is essentially a preppy invention – the carryover from hearty WASP athletic pursuits which gave us the likes of the sweatshirt, sweatpants and letterman jacket,” says Josh Sims, author of books such as Men of Style. “Sportswear was appreciated for being tough and practical.” Like military uniform, that other stalwart of menswear, mens sportswear set has long been valued for the rugged characteristics it both possesses in itself and indicates in its wearer. And in sport, like war, competition results in game-changing technological breakthroughs. What we wear on the fields of battle and play has advanced more dramatically than what we wear elsewhere. If sportswear is at the cutting edge of fashion right now, that’s because – in technical terms – it always has been. The current, unprecedented sportswear boom though can also be seen as a pendulum swing away from the hashtag-menswear sartorialism that followed the economic downturn and increased competition for jobs – coinciding with the 2007 airing of Mad Men. As employment rose again, so did jobs that didn’t impose traditional dress codes and a social media-fuelled emphasis on individual creativity.Then there’s the swelling fashionability of fitness, which has given us a legitimate excuse to wear sportswear outside the gym beyond comfort and sheer laziness. Instead of spending valuable time fastidiously parting our hair and folding our pocket squares, we’re throwing on hoodies and baseball caps. And if you’re running around town all day, it makes sense to wear shoes designed specifically for marathons. It’s arguably the luxury sector that’s setting the pace. Streetwear designers like Demna Gvasalia at Balenciaga and Virgil Abloh at Louis Vuitton are running the show(s), elevating previously utilitarian sportswear to the very height of fashion. T-shirts, down jackets and sneakers, which grew by 25%, 15% and 10% respectively, were “standout categories” in the 2017 Bain Luxury Study. With its links to skateboarding, surfing and other sports, you could argue that streetwear – whatever that loaded term means – essentially is sportswear. “I’m not sure streetwear is the dominant mode, if you’re talking urban, hip-hop-driven streetwear,” contends Sims. “It’s sportswear with graphics, in effect. “There’s not much original design in streetwear – unlike sportswear, then and now – and what there is tends to be driven by – ta-da – sport.”