Tequila Slammer
It is made with equal parts tequila and a carbonated beverage
no ratings given
Comments: "we have positive reactions whether using lemonade, champagne, or ginger ale (and w/ w/o ice)."
From "Women in Law Enforcement" hosted by BoilerMaker
NYC chapter of Ladies United for the Preservation of Endangered Cocktails
Tuesday, November 12, 2013
October, 2013 - Bloodhound
Bloodhound
¾ oz. Dry Vermouth
¾ oz. Sweet Vermouth
1 ½ oz. London dry Gin
2-3 crushed strawberries
Drinkability: 2
Drunkability: 4
Taxic Diversity: 2
Accessibility: 3
Priority for Conservation: 2
Drunkability: 4
Taxic Diversity: 2
Accessibility: 3
Priority for Conservation: 2
Comments: "FR abstains, 'This is my worst nightmare, I can smell the gin from like a foot away."
From "Women in Law Enforcement" hosted by BoilerMaker
October, 2013 - Hard Case
Hard Case
1 1/2 oz cognac
1/2 oz creme de cassis
1/4 oz lemon juice
Drinkability: 2.5
Drunkability: 3
Taxic Diversity: 2
Accessibility: 3/4
Priority for Conservation: 2
Comments: "burny in a tall glass," "meh"
From "Women in Law Enforcement" hosted by BoilerMaker
1 1/2 oz cognac
1/2 oz creme de cassis
1/4 oz lemon juice
Drinkability: 2.5
Drunkability: 3
Taxic Diversity: 2
Accessibility: 3/4
Priority for Conservation: 2
Comments: "burny in a tall glass," "meh"
From "Women in Law Enforcement" hosted by BoilerMaker
October, 2013 - Missile Stopper
Missile Stopper
1 oz cognac
1/2 oz strawberry liqueur
1 oz grapefruit juice
1 oz pineapple juice
1 tsp grenadine syrup
Drinkability: 3.5
Drunkability: 2.5
Taxic Diversity: 3
Accessibility: 3
Priority for Conservation: 3/4
Comments: "verysmart sweet," "Drinkability dependant on how much you like grapefruit juice," "3/4 split on PforC for those who do/don't like sweet drinks"
From "Women in Law Enforcement" hosted by BoilerMaker
1 oz cognac
1/2 oz strawberry liqueur
1 oz grapefruit juice
1 oz pineapple juice
1 tsp grenadine syrup
Drinkability: 3.5
Drunkability: 2.5
Taxic Diversity: 3
Accessibility: 3
Priority for Conservation: 3/4
Comments: "very
From "Women in Law Enforcement" hosted by BoilerMaker
October, 2013 - The Boss
The Boss
1 1/2 oz. bourbon
1 oz. amaretto
Drinkability: 3
Drunkability: 4
Taxic Diversity: 2
Accessibility: 4
Priority for Conservation: 5
Comments: "I know what I'll cut this bourbon with: amaretto!, "PforC not unanimous"
From "Women in Law Enforcement" hosted by BoilerMaker
1 1/2 oz. bourbon
1 oz. amaretto
Drinkability: 3
Drunkability: 4
Taxic Diversity: 2
Accessibility: 4
Priority for Conservation: 5
Comments: "I know what I'll cut this bourbon with: amaretto!, "PforC not unanimous"
From "Women in Law Enforcement" hosted by BoilerMaker
Friday, November 8, 2013
September, 2013 - Judy Chicago - Bourbonnaise
Judy Chicago
Judy Chicago is an American feminist artist and writer known for her large collaborative art installation pieces which examine the role of women in history and culture. Born in Chicago as Judith Cohen, she changed her name after the death of her father and her first husband, choosing to disconnect from the idea of male dominated naming conventions. Her father came from a twenty-three generation lineage of rabbis. Unlike his family predecessors, he would become a labor organizer and a Marxist. Arthur's health declined, and he died in 1953. Their mother did not allow Judy and her brother to attend the funeral. Chicago would not reflect on his death until she was an adult, and in the early 1960s she would be hospitalized for almost a month with a bleeding ulcer attributed to unresolved grief. In June 1959, she met and fell in love with Jerry Gerowitz. The couple hitch hiked to New York in 1959 and lived in Greenwich Village for a time, before returning in 1960 to Los Angeles so she could finish her degree. Gerowitz died in a car crash in 1963, devastating Chicago and causing her to suffer from an identity crisis until later that decade. While in grad school, Chicago created a series that was abstract, yet easily recognized as male and female sexual organs. These early works were called Bigamy, and represented the death of her husband. One depicted an abstract penis which was "stopped in flight" before it could unite with a vaginal form. Her professors, who were mainly men, were dismayed over these works. Despite the use of sexual organs in her work, Chicago refrained from using gender politics or identity as themes. In 1968, Chicago was asked why she did not participate in the "California Women in the Arts" exhibition, to which she answered "I won't show in any group defined as Woman, Jewish, or California. Someday when we all grow up there will be no labels." Chicago also began exploring her own sexuality in her work. She created the Pasadena Lifesavers, which was a series of abstract paintings that placed acrylic paint on Plexiglas. The works blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," representing her own discovery that "I was multi-orgasmic." Chicago credited Pasadena Lifesavers, as being the major turning point in her work in relation to women's sexuality and representation.
By the 1970s, Chicago had coined the term "feminist art" and had founded the first feminist art program in the United States. Chicago's work incorporates skills stereotypically placed upon women artistically, such as needlework, counteracted with stereotypical male skills such as welding and pyrotechnics. Chicago's masterpiece work is The Dinner Party, which is in the collection of the Brooklyn Museum.
Judy Chicago is an American feminist artist and writer known for her large collaborative art installation pieces which examine the role of women in history and culture. Born in Chicago as Judith Cohen, she changed her name after the death of her father and her first husband, choosing to disconnect from the idea of male dominated naming conventions. Her father came from a twenty-three generation lineage of rabbis. Unlike his family predecessors, he would become a labor organizer and a Marxist. Arthur's health declined, and he died in 1953. Their mother did not allow Judy and her brother to attend the funeral. Chicago would not reflect on his death until she was an adult, and in the early 1960s she would be hospitalized for almost a month with a bleeding ulcer attributed to unresolved grief. In June 1959, she met and fell in love with Jerry Gerowitz. The couple hitch hiked to New York in 1959 and lived in Greenwich Village for a time, before returning in 1960 to Los Angeles so she could finish her degree. Gerowitz died in a car crash in 1963, devastating Chicago and causing her to suffer from an identity crisis until later that decade. While in grad school, Chicago created a series that was abstract, yet easily recognized as male and female sexual organs. These early works were called Bigamy, and represented the death of her husband. One depicted an abstract penis which was "stopped in flight" before it could unite with a vaginal form. Her professors, who were mainly men, were dismayed over these works. Despite the use of sexual organs in her work, Chicago refrained from using gender politics or identity as themes. In 1968, Chicago was asked why she did not participate in the "California Women in the Arts" exhibition, to which she answered "I won't show in any group defined as Woman, Jewish, or California. Someday when we all grow up there will be no labels." Chicago also began exploring her own sexuality in her work. She created the Pasadena Lifesavers, which was a series of abstract paintings that placed acrylic paint on Plexiglas. The works blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," representing her own discovery that "I was multi-orgasmic." Chicago credited Pasadena Lifesavers, as being the major turning point in her work in relation to women's sexuality and representation.
By the 1970s, Chicago had coined the term "feminist art" and had founded the first feminist art program in the United States. Chicago's work incorporates skills stereotypically placed upon women artistically, such as needlework, counteracted with stereotypical male skills such as welding and pyrotechnics. Chicago's masterpiece work is The Dinner Party, which is in the collection of the Brooklyn Museum.
the drink:
Bourbonnaise
1 1/2 oz bourbon
1/2 oz dry vermouth
1/2 oz creme de cassis
1 dash fresh lemon juice
Drinkability: 2
Drunkability: 4.5
Taxic Diversity: 3.5
Accessibility: 4
Priority for Conservation: 3
Comments: "lemony manhattan," "every breath is flames."
Drunkability: 4.5
Taxic Diversity: 3.5
Accessibility: 4
Priority for Conservation: 3
Comments: "lemony manhattan," "every breath is flames."
From "American Women Artists of the 20th C." hosted by FluffyRuffle
September, 2013 - Mary Cassatt - Rock & Rye Cooler
Mary Cassatt
Mary Stevenson Cassatt was an American painter and printmaker. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
Though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents' concern may have been Cassatt's exposure to feminist ideas and the bohemian behavior of some of the male students. In 1874, she made the decision to take up residence in France. From the beginning, she expressed criticism of the politics of the Salon and the conventional taste that prevailed there. Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor. At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists. She accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist show. In 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. Mary had decided early in life that marriage would be incompatible with her career.
Cassatt's popular reputation is based on an extensive series of rigorously drawn, tenderly observed, yet largely unsentimental paintings and prints on the theme of the mother and child. In 1891, Chicago businesswoman Bertha Palmer approached Cassatt to paint a mural about "Modern Woman" for the Women's Building for the World's Columbian Exposition to be held in 1893. The central theme was titled Young Women Plucking the Fruits of Knowledge or Science. The left panel was Young Girls Pursuing Fame and the right panel Arts, Music, Dancing. The mural displays a community of women apart from their relation to men, as accomplished persons in their own right. Unfortunately the mural was lost when the building was torn down after the exhibit. Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did not slow down, but after 1914 she was forced to stop painting as she became almost blind. Nonetheless, she took up the cause of women's suffrage, and in 1915, she showed eighteen works in an exhibition supporting the movement.
Mary Stevenson Cassatt was an American painter and printmaker. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
Though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents' concern may have been Cassatt's exposure to feminist ideas and the bohemian behavior of some of the male students. In 1874, she made the decision to take up residence in France. From the beginning, she expressed criticism of the politics of the Salon and the conventional taste that prevailed there. Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor. At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists. She accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist show. In 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. Mary had decided early in life that marriage would be incompatible with her career.
Cassatt's popular reputation is based on an extensive series of rigorously drawn, tenderly observed, yet largely unsentimental paintings and prints on the theme of the mother and child. In 1891, Chicago businesswoman Bertha Palmer approached Cassatt to paint a mural about "Modern Woman" for the Women's Building for the World's Columbian Exposition to be held in 1893. The central theme was titled Young Women Plucking the Fruits of Knowledge or Science. The left panel was Young Girls Pursuing Fame and the right panel Arts, Music, Dancing. The mural displays a community of women apart from their relation to men, as accomplished persons in their own right. Unfortunately the mural was lost when the building was torn down after the exhibit. Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did not slow down, but after 1914 she was forced to stop painting as she became almost blind. Nonetheless, she took up the cause of women's suffrage, and in 1915, she showed eighteen works in an exhibition supporting the movement.
the drink:
Rock & Rye Cooler
1 ½ oz vodka
1 oz rock and rye
½ oz lime juice
Drinkability: 5
Drunkability: 2
Taxic Diversity: 3
Drunkability: 2
Taxic Diversity: 3
Accessibility: 4
Priority for Conservation: 2
Comments: "OK if you need to get rid of rock 'n rye"
Comments: "OK if you need to get rid of rock 'n rye"
From American Women Artists of the 20th C. hosted by FluffyRuffle
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