text:
Cemetery history written by Douglas Stern and Joan Marchand in 1982
Furnished by Dennis Au
Oak Hill Cemetery is a historic landscaped site developed beginning in 1853 and containing about 175 acres situated 1½ miles to the northeast of Downtown Evansville, Indiana. Bordering the site on its western side is a multi-lane U. S. highway; on other sides is low-scale, modern-era residential and commercial neighborhoods. In spite of this encroachment, the cemetery has preserved its original pastoral tranquility. The Victorian period concern for creating an evocative, contemplative atmosphere has been carefully maintained to the present day, making Oak Hill the city's premier public burial ground and an important cultural statement.
Oak Hill was the second of Evansville's platted, public burying grounds and succeeded a small 2 ½ -grave yard opened in the 1830s on the southeast edge of the young village. By mid-century, however, there evidently arose a need for a new public Cemetery and, in a Common Council meeting of 12 August 1850, a committee was appointed to reconnoiter the surrounding countryside for the purpose of finding a new Cemetery site. Within two years, 56 acres had been acquired 1 ½ miles northeast of the town, and by February 1853 lots were offered for sale. The first interment occurred on the 18th of February, and later land purchases (up until 1924) gave the Cemetery its present acreage.
The site selected by the council 120 years ago was, according to a contemporary newspaper account, a "hillock, a wilderness of underbrush and briars, and called at that with a mantle of loess, underlain by sandstone. A 1927 topographical map showing the Cemetery tract depicted the land of the original 1852 purchase as gradually ascending on the south from the floodplain level of 390 feet to a height of 430 feet. On the north end, there was a sharp drop-off. In profile, as viewed particularly from the east, the contour of the hill looked like the back of a two-humped Bactrian camel with a central Erosional vale. The early burials took place on the southern slope, close to the ridge. Today, interment sites not only blanket the entire prominence, but also cover the flat lands at the foot of the hill on three sides. Although the Cemetery comprises 175 acres, less than 120 have been platted and made available for interments. A tract of about 55 acres across the northern part of the Cemetery bordering Morgan Avenue has been farm-leased.
The present Oak Hill plat plan, including the original purchase and the later additions, has been the product through time of various public servants, such as city engineers and surveyors. However, the appearance of the Cemetery landscape—with particular regard to the plantings—was primarily nurtured over an 80-year period (1853-1932) during the tenure of two superintendents. For the first four decades of the Cemetery's existence (1853-1897), the beautification of the grounds was the responsibility of John S. Goodge. In his obituary (June 1897), he was credited with the "work of making the beautiful place the Oak Hill now is." Some of the more mature plantings are very likely the result of Goodge's endeavors. His successor, William Halbrook (1898-1932), brought to his position his knowledge and experience gained as a florist, and a large portion of Oak Hill's verdancy was the result of his handiwork. Since 1932, some planting has occurred, but not on the scale of the preceding 80 years.
Designed landscape features exploited the strengths of the original site and underscored the prevailing picturesque and melancholy mood of the place. An intricate tracery of crossing and curving pathways (now asphalted, one-lane drives) formed a lacy network which conjoined with the site's hill and vale topography and natural arborous properties created a picturesque setting for "the sleeping place of our dead," as one 19th century journalist characterized Oak Hill. The collection of trees comprised native Indiana and American specimens as well as ornamental exotics, and includes: juniper, holly, blue spruce, tulip tree, dogwood, catalpa, sycamore, locust, Japanese ginko, magnolia, and varieties of pine, oak, cedar, maple and willow. There was obvious planning behind the placement of the pathways and plantings and together they formed a complete naturalistic landscape of quiet retreats, vistas and curvilinear movement. Some thought was obviously also given to the selection of the trees, for while time itself seems suspended within the Cemetery, the seasons are chronicled by the changing foliage of the deciduous growth and, in winter, by the evergreens.
In addition to these distinctive plantings and walks, Oak Hill was enhanced by a number of other landscape features. The seclusion which characterizes this burial ground was furthered by the enclosure of its land on three sides by a brick wall and by a single entrance gate located on the south side of the Cemetery. The approach to the main gate was by a 365-foot-long drive which begun at Virginia Street and was bordered on each side by a continuation of the wall. The Mission Revival gateway was also designed by architects Harris and Shopbell in 1901. The overhanging hipped roof was clad with red barrel tiles, and the soffit was coffered. Extensions of the gateway are connected with the brick wall.
Within the Cemetery there were two man-made bodies of water—reflecting pools. To the left of the gateway, in the Western Addition, the central attraction was an oblong lake fed by the city water system and containing a small island. Spaced upon the banks of the lake were temple-style mausoleums of stone erected by some of the city's most prominent citizens as a last resting place for their family members. The island, connected to the mainland by a stone bridge, was the interment area for the Johnson family whose patriarch, Mead Johnson, founded the Mead Johnson & Company pharmaceutical concern in Evansville, and whose remains were also interred on the island. The round, colonnaded monument of granite was erected for Johnson in 1934. The other pool, also fed artificially, was situated directly behind the Administration Building and was part of the improvement program undertaken in 1899 which saw the construction of this primary building.
Perhaps the most hallowed ground in the Cemetery was the interment sections which contained the remains of soldiers who died in battle or in Evansville hospitals from battle-incurred wounds during the Civil War. The remains of 500 Union men, 24 Confederate soldiers and 98 local dead were buried in three separate sections—all victims of Civil War battles. In 1868, the city began efforts to secure designation of the Union veterans' areas as federal property, eventually succeeding with a Congressional appropriation and recognition in 1898. Several years later, in about 1903, the Fitzhugh Lee Chapter of the Daughters of the Confederacy erected a monument in remembrance of the 24 soldiers who died for the South. A memorial for local Union dead was added in 1909.
The grassy spaces of Oak Hill were embellished by an exceptional array of grave markers, finely executed in marble, granite or limestone. There were classically inspired Mausoleum with wrought-iron gates or heavy bronze doors, designed by local architects. The design of some mausoleums followed more exotic sources common to Cemetery architecture such as Egyptian Revival. Life-sized statuary dotted the lands and was a tribute of Evansville artisans. Towering above the other grave furnishings, and proclaiming the importance of those buried beneath, was tall monolithic pillars.
There are no Cemetery grounds buildings remaining from the early period of Oak Hill's history. The present Administration Building, located on a knoll just below the southernmost high point, replaced the earlier combination office/residence building in 1899. Erected on plans prepared by local architects (William) Harris and (Clifford) Shopbell, the Chateauesque-styled Administration Building featured a central bell tower, a railed porch extending around three sides of the rectangular edifice and a porte-cochere on the east side. It's bearing walls, constructed of Cleveland Hydraulic Pressed brick (exposed on the interior), and was faced with rustic Bedford limestone set in random courses. Windows had stone slab lintels and sills while the central entrance and the tower window above featured curved arches with moldings constructed of limestone voussoirs. On the interior, there were three rooms arranged on axis with the length of the building. Originally, the larger room at the west end was used as a waiting room, while its counterpart on the east side was used as the office. A small room in the middle of the building was once the chapel. Because of changing funeral practices and the popularization of the funeral parlor, the chapel has been converted into a two-tiered Vault room. This conversion was done at the expense of bricking in two, 10-foot-wide archways which provided clear passage between the three rooms. The interior appointments were in keeping with the robust style of the exterior. Walls were brick-trimmed with terra cotta moldings. Heavy, over-sized, half-glass doors surmounted by transoms, opened into the two end rooms, and a massive brick fireplace with round-arched opening took up almost the entire west wall of the trustees' room.
Beyond the Administration Building, on the north, was the receiving Vault. Shopbell & Company, the successor firm of Harris and Shopbell, designed this small brick-walled building on Greek-temple lines in 1911. The front elevation featured a distyle in antis plan. Columns, entablature and pediment were clad with creamy terra cotta, and the roof was covered by green tiles. Double bronze doors opened into a small chamber containing tiers of vaults once used for remains waiting for burial.
There were two other 20th century buildings which bear mention. They are grounds buildings and were erected in 1928 on plans prepared by local architect Alfred E. Neucks. The service building was a one story rectangular brick structure enclosed by a green-tiled hip roof with a deep overhang. The roof featured round-arched dormers with circular vents. The east and west elevations contain large central vehicular bays flanked on either side by multi-paned coupled windows. The combined garage and implement building located to the east of the interment area was a long, low, one-story brick building with a hip roof covered by asphalt shingles. It contained three large bays to accommodate the grounds machinery. Originally, the plan included horse stalls in the south end of the building.
Oak Hill Cemetery was a significant feature of Evansville's architectural as well as cultural landscape. As the product of mid-Victorian impulses, the grounds and other improvements of the site reflected the values and frame of mind of 19th-century Evansville. Its designers and superintendents captured the romantic moods important to city-dwellers in a total environment of greenery, walks, buildings, and grave markings. Popular local architects created buildings and mausoleums which were both functional and sublime, underscoring the Victorian's urge to get the maximum benefit from their public works. More than simply the final resting place of prominent and not-so-prominent Evansville citizens, the Cemetery served as a vehicle for a wide range of cultural and urban events essential to an understanding of life in 19th-century America cities.
Oak Hill began simply. Its 1852 establishment was the response to the city's outgrowing the earlier pioneer plot close to the village, and later completely engulfed by urban growth. The site of the Cemetery was barren of most vegetation except for tall grass and weeds. Access to the place was gained after a long journey from town, crossing railroad tracks and enduring the presence of two slaughter houses nearby.
In a short time, however, Oak Hill took its place alongside other monuments to civic pride. The variety of trees and shrubs planted and maintained by Sexton Goodge practically gave the Cemetery the status of an arboretum. The grading and improvements of walks and of roads and the steady expansion of the grounds through land acquisition reflected a widespread commitment on the part of the public. The erection of the Administration Building and other turn-of-the-century capital projects probably marked the high point of the Cemetery's development.
The picturesque landscape of Oak Hill was a deliberate design judgment and public work which characterized 19th-century American park and Cemetery architecture. The genesis of professional landscape architecture nearly coincided with the founding and early development of Oak Hill in the seminal 1854 plan for Central Park in New York by Olmsted and Vaux. However, the longing for naturalistic surroundings can be traced well in the 18th Century and answered a theme common to most of the 19th Century, which is the search for evocative, romantic associations in the forms of buildings and landscapes, particularly as a contrast to urban realities. Oak Hill was intended as much for those living in urban Evansville as well as its dead. Early editorials supported the cultivation of the Cemetery as a place suitable for "a pleasant promenade," relaxation, and reflective contemplation, especially for the "hundreds and thousands of our citizens who cannot afford the luxury of a carriage drive." Like the city's 19th-century waterworks on the Ohio, the improvement of the Cemetery was aimed at fulfilling a recreational as well as functional purpose. Oak Hill was there when citizens "became wearied with the sight of human faces, when the noise and bustle of the city grate harshly on the ear, when we feel an inward yearning for some quiet spot where we may rest in seclusion, undisturbed and alone."
The first city owned Cemetery was a two and one-half acre area at Fifth and Mulberry created in the 1830's. On August 12, 1850, the City Council created a committee to look for a new site. In 1852 fifty six acres were chosen about a mile and a half east of the city. The first burial was Ellen Johnson, age 2, on February 18, 1853.
The Administration Building was designed by Harris and Shopbell and built in 1899. It consisted of a chapel, waiting room, and an office. It was remodeled in 1917. The mission revival gate was also designed by Harris and Shopbell and built in 1901. The brown rugby brick wall was started in the 1920s.
The following tour information was provided by Dennis Au, Historic Preservation Officer and the grave locations were found by Jane Peckinpaugh and Shirley Glassford.
TOUR OF Oak Hill Cemetery
1. "Willow Lake." Island is called "Johnson Island" and is the burial place of E. Mead Johnson and members of his family. Johnson was the founder of the Mead Johnson company, one of the city's primary corporate citizens since 1915. The main feature of the island is the "Temple of Love" that was erected on the island in 1934 when Johnson died. It is constructed of granite and is of classical Greek/Roman design. Sec. F
2. Henry family stone – statue with uplifted face ("Hope?"). Sec. C Lot 102
3. Miller marker; might note the verse "Let me live in the side of the road," etc. Sec C Lot 99
4. Bacon family – Albion Fellows Bacon, early 20th century housing reformer. Her sister Annie Fellows Johnston, writer of the "Little Colonel" books, is also buried in Oak Hill. Sec C Lot 103
5. "Well Head." Of more recent vintage.
6. Lee Howell – steam boatman and district superintendent for the L&N Rail Road, after whom the town of Howell was named. Sec C Lot 76
7. Administration Building. Erected 1899 just to the east of the early Cemetery building. Romanesque design built with Bedford limestone and features a red tile roof and porches that encircle the building. The design was by the Harris & Shopbell firm. The placement of the building gives it a ceremonial aspect. The main gateway, with its lime-stone pillars, tiled roof and iron gates—was also the design of H&S, only in 1901.) Neither the Ad Building nor the gate way have changed much over the past decades.
8. Charles H. Butterfield – lawyer, judge, Civil War colonel and mayor of Evansville, 1873-74. (No concrete link known at this time with the Butterfield of Smith & Butterfield.) Sec 2 Lot 1
9. Grese and Micker markers. Two separated columns joined at top with "vater u(ndt) mutter" inscribed above the arch. Will see nearly identical markers at various spots in Cemetery. Some will feature the joined hands, further symbolizing the togetherness of husband and wife during life and in death. Sec 2 Lot 16
10. Decker stone. Markers will also sometimes expand on the information of a person. This one has "Kammen Nagh America 183." Sec 2 Lot 21 Left Side
11. Vernoica Knauss stone. Note delicate garland, possibly executed in 1875 at the stone works of F. J. Scholz. Sec 2 Left Side
12. Troup stone – polished pink granite like the stout columns of the front of the Old Post Office. Sec 2 Lot 37
13. John Douglas obelisk – the obelisk form related to myths of solar ascension and was copied from the Egyptians. "Ascension" may be the key to its Cemetery use. Douglas died 1863. Epitaph: "Those who knew him best, loved him most." Sec 2 Lot 36
14. Marcus Sherwood. Established the Sherwood House hotel at Locust & 1st Streets in 1839. The hotel was Evansville's "Best" before the St. George was built across the Street (present McCurdy site) in 1874. (Note the impermanence of marble as opposed to that of granite—the "Rock of Ages". Granite was first used here in the late 1870s for burial markers. Might also note the Sherwood House was razed to make way for the 1905 Elks Club which, in turn, was razed after a destructive fire in 1977. Sec 2 Lot 56
15. John S. Goodge – most ornate lettering seen in Oak Hill. Goodge was sexton of the Mulberry Street Cemetery and, subsequently, sexton of Oak Hill from 1853 to his death in 1897. The longest serving of 44 years. Sec 2 Lot 58
16. E. Q. Smith – one of the city's pioneer furniture manufacturers; his supply mill was located on the present Museum site and his chair manufacturing company was on NW 3rd Street. The Smith monument is of granite and it has an East Lake cast to its style, with fringes and fancy upright members. Sec 3 Lot 26 Left Side
17. James Lockhart, d. 1857. Judge & congressman. Only base of marker remains. Sec 7 Lot 10
18. Nugent monument. The form—rectangular with flat top—is derived from either the Greek sarcophagus or the Egyptian mastaba. Sec 7 Lot 56 Left Side
19. Thomas Peelar, d. 1895. Husband of Louisa (or Mary Louise) Chandler Peelar, daughter of John J. and Polly Chandler. Statue pointing toward heaven. Sec 7 Lot 30
20. John J. Chandler. Lawyer. Owned large tract of land around 4th/Parrett and Chandler streets. Sec 7 Lot 32
21. Garvin-Baker plots. Thomas E. Garvin. Lawyer and land developer. Law partner of Conrad Baker. Garvin Park was his family's picnic grove. In 1915, the City paid about $55,000 to the heirs for the land that today is Garvin Park and the site of Bosse Field. Sec 12 Lot 48 Left Side
22. Mayor William Baker and Governor Conrad Baker monument. William was mayor of Evansville 1859-72 (died in 72). His brother Conrad was Lt. Gov. of Indiana, 1864-1867, and Governor, 1867-1872. Mayor Baker's marble "oval" tomb, executed by the Uhlhorn stone works in 1873, has disappeared; probably simply fell apart since at that time, marble marker and tomb stone elements were joined by copper rods. Sec 12 Lot 50 Left Side
23. John S. Hopkins obelisk. Evansville's second mayor: 1853-56. Sec 12 Lot 43 Left Side
24. Gen. & Mrs. Robert M. Evans' graves—vaults surrounded by chains. The top slabs are stone painted black. Evansville named after Evans. (McGary, one of the founders of the city, is not buried in Evansville.) Sec 13 Lot 49 Left Side
25. Samuel Vickery obelisk. Wholesale grocer. Many of Evansville's family fortunes were founded on a regional wholesale trade enabled first by the steamboat, followed by railroad transportation. Sec 14-22
26. Dallam stone, with statue of bowed grief. Sec 14 Lot 20
27. Leslie Igleheart—2nd generation of the Igleheart milling company that was absorbed in 1926 into General Foods. The Igleheart Swans Down Cake Flour, originated in the 1890s, is the older firm's most famous product, while Kool-Aid, Postum and Pop Tarts fame is that of General Foods. Igleheart (and Igleharts) were a large family; several of their plots are scattered about the Cemetery. Sec 17 Lot 1
28. Dr. Madison J. Bray. One of Evansville's pioneer physicians and surgeons. Came to town in 1835 and lived to write the chapter on local medicine in the 1889 county history. Naturally, in this respect, he plays a prominent part in that facet of the city's history. Sec 17 Lot 3
29. James E. Blythe obelisk. Prominent Civil War-era attorney. Sec 18 Lot 44
30. Rev. and Mrs. Albion Fellows (nee Mary Erskine). Parents of Albion Fellows Bacon, Annie Fellows Johnston, and Lura Fellows Heilman. Rev. Fellows was the minister at the time the present Trinity Methodist Church at 3rd and Chestnut Streets was built.
Sec 18 Lot 59 Left Side
31. Katie Sawyer (with Angel) and "Katie's Baby." There won't be a dry eye in the house. Daughter of Dr. Freeman Sawyer. Born in 1862; grew up in her parents' home at 810 SE First Street. At age 22, Married Richard A. Thomas of Louisville in January 1883. One year later, in May (1884), Katie gave birth to a little girl. The new born survived, but Katie died during the birth. The child would have been named after Katie's mother, Elizabeth, but since Katie died, it was decided to name the baby "Katie". Three months later, though, baby "Katie" died.
In August 1900, when Dr. Sawyer died it was related in his obituary that he was "buried beside his beloved daughter (Katie), whose death brought great sorrow into his life. He had often said that he desired very much to go and be with her, that the only thing that bound him here were the ties of his family. (By way of note, the survivors given in his obituary were his wife Elizabeth and another daughter, Mrs. W. M. Newell of Washington, D. C.)
Right in back of the statue, close to the ground on a little pedestal, is a nosegay of flowers executed in marble. I think that on the pedestal is the name "Katie" Sec 18 Lot 47
32. George Rathbone, obelisk with draped urn. Prominent banker—Evansville National Bank (the predecessor bank of Old National Bank). The Rathbone Home of SE 2nd Street was built by his wife and sister as a memorial to him. From 1905 to about 1961 it served as a home for "gentlewomen," principally retired school teachers. The Home was closed in 1983. After a renovation and expansion project, up-scale apartment living was offered for several years. However, since 1988 as the Rathbone Retirement Community, the original mission of the Rathbone Home has continued to be carried out. Sec 18 Lot 63 Left
33. Elizabeth Harrison—an old sandstone marker, the oldest marker in the Cemetery. Relocated to Oak Hill possibly from the first grave yard in the city which was at 4th and Vine (now a parking lot next to the old jail). Sec 18 Lot 51 Left Side
34. John Watson Foster: U.S. Minister to Mexico, Russia and Spain; U.S. Secretary of State (June 1892-February 1893). Wife, Mary Parke Foster, president-general of the D.A.R., 1895-96. Parents-in-law of Robert Lansing, President Wilson's Secretary of State. Grandparent of John Foster Dulles, secretary of state and of Allen Dulles, head of the CIA, during the administration of President Eisenhower. Sec 19 Lot 55
35. William Heilman. German immigrant. Founded Heilman Machine Works and a plow company (later known as Vulcan Plow under Maj. Albert C. Rosencranz). Heilman was a member of Congress from 1879-1883. Died in 1890. The life-sized statue of St. John was erected in 1892. Son was Charles F. Heilman, mayor, 1910-1914. Lura Fellows Heilman was George P. Heilman's wife. George was another son of William Heilman.) Sec 19 Lot 58
36. Hutcheson marker: "Mother and children united in life; in death we are not separated." Marker of polished Black granite with delicate incising at top corners. Note the willow tree carving on the markers flanking the Hutcheson marker (just behind it). Sec 18 Lot 34
37. Samuel W. Eaton. Small gable-roofed Vault with headstone. Text: "Our Darling." Sec 19 Lot 44 Left Side
38. Military burials from war between North & South.
39. Boetticher monument with two statues; unique in Oak Hill. Boetticher & Kellogg Hardware, a wholesale concern of the last century and into this century. Sec 25 Lot 36
40. Charles Denby. U.S. minister to China, 1881-94. Wife, Martha Fitch Denby, daughter of U. S. Senator from Indiana in the last century. Sec 25 Lot 54
41. Ortmeyer stone: Christ with a cross. John L. Ortmeyer was associated with the Puster Furniture Co. (like pus), later renamed the Indiana Furniture Co. Half of the building still exists at the corner of NW 6th and Ingle streets. In the two decades bracketing the turn of the century, Evansville was a nationally recognized hardwood and furniture manufacturing center. Sec 31 Lot 34
42. Note "pile of rock" to left of drive just after the Ortmeyer stone. The "rocks" are actually carved with carved twining lilies. The inscription has totally disappeared, unless rubbing would bring it out.
43. John Mundy, double-tree-trunk stone, but no wife's name, Louisa, on the second trunk. Sec 26 Lot 3
44. Small stone for Christina & Freddie Kuhs, with lamb. Sec 26 Lot 10
45. Martin obelisk, with G.A.R. inscription. Sec 26 Lot 15 Left Side
46. A triangle of prominent Germans: Ossenberg (politics); Lauenstein, with a Cherub (owned German-language newspaper until WW I); Funkhouser (2 sons killed in WW I; Funkhouser American Legion post named for them); Nonweiler (furniture—Evansville Furniture Co., present site of the Evansville Antique Mall on Pennsylvania St.).
47. Charles Leich. German immigrant. Founded a wholesale drug firm in the early 1850s, still owned by the same family. On a visit to Germany, became "trapped" there during WWI. Sec 29 Lot 3
48. John Laval. Physician, pharmacist, land developer and one-time head of People's bank. Erected the Laval Block in 1884 on West Franklin Street. Sec 37 Lot 5
49. Speck Rosenbranz; inscription in German. Sec 37 Lot 1
50. Other Rosencranz family stones include Major Albert C. Rosencranz. Married William Heilman's daughter and became head of his father-in-law's plow works (renamed Vulcan Plow). Sec 37 Lot 1 & 2
51. Breitschu stone. Inscription in German. Sec 29 Lot 2 Left side
52. Mr./Mrs. Matthew Henning. Horizontal gable vaults. Henning was a 19th century banker. Sec 36 Lot 6
53. Orr family plot. Orr Iron Company, established 1835. Orr descendant is former Governor Robert D. Orr. The monument was erected in 1884 and is of blue crystal granite. The oak and laurel wreath symbolize strength and victory. The total weight is about 30 tons. Sec 36 Lot 17 Left side
54. Cyprian Preston. Early Evansville merchant. Statue pointing heaven-ward. Sec 36 Lot 18 Left side
55. Might note the roughed-textured Torian cross. Barbours are also buried in the plot. Torian and Barbour were wholesale cap and hat merchants. Sec 36 Lot 47
56. William Chandler. Son of John. Note the footstones are present, but the main stone has disappeared. It can happen, no matter how prominent one was. Sec 36 Lot 21
57. Hornbrooks and Caldwells. From pioneer families of Saundersville, in northern Vanderburgh County. Sec 37 Lot 10
58. Ragon stone, angel with trumpet. Wholesale groceries. Sec 37 Lot 12
59. Elizabeth Tabor. Text: "In affectionate remembrance of Elizabeth Tabor, born in Somersham, Hunt, England." The Vault has a Gothic feeling about it. The cross leaning against the end has inscribed "Sister Martha." Sec 40 Lot 3
60. Viele Circle. One of the town's prominent families, beginning with Charles Viele, who came to Evv in the 1830s and dealt in wholesale groceries and liquor. Family home is the very striking house at Riverside and Cherry, across from the Museum. It was a social center in the late 19th and early 20th centuries. Family died out after the 3rd generation. Sec 40
61. Frederick Washington Cook – Latin inscription, "Love never dies." Established a brewery, 1853. Closed 1954. Produced Cook's Goldblume Beer. The monument was made by the Scholz Monument Works in about 1915 and was designed as an "Exedra in Memorial Design—Grecian." (An exedra= a niche or recess usually with a bench or seats, and generally semicircular in plan. Sometimes it was an extension of a colonnade.)
Sec 37 Lot 21
62. (Just to the south, behind the Cook monument) Charles Klingelhoefer's flat stone loaded with garlands, wreath and angels. It was executed in the Uhlhorn monument works in 1876. Note the delicateness of the work. Sec 37 Lot 23
63. Annie Fellows Johnston – Author of the "Little Colonel" books, daughter of Rev. Albion Fellows. Sec 38 Lot 29 Down hill behind Reitz Monument
64. Minnie Zoa Burtis. Statue of a little girl feeding a lamb. Sec 38 Lot 1
65. Edgar Seitz. Rose on scroll. Sec 38 Lot 4
66. Caden monument. Franz Caden's limestone quarry on the Green River in Kentucky furnished stone for many important buildings here and across the country. Willard Library is one example. Another is the former William Heilman mansion (611 1st Avenue, now the St. Vincent's Day Nursery), which is faced with the Green River stone. His son built an English Revival house on Willow Road in 1929 that was veneered with Bedford Limestone; the Caden's Kentucky quarries ceased operation just after the turn of this century when the stone "played out." Sec 38 Lot 5
67. Juniper Circle, a Victorian who's who. Within the circle, clockwise: Willard Carpenter (railroad and canal promoter, land speculator, merchant and founder of the Willard Library); Samuel & Martha Orr Bayard (president, Old National Bank); Louis Puster (furniture manufacturer); Watkins F. Nisbet (wholesale dry good, built the "mansion" at 310 SE 1st Street); Gilbert (dry goods); John Ingle (lawyer, owned the Ingleside Mine on Reitz Hill, and projector of the Evansville & Terre Haute R.R.); North Storms (grain dealer; nephew was Lee Bourland Storms, who was associated with the Red Spot company); Grammer (steamboats and railroads); Karges (furniture; still a Karges family business)—although a new stone, the sentiment is pure Victorian: "That which is so universal as death must be a blessing." Outside the circle, one passes on the east, the Dannettell stone, among others. John H. Dannettell was mayor of Evansville from 1886-1889. Sec 44, 45 & 46
68. Franz Englesmann – Chicago sculptor who designed and executed figures on the courthouse. Sec 45 Lot 33
69. Becker monument (to the right of drive, across from Juniper Circle). Quarry-faced cross with marble statue of woman holding wreath and whose skirt drapes down the steps. Sec 40 Lot 19
70. Reed Lodge, Masonic burial area. Sec 44 Lot 54
71. Scholz (new stone). The F. J. Scholz marble works supplied tomb stones and monuments to prominent families in Evansville and as far away as Texas. Sec 44 Lot 25
72. Kornberger. Terrific bas-relief portrait; only example in Oak Hill. Rudolph Kornberger was a German native; came to Evv in 1884; ran a saloon on Fulton Avenue; died in 1905 at age 69. Sec 40 Lot 21
73. Young stone. Names written on an open book.
74. Thomas Erwin, d. 1900. Stone includes bronze Woodmen of the World plaque. Membership in fraternal organizations used to be a form of burial insurance. Sec 42 Lot 4
75. G.A.R. section; Union troops with statue on high pedestal.
76. Union soldiers' burial ground. Many died of wounds at Evansville's Marine Hospital, then situated on the river bank at the head of Wabash Avenue. (The W. Illinois Street Marine Hospital was built in 1892). Note cannon/cannon balls—which keep disappearing.
77. Isaac Harrison monument and family plot. Obelisk with draped urn. Harrison was a Gypsy King. Note the Masonic emblem. Sec 23 Lot 119
78. Frank X. Wolfe—Benevolent and Protective Order of the Elks. Sec 23 Lot 136
79. Whilhelm Henze, age 2; statue of small boy wearing boots. Some Evv residents who played in the Cemetery when young refer to the statue of "Little Willy". Note also the stone to the left and "papa" and "mama" stones next to the road. Sec 20 Lot 11
80. Confederate marker, erected in 1904, commemorating 24 confederate men, most of whom died at the Marine Hospital.
81. Former "receiving Vault". Used to store bodies which were awaiting burial.
82. James Urie, pioneer plow maker. His concern was the predecessor of the Blount/Burch plow works. Sec 11 Lot 35
83. Karl Kae Knecht/Moore obelisk. Knecht a cartoonist for the Courier; drew almost every prominent Evansvillian between about 1915 and the 1960s. (Knecht Married Elwood Moore's daughter Jennie.) Sec 8 Lot 33
***Markers earlier than 1853 were relocated from the Mulberry Street Cemetery or were emplaced after 1853. Oak Hill was a thicket of brambles and briars, known as "Lost Hill" before the Cemetery was established.
Written by Donald E. Baker; 05/1988
(revised/expanded; 05/14/89; JCM;
corrected/reprinted 04/05/91 JCM)
revised 8/8/2007 Jane Peckinpaugh
Other Notables Buried in Oak Hill Cemetery
Oak Hill Cemetery, about a mile from the city center (downtown), was platted in 1852. the first burial was that of little Ellen Johnson, age 2, which took place in the old part of the burial ground, across from the present (1899) Administration Building. Her marker--if she had one—has disappeared. Prior to the 1899 Ad Building, there were frame buildings in the general vicinity, which included the sexton's house and a utility building or two. These were torn down years ago. In 1899, Harris & Shopbell prepared the plans for a new Cemetery structure that included at its center a chapel. (This was converted into a records storage area in about 1917.)
The Western Addition was added to the Cemetery in 1903. The lake—Willow Lake—was a part of the landscaping design, as was the island.
John S. Goodge was Oak Hill's first sexton (superintendent)—from 1853-1897, when he died. William Halbrooks was then appointed superintendent, and remained in the position until his death in 1932.
(Revised: 05/18/90)(Corrected: 05/19/90)
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As a continuation of yesterday's post, today we'll focus on using pop culture, sports and current events blogs in the classroom. It's easy for me to sell any teacher on the idea of implementing blog reading that delves into current events; students need to be global citizens. But pop culture and sports blogs can tricky. Students need to gain more than the latest gossip and team scores.
While TMZ and Perez Hilton have their place, the blogs I've chosen to highlight today cover all of the same issues but with the type of style and "smarts" that makes them attractive to classroom teachers and still engaging to students. As with anything you aren't simply looking to entertain your students. While offering these blogs can be part of a reading "choice" program, expectations should still remain high in terms of the social, political and cultural commentary students construct in response.
Ultimately, all of these blogs offer up "news" in varied formats but more important, they provide commentary. Often the arguments they formulate are both relevant and engaging. It is this type of writing that enriches student reading and knowledge. The fact that it's a blog simply makes it a tech forward and readily accessible choice. Don't forget to see our lessons for writing and annotation extensions. They are ready to implement along with any blog driven reading assignments. And remember, all of these are simply suggestions and starting points. Always check The New York Times blogs for more choices.
The blogs overviewed are the best choice for offering content and commentary. Also included but not overviewed are blogs that provide substantive information on the areas of focus and less commentary.
Current Events
Analysis & Opinion-Reuters
Anything dealing with current events demands that students read and choose based on their interests. Reuters' blog about current topics spans the globe and offers lenses through which to interpret the news they provide. While posts can be challenging, they will engage students in online opinion pieces that debate global politics and the role of the U.S.
Don't forget to examine The New York Times Room for Debate site. While not a blog it is still an incredible useful supplement for students.
Information driven blogs include: The Two-Way, The Lede, Global Spin
Sporting Scene-The New Yorker
I can't think of a better scenario. The New Yorker, with all its style and grace, creates a sports blog. Every post is so well crafted you will think you stumbled upon a non-fiction treasure and your students will never stop thanking you when you tell them that they can supplement their reading with a sport blog.
Information driven blogs include: The Early Lead, ESPN Sports Blogs
Pop Culture
Monkey See-NPR
This is by far, one of the best pop culture blogs to use with students. Post include thoughtful commentary on TV, film, literature, and everything else popular culture. These blog posts don't just identify current trending topics. Instead, they evaluate the usefulness of these trends. Nothing is better for teaching students argument evaluation and the larger implications of pop culture.
Information driven blogs include: Celebritology 2.0, Media Decoder, The TV Column

subset: commoncrawl


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Hello all,
I have noticed over the past few days that my USB transfer speeds have been extremely slow in some instances. Moving or copying a 3GB folder from the root directory of the flash drive to my Desktop directory took nearly an hour and a half. The Device Notifier also seems to become "bugged" after completing a few writing operations to and from the flash drive and my laptop, resulting with me waiting ages for the flash drive to properly unmount.
When trying to unmount the flash drive from the Device Notifier by clicking the eject button, the ring just keeps spinning while the LEDs on the flash keep blinking as if it's still being accessed.
Has anyone else experienced any sort of problems like this or am I just being impatient? It's always possible that it may just be my hardware.
I'm running the x86_x64 KDE BT5 distro with the most recent updates on an MSI GX740 laptop (now discontinued, makes you wonder) with 4GBs of RAM and USB 2.0.
Any comments are greatly appreciated! Thank you!


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Former Coupeville dermatologist killed in accident at Deception Pass
A former Coupeville dermatologist who recently made headlines for domestic violence was killed early Sunday morning in a gruesome accident near Deception Pass Bridge.
Donald "Russell" Johnson, 53, was thrown from his car after crashing it into a rock embankment and was run over by the trooper who had been pursuing him for speeding and reckless driving.
Johnson pleaded guilty last Thursday to two counts of fourth-degree domestic violence assault and one count of violating a domestic violence restraining order. He was accused of choking his girlfriend and threatening to kill her at their Cornet Bay home Sept. 6.
Johnson was sentenced to the 113 days he already served and released from jail.
Just before 6 a.m. Sunday, Trooper Jason Knott with the Washington State Patrol saw Johnson speeding and driving recklessly in his 2000 Toyota Celica on Cornet Bay Road, just east of Highway 20.
According to Trooper Mark Francis, the public information officer, Knott tried to pull the Celica over, but Johnson didn't yield. The Celica was clocked at 78 mph at one point during the pursuit.
Knott pursued the car as it turned north on Highway 20. He lost sight of the car in the 30 mph zone and was just about to terminate the pursuit when the accident occurred, according to Francis.
Out of the trooper's sight, Johnson drove across the oncoming lane of traffic, struck a rock embankment just north of the bridge and was ejected from the car; he wasn't wearing a seatbelt. Johnson was lying in the northbound lane while his car was in the other lane.
The trooper came around the curve and struck Johnson. He was pronounced dead at the scene shortly afterward.
Francis said Trooper Knott was understandably upset by the accident, but likely won't go on administrative leave.
"He was pretty shaken, as you can imagine," Francis said, adding that he was taken home by his sergeant.
Francis said the accident is considered alcohol-related because of the odor of alcohol at the scene, but toxicology tests will be conclusive.
The bridge was closed for about five hours, Francis said, while detectives with the State Patrol investigated the scene.
Island County Animal Control Officer Carol Barnes was called to the scene to deal with a dog in Johnson's car. She said the cattle dog was scared, but not injured. The dog was later picked up by a member of Johnson's family.
The tragedy is the ending of a year of trouble and catastrophe for Dr. Johnson, who was considered a very talented dermatologist in the medical community and a respected member of the business community.
His wife, a Langley resident, filed for divorce about a year ago; in court files, she claimed Johnson had married another woman, Marianne Baker, without first divorcing her.
Last summer Johnson abruptly closed his popular dermatology clinics and skin-care spas in both Coupeville and Anacortes. The Washington State Medical Quality Assurance Commission was investigating Johnson for alleged patient abandonment.
In addition, Johnson was sued by his former landlord and owed large amounts of money to the IRS, according to court documents.
Johnson assaulted Baker in the morning of Sept. 6 at their home on Cornet Bay. She told detectives that things had been tense between the two of them because of problems with his failed medical practice, his drinking and bouts of depression.
Johnson originally bailed out of jail after his arrest, but then was taken back into custody because he violated a no-contact order by sending Baker an email. Johnson bailed out for a few days in December, but was brought back to jail after his bonding company withdrew his bond.
Johnson was finally freed after pleading guilty last Thursday. His attorneys had said that Johnson planned on fighting the state's suspension of his medical license and wanted to go back to practicing medicine.
Island County Prosecutor Greg Banks said Baker consented to the plea bargain offered to Johnson. But she called the office over the weekend and left a message reporting that Johnson had contacted her, which would have been another violation of the no-contact order, according to Banks. The alleged violation could have landed Johnson back in jail once again.
The exact cause of Dr. Johnson's death will be determined by Island County Coroner Robert Bishop, who as of Tuesday, had not made an announcement.


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Through associations with shelters and other animal organizations, Muttville finds senior dogs that have been given up and are not likely to find adopted homes. Through outreach and networking, Muttville finds suitable foster homes for these dogs. Ultimately, Muttville will have its own facility to house dogs that are not yet placed, or that are unlikely to be placed.
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NOTE: Some shelters have physical locations you can visit; some of these shelters may only have pets for a limited time, so please do not wait for a reply—just go visit the shelter! Other organizations are rescue groups run by busy volunteers who may take a while to reply. You can find information about the shelter or rescue group caring for this pet, and their adoption procedures, on the pet's details page on Adopt-a-Pet.com.


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Board index » Knife & Handle Makers » Black Stone Knife Company
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timos wrote:Very interesting, I suppose the kitchen environment is light duty enough for the Wa construction to last for years. It is also more economical to make. Ive gotta gear up for some Wa handles!
MadRookie wrote:Needs more blade width....Toooo narrow for a 170mm unit....
timos wrote:.....Let me know how you feel the cpm S35-Vn holds up to the kitchen.
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When Will Eisner co-founded the first "comic art shop" in the late 1930s, he took one of the first steps in an epic career that would significantly change the face of comics in America. Eisner's studio–which employed Bob Kane, Lou Fine, and Jack Kirby, among otherswas one of the first to produce original comic books in an era when "comics" meant newspaper funny strips. But the company was only a few years old when Eisner left to launch the groundbreaking weekly series The Spirit, a standalone newspaper insert that gave Eisner freedom to experiment with his visual style and begin the creation of a new form of communication. After ending the series in 1952, Eisner spent 20 years pioneering the use of comics in education, from military instruction magazines to elementary-school visual aids. In the early 1970s, he returned to fiction with A Contract With God, the first in a series of ambitious, influential graphic novels that told real-world stories in expressive, innovative ways. Today, at 83, Eisner is far from retired. This year alone, Dark Horse Comics published his new anthology Last Day In Vietnam, NBM Publishing released The Last Knight (based on Don Quixote), and DC Comics began republishing his classic works, including the first installment in a projected 25-book library of Spirit treasuries. Eisner recently spoke to The Onion A.V. Club about his new projects, his old projects, and the future of his chosen medium.
The Onion: How's life in Florida for you, compared to life in New York City?
Will Eisner: Very comfortable. This is a very solitary business, and you're always working in a small room. Whether this room is in New York City or in Florida really doesn't matter in the long run, except that life in Florida is very comfortable and very good and very healthful and very enjoyable. At first, I didn't want to come down here. It was my wife's idea to come down here, and I didn't want to leave New York. New York to me is the center of the Earth. I used to enjoy flying up to teach at [New York's School Of Visual Arts], and to walk around the city and get a carbon-monoxide fix. But life down here is quite good. It's healthy and stress-free. I believe very strongly that people are responsive to their environment, and if you're in an environment where there is a great deal of movement and action, you kind of respond to it physically yourself. Kind of abstract thinking, but I believe it.
O: Given how closely your work is tied to big-city life, are you worried about the impact on your writing?
WE: Oh, no. When you're talking about the human struggle for survival, it's endless. New York City is a fountainhead of stories. It's a big theater, and there's always something going on. I'm never really out of stories. There's always a new challenge, and my style is to constantly explore or experiment, so I'm constantly probing beyond what I've done before. I'm never happy with what I did yesterdaynot because I think I did a bad job, but because there's more to do. This is a medium that has not fully reached its potential.
O: You've been responsible for a lot of innovations in the medium over the course of your career.
WE: Most of the things I've been given credit for are the result of either desperation or an attempt to solve a problem. The Spirit itself was an attempt to solve a problem: At that time, newspapers were getting very worried about the fact that they were going to lose a lot of their younger audience to comic books, so they were looking for someone who could create a comic book for a newspaper. That gave me the opportunity to do something I had wanted to do all along. That led to innovation, just as the so-called "splash page," which I'm credited with innovating, was a result of the fact that this was a free-standing supplement in the newspaper, very much like TV guides in newspapers today. I knew that if I didn't get the reader's attention as he flipped through the Sunday newspaper, I might lose him. So I began to innovate on the covers. Also, I had only eight pagesseven pages, later onto tell the story, so I had to bring the reader in very quickly, set the scene very quickly. Then, another thing I did that was called innovative at the time was I never repeated the logo the same way in each successive story. The syndicate was furious with me over it, because they felt they couldn't market this thing. Superman had the same logo all the time, and every comic strip had its same logo, but I felt I would be losing my readers. I was after an adult reader, and the comic-book world was really a ghetto as far as I was concerned. So innovation is constantly the result of an attempt to solve a problem, to reach out beyond where you are.
O: You were also the first person to use the term "graphic novel." Is it true that you made that up to avoid pitching A Contract With God as a comic book?
WE: Yes, that's a true story. I was sitting there on the telephone talking to this guy, and I said, "I have this new thing for you, something very new." And he said, "What is it?" And I looked at it and realized that if I said, "A comic book," he would hang up. He was a very busy guy, and this was a top-level publishing house. So I called it a graphic novel, and he said, "Oh, that's interesting. Bring it up!" I brought it to him. He looked at it, looked at me over his granny glasses, and said, "You know, it's still a comic. We can't publish that kind of stuff."
O: What about your use of silent panels, furthering a story without dialogue? You were the first there, too. What problem were you trying to solve?
WE: There, too, I was dealing with a reader that I felt was more sophisticated than a comic-book reader. By creating a series of pantomime panels without dialogue, without balloons, I'd get the reader to supply the dialogue. This is a medium that requires intelligence on the part of the reader. It requires a contribution, a participation. This does not occur in movies, for example. This is the prime difference between comics and film: Film is a spectator medium, while comics is a participatory medium. You participate, your reader contributes to it, and you have a sort of dialogue with the reader. And the reader is expected to draw out of his or her life experience the things you're suggesting or alluding to. As I go on in this medium, I've become more impressionistic in the work I'm doing. I've experimented with that. Currently, in a new book I just got out called Last Day In Vietnam, I experimented further in having the reader become part of the story itself.
O: Last Day has a theatrical feel to it. Reading it is like looking into a stage.
WE: That's exactly the way I think. I don't think in terms of film; I think in terms of live theater. The reason for that is that in live theater, the audience is part of the scene. The audience is privy to the scene. In film, the reader is a camera. They move you around; you see things from bird's-eye views and worm's-eye views, though knotholes, in extreme close-up, and so forth. I use close-ups, but not that often. Mostly, in the last few years, I've kept my reader on the same level as the action, as though he's looking at a stage. It's very important for me to maintain contact with the reader, because I'm writing to someone, and I'm desperately eager to achieve believability. Not so much realism as believability.
O: The stories in Last Day In Vietnam are all true stories from your own experience, aren't they?
WE: Yeah.
O: I understand the Army actually sent you to Vietnam and Korea during wartime so your military instructional comics would be more realistic.
WE: One of the requirements of the contract was that I would go out into the field at least once or twice a year. That way, what I was doing would be far more authentic than working from photographs.
O: Did you actively want these trips for the experience, or did you have to be talked into going into combat?
WE: I wasn't eager to do it. I mean, I didn't volunteer for it, but it was part of the thing. After a while, I rather enjoyed doing it, because I came away from it more knowledgeable than when I went there. When I got back to the drawing board, I was reporting more than anything else.
O: Why a book about Vietnam now?
WE: Over the years, you carry with you little snippets of scenes or things that do not deserve a whole book, but they're part of a lot of little things you want to divest yourself of. I'd just completed a rather heavy book called A Family Matter, and it was a serious piece of work. I was thinking about doing something a little lighter. I was flipping through these Spirit books one day, and I saw a story I'd done many years ago in which this man, I think he was a sea captain, was talking to the reader. And I said, "You know, I never followed up on that." It was a great idea, because I was turning out stories every week on a heavy schedule, and I could never really follow up on good ideas or carry them out. So I said, "I'd like to try this." Anyway, these ideas have been in my head for some time.
O: The artwork is very different from your usual work, with the heavy canvas texture and the light brown ink.
WE: It's very gritty. The reason for that was that I wanted it to look like a sketchbook that comes right from the field. I wanted a feeling of grit.
O: When you were planning, did you think about identifying your market?
WE: I don't write to a market, but I'm talking to somebody when I write. I guess you might say I'm like the Ancient Mariner: I've got a story and I want to tell it to somebody. I don't sit down and say, "There's a big market right now for mutants trashing each other, so I'm gonna do two mutants trashing each other." None of my books are done for a market. I have a very small market when you come right down to it, compared to, say, X-Men or Spawn. I don't write for these people at all. It's very hard to talk to them about heartbreak.
O: Do you think all of your works address heartbreak on some level?
WE: Probably. I'm dealing with the human condition, and I'm dealing with life. For me, the enemy is life, and people's struggle to prevail is essentially the theme that runs through all my books.
O: You often say that you don't write for people who read comics; you write for adults. Where do The Princess And The Frog and The Last Knight fit in?
WE: [Laughs.] Those were a little vacation I took from the business of writing this kind of stuff. They were the result of another attempt at innovation. About five or six years ago, public television here in Florida asked me to work with them on developing something that would get them into the literacy field. I developed what I called a reading experience on television. I took the classics and reduced them to a little half-hour show in which there was no animation in the art, but the balloons were animated, so the language would pop in as the characters spoke it, and that would force the reader to read it. Well, it never went anywhere: They couldn't get enough funding to pursue it, and I was left with a bunch of stories I had roughed out. I showed the stories to my agent in Europe, and he said he had five publishers in five different countries who wanted stories. So I did the Moby Dick adaptation and The White Whale, which hasn't been published here but appeared in Europe. After that, I did The Princess And The Frog because I was leafing through a Grimm's fairy-tale book one day and discovered, to my astonishment, that the princess was not really the nice girl I always thought she was. So I did that, and I then did the Don Quixote book The Last Knight.
O: The mixture of fictional adaptation and biography was kind of unusual there. Why suddenly introduce Miguel Cervantes as a character at the end?
WE: I couldn't resist making the statement. I felt very sympathetic to Don Quixote. I think many of us in this business are Don Quixotes. Anybody in the business of innovation is in pursuit of something that nobody else believes exists. These were adaptations, so I took that liberty. I had a lot of fun with them.
O: Do you have any plans for more in the series?
WE: Yes, but... [Laughs.] I have to have time for it. I just finished a book that DC is going to publish in the fall, called Minor Miracles. It's this series of stories that take place on Dropsie Avenue, making the case that there are little miracles that go on all the time. So... I probably will one of these days. I have roughs for about four or five more, including Oliver Twist and a couple of others I should be able to get to. It's just a question of which comes first.
O: DC Comics is reissuing a lot of your books this year.
WE: Oh, yeah, that was the sweetener that made the deal as far as I was concerned. I had about 13 books that would have been remaindered if DC hadn't come along. I'm still in pursuit of the serious readers, the establishment readers, and DC represents an opportunity to ultimately reach them. They have the legs and they have the access, so maybe my books will find a place in Borders and Barnes & Noble and all the other bookstores where I want to be.
O: About a year ago, you said in an interview that you wouldn't want Marvel or DC handling your reprints because you'd lose your personal connection with your work. Has that been a problem at all?
WE: Did I say that? I should have written a denial immediately after that. At the time, I was still thinking in terms of my past practice, which was to stay with small companies. I've always been successful working with small publishers, and I had never really thought that DC would reach the point where I could regard them as a comfortable house to be with. When they came along and made the offer, I thought about it very carefully and realized that by this time, with their Vertigo line and so forth, they had moved well beyond the standard comic-book house that they were back in the '70s and '80s. So it was easy for me to make that decision, and it's worked out very nicely.
O: What is it like seeing the early-1940s Spirit stories back in print again?
WE: Well, I love the package. I think the package is marvelous. I try to avoid looking at the artwork because it makes my toes curl. [Laughs.] I want to grab a pencil and redo it. "Oh, my God, did I get away with this junk?"
O: Where is the art coming from? Do you still have the originals of those strips?
WE: They've done a remarkable job, and the modern technology is absolutely stunning. The original artwork for that era does not exist anymore. I have the original artwork from 1945 on, but for that period, there's no original artwork. What they've done is picked up, from collectors, actual copies of the issues from that time, then somehow bleached out the colors, kept the line art, and restored the colors. They've done a stunning job, and the coloring is absolutely accurate. I said I would like to have the paper simulate the newsprint, with the color being the flat color we used at that time. They agreed to do it, and the results have been absolutely splendid.
O: How do you think modern readers will react to them?
WE: I don't know. I suspect that they'll look at them as quaint collections of some kind. I must say I was amazed that the character has survived. It's still got young readers. Apparently, the basic stories have survived largely because they're fundamentally sound stories. You must remember that these stories were written for an adult audience, for a newspaper audience. Consequently, there's more depth to the stories than you would have if they were written for young comic-book readers. As a matter of fact, the proof of that is that The Spirit was never successful on the newsstand in competition with Batman and Superman or any other superheroes. But the last report I got from DC said that the first archival edition has sold well beyond what they expected, so it's doing very well.
O: Over the last 25 years, one of the things you've consistently said in interviews is that we're right on the brink of an industry change, that comics are about to become more intellectual and more respected. It just hasn't happened yet. Do you still think it's about to happen?
WE: [Laughs.] About 20 years ago, I think, I was giving a talk to a bunch of distributors. When I did A Contract With God, I said I had opened up a toll booth in an empty field, waiting for the highway to come through. [Laughs.] I can hear the trucks out there. I don't agree with you: If you look around and see what's being published, you'll see that the level of at least 5 percent of the comics production of this country has risen well beyond what it was 20 years ago. You've got Maus, you've got Jules Feiffer, you've got Harvey Pekar, Neil Gaiman, and Alan Moore, people of that caliber who are in the field turning out high-quality stuff. There's a lot of good stuff, but it just hasn't reached a critical mass where it will establish itself in the marketplace. We're not very different from jazz. It took a long time for jazz to achieve a position in the musical world where it was considered legitimate music. Slowly but surely, we're getting there. I'm still carrying the flag on that, and I still believe it.
O: But the mainstream still considers Moore and Gaiman to be anomalies, to the extent that the mainstream is aware of them at all. Do you think America is ultimately capable of accepting comics as a literary medium?
WE: Ultimately, yes. Ultimately, they will, especially because of the dynamic that's occurring in society right now. We're in a visual era. We have to communicate today with imagery, because there's a need for speed of communication. Comicsthe comic medium, the idea of sequentially arranged images with some text to convey an idea and tell a storyhave found the place between text and film. We deliver information at a very rapid rate of speed. Very often, our information is not as deep as a body of text, but a lot of people haven't got time to read a large body of text any longer. So I would say the growth of our society, the conduct of our civilization, is on our side.
O: What about the growth of the readers? Do you think people have changed in any essential way since you started your career?
WE: I think people are essentially the same. Everybody is in a continuing struggle to survive, or to prevail over life. The environment we live in is changing. In modern society, the rhythm of life is so accelerated that our attention span is shorter, and our patience is a little shorter. We're looking for faster gratification, quicker solutions to things. I have to address it with the writing I'm doing now. It's influencing students I've talked to. The
Internet and MTV are changing the rhythm of reading. We want solutions more quickly, more rapidly. If you look at MTV, you find that there's no attempt to provide intervening action between a beginning and an end. So the readers I'm writing to now are less patient with a great deal of involved detail than they were back in the '40s and '50s.
O: What about the growth of new technologies? How do you think that will affect the comics industry?
WE: That's another thing that's challenging us. The way I see it right now, the Internet is a vehicle of transmission. And the vehicle of transmission does not alter the fact that comics is a language that combines image and text. Whether it's transmitted or broadcast over a computer screen or done digitally, it's still going to involve the same kind of intellectual process that anybody working in comics today has to employ. I don't believe that print will disappear. It may no longer dominate our communication world, but it will not disappear. The whole process of arranging images in a sequence to convey an ideawhether it's transmitted electronically or by paper and printremains. The only difference is in the technological skills that are employed.
O: Are there still skills of comics creation that you're trying to master?
WE: Oh, yeah. In the last few books I've done, I've spent a lot of time trying to master the ability to transmit internal emotions. It's very hard to do with single images, very challenging. What I'm continually working on now is not so much my pen-and-ink skills or my brush skills; I've long ago mastered those. I'm spending a lot of time now in minimalization of the technical drawing, the draftsmanship of detail. I prefer to spend my time trying to arrange and posture the human character in such a way that it conveys an internal emotion, what's going on inside him. Passion, the transmission of passion, is very important.
O: Your background settings are becoming minimalist, but your characters are still detailed, which is exactly the opposite of the style of many modern independent comics.
WE: I'm very conscious of that. The works you refer to are really obsessed with movies and animation, and they're trying to emulate motion pictures and animation. Japanese manga have their basis in animated cartoons, and they're very skilled at portraying action and fast movement, but there's no internalization, no depth, and that's the big difference. Yes, I believe that cartoons are a form of impressionism in the world of art, and I try to be as impressionistic as possible. It's for that reason that I began, with A Contract With God, abandoning the rigid panel arrangement that dominated comics for so long. I felt it enabled me to invite, or involve, the reader much more. You give a reader a blank background, and the tendency of the reader is to supply the background out of his own imagination or his own experience. I learned that from one of the comics that influenced me tremendously early on, Krazy Kat. If you examine [George] Herriman's early work, you'll see that he had a visceral instinct for this kind of thing. After studying that as a kid, I thought, "Gee, this guy's got something here."
O: Why not extend that to the characters, then? Why not use more iconic characters that readers can identify with?
WE: The reason for that is that the human being has to be fairly precise. When you look at a person, you look for small details that reveal the character to you. Heavy eyebrows may mean something to you, and a sharp nose or thin lips mean something to you. Those are details that have to be expressed, because you can't create abstract people. Creating abstract people loses the relationship that you want to develop between the person and your reader. The reader has to look at a character and say, "Oh, I've seen him before. I know who he is and I know what he's like." The background can be impressionistic, because we remember backgrounds impressionistically. You don't come away remembering the number of rivets in the bridge; you just remember the feeling of the bridge.
O: Is it true that you prefer to work in black and white?
WE: Yes. Black and white gives me the closest contact with the reader. It reaches the reader without interference. Color has a tendency to interfere with the dialogue. Color is almost like a large orchestra playing behind the art, you know? You can't hear a thing. I don't think color is badI've used color in the fairy-tale stories and I'll use it on coversbut I don't feel I need it inside the book. In the last book, A Family Matter, I used the brown coloration: not full color, but monochromatic color, largely because I wanted to create a mood. Color does help create moods. I like a lot of my books to run in brown ink rather than black ink.
O: Why brown?
WE: It has a dreamy quality. Psychiatrists have told me that people dream in brown. I don't know how true that is. I think I dream in black and white. But it creates a warmth, and it's not as strident as harsh black and white. A lot of my books have been in black and white. For instance, The Heart Of The Storm was all in black ink. That seemed to work there.
O: Speaking from a purely idealistic plane, where would you like to see the industry go from here?
WE: I would like to see more sophisticated material. I would like to see the comics industry reach a point where good comics material is reviewed in The New York Times and treated at a level equivalent to oil paintings and good literature. I'm hoping we'll see more of that. I believe it will happen, and I'm hoping to be around when it does.


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MILKSHAKE - Creating Great Rock Music for Kids
City of Menlo Park: Community Services Department
Saturday, April 27, 2013 from 1:00 PM to 2:00 PM (PDT)
Who's Going
San Francisco, California
London, United Kingdom
Florence, Italy
Event Details
Saturday, April 27th, 2013
1pm-2pm - $8.00 per person
In Milkshake's short nine years together, the band has released four award-winning CDs, a Parents Choice Silver Award for their DVD Screen Play, and they have had music videos on Noggin, PBS KIDS and Discovery Kids' Emmy-winning ToddWorld. The band has never stopped growing and evolving. Great Day is Milkshake's fourth CD for kids and kids at heart. It was nominated for a Grammy for "Best Musical Recording for Children" in 2010. In keeping with the band's desire to grow with their own children, the songs on Great Day touch on issues of friendship, age, self-esteem, goals and ambitions among other things--things that matter to a 6 to 10 year-old. Like all Milkshake CDs, the music transcends age, and both younger and older fans will enjoy this new release. As Parents magazine says: "If kids don't push the replay button, parents will."
Milkshake will release its fifth CD, Got a Minute?, in spring 2013.
This special trio performance features Lisa Mathews, Mikel Gehl and Michael Sheppard of the Milkshake Band.
For more information on Milkshake, please visit www.milkshakemusic.com,
or visit the band's busy page on Facebook: www.facebook.com/milkshakeband
The Menlo-Atherton Performing Arts Center is located at 555 Middlefield Road, Atherton, CA 94025 where Ravenswood Avenue meets Middlefield Road.
When & Where
Menlo-Atherton Performing Arts Center (PAC)
555 Middlefield Rd
Saturday, April 27, 2013 from 1:00 PM to 2:00 PM (PDT)
Add to my calendar
City of Menlo Park: Community Services Department
Menlo Park is a city of roughly 30,000 people located in the South Bay Area, with San Francisco and Oakland to the north and San Jose to the south. In 2009, the City constructed the Menlo-Atherton Performing Arts Center (PAC) in conjunction with Menlo-Atherton High School. This facility is available to the City of Menlo Park 55 days out of the year for community programming.
The Performing Arts Center seats 492 and contains professional-quality sound and lighting, an orchestra pit accommodating up to 80 musicians, and a full lobby and box office. The venue has hosted musical performances, touring dance companies, author lectures, live chamber music, etc. A wide variety of performances including dance, theatre, musicals, film screenings, sing-alongs, and many other art forms are made availible to the general public throughout the year.
For information on upcoming programs, please contact Matt Milde at email@example.com or by calling (650) 330-2223.


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quote:Heatley was born in Germany to Karin and Murray Heatley, who was then playing in a German hockey league. When Murray retired from hockey, the family settled in Calgary, where Dany was raised. Because he was born in Germany and his mother is German, Dany holds a dual Canadian and German citizenship, but plays for the Canadian national team (IIHF rules mandate that a player may not switch countries once he has already competed for one, however, Heatley is eligible to play for the German national team for the World Cup of Hockey as it is a non-IIHF sanctioned event)
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Political Science Department
Raubinger Hall 433
|The political science program is designed to provide students with the conceptual, theoretical, and research tools that will enable them to understand, participate in, and change the institutions and practices—whether on the local, national, or international level—through which people make the decisions that affect their lives. The political science department offers two majors, one in political science and one in legal studies.
The political science major provides grounding in both domestic and international affairs, offering students the opportunity to take additional courses in U.S. politics, political theory, law, international studies, political behavior, diversity studies, and political economy. It is a liberal arts major that offers valuable preparation for graduate school or law school and for a wide variety of careers, including electoral politics, education, business, law, journalism, government service, and work in the not-for-profit sector. For more information about the political science major, please contact the chairperson, Prof. Arnold Lewis, email@example.com, 973-720-2188.
The legal studies major is an interdisciplinary program that enables students to enhance their knowledge and appreciation of the role of law in contemporary life, while at the same time improving their analytical abilities through a process of data evaluation, problem solving, and debate. It prepares students for law school or graduate school, as well as for jobs in court administration, law office management, human resources management, dispute resolution, business, local, state, or federal government, and nonprofit and non-governmental organizations. For more information about the Legal Studies major, please contact the director, Prof. Michael Principe, email@example.com, 973-720-3619.
Political science majors take 18 credits in required core courses, including a capstone seminar, and an additional 18 credits in political science electives to meet particular personal and career interests. An internship program affords interested juniors and seniors the opportunity to apply and enhance their training, sometimes leading to temporary or permanent employment. Internships are available with elected officials, in the judicial system, on political campaigns, and with a variety of civic, policy, or business organizations.
Legal studies majors take 18 credits in required core courses (5 courses in political science, including a capstone seminar, and 1 course in philosophy); 9 credits in distribution requirements from political science in theory, international legal process, and contemporary legal issues; and 9 credits in electives from other departments.
In addition to minors in Political Science and Legal Studies, the department hosts minors in International Studies, Middle East Studies, and Public Policy and Administration.
The department also houses several university-wide programs: Pre-Law, Model UN, the Washington Internship, and the Cambridge Summer program.
Mission Statement
The Department of Political Science at William Paterson University provides students with the tools and knowledge necessary for effective citizenship in a diverse and global community. Students learn about the U.S. political system and the politics and cultures of other regions of the world, as well as how to critically evaluate systems of authority and power and their limits. Students will be prepared to live in an interdependent world and will obtain the literacies necessary to succeed in their chosen careers. (Adopted June 2007)
Graduate Program in
Fall Application Due Date: August 1
Scholarship Announcement!
The Political Science Department is pleased to announce that due to the generosity of Mr.Michael Perry, a WPU Political Science Class of 1990 graduate, an annual scholarship fund has been established in honor of Prof. Martin Weinstein. One $5,000 scholarship will go to a current WPU Political Science major with a minimum g.p.a. of 3.0 and a demonstrated need. For further information, go to the Alumni Scholarships web page.
Please send any questions or comments about this site to
Stephen R. Shalom at firstname.lastname@example.com. Last revised 5 April 2016


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I was looking for a thermometer for my new weber. Lowes sells a char-broil therm. that has about a 2" spike and barbeques galore has teh big green egg thermometer that has about a 4" spike. Does anybody have (+,-) experiences with either?
I want one that goes to 700 degrees and mounts to the lid. I figured that about 3" up from the edge and 45 degrees around from the vents would be the best place (from reading the other post).


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Check out the photo as the Reconyx game camera catches an arrow passing through a big buck shot by DDH contributor Don Higgins overlooking his Real World Wildlife Seed food plot.
Trail Camera Photos
Big Bucks Up: Trail Camera Photos from Facebook December 2013
They're not all dead yet. Big-buck photos are still filling the trail cameras. Here's a selection of photos sent to Deer & Deer Hunting's Facebook Page. Learn more about who sent them in, and where they're from, on Facebook.
D&DH Publisher Captures Wild Trail Camera Photo
Imagine Deer & Deer Hunting publisher Brad Rucks' reaction when he returned from retrieving his trail camera memory cards to find these photos. The bird appears to be a "wild" peacock. "I heard about a neighbor who saw a peacock in his yard," Rucks reported. "But I thought he had just seen a turkey...
World Record 8-Point Buck Update
As Deer & Deer Hunting reported in early February, this 8-point Illinois buck is believed to be the largest net-score 8-pointer ever killed in North America. Just this week, more photos of the buck began circulating all over the Internet. Here are three of them. According to the Boone and Crockett Club, the buck's...
Reader Photos
Deer & Deer Hunting readers share their photos.
My first buck
Wel im Nick Nobile. Im 16 years old. i shot it this year opening day. i didnt get it scored yet its currently at a taxidermist. I shot it with a Winchester 1871 348 with open sights probaly around a 60 yard shot through the woods. tell me what ya think thanks =)
3 Beam Buck
Since that was a story in the Blog today. I thought y'all might like to see this one.
Not a trail cam photo, but actually taken by a lady in her back yard not far from my hunting grounds. I have yet to see him though.
Name: Tom
Could this buck in velvet be the next record buck for Wisconsin?
This first buck is on my neighbors trail cam. The second buck is in southern Wi. My brother had him at 12yds last bow season, and could not get a good shot at him. This pic is from this past Aug. Record buck??????
Name: Kurt Kunz
City: Birchwood
State: Wisconsiin
Big Ten
This buck was a big 11 pointer last year. Had hum at 25 yards this archery season and could not get a shot.
Name: BILL VERNOSKI
City: WYOMING
State: PA
Bow-Hunting From a Woman's View
Bow Hunting from a Woman's View
By: Debbie Derck
The most important part of hunting is Safety! Always "Plan your Hunt and Hunt your Plan". Let someone know the plan, so if you need help they will know where to go, and never, ever...


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I am running Backtrack 4 R2 on a inspiron 6400 and i have added a TL-WN7200ND.
My problem is that when run iwconfig
The maximum txpower of my TL-WN7200ND is @ 17 dBm witch is way to low considering that the internal wlan adapter is running at 20. Anyway 500mW witch is the supposed output power should be around 26 - 27.Quote:
wlan0 IEEE 802.11bg ESSID:"TOSTCAF"
Mode:Managed Frequency:2.467 GHz Access Point: 00:26:5A:D1:E1:1A
Bit Rate=36 Mb/s Tx-Power=20 dBm
Retry long limit:7 RTS thr:off Fragment thr:off
Encryption key:off
Power Management:off
Link Quality=48/70 Signal level=-62 dBm
Rx invalid nwid:0 Rx invalid crypt:0 Rx invalid frag:0
Tx excessive retries:0 Invalid misc:0 Missed beacon:0
wlan1 IEEE 802.11bgn ESSID:off/any
Mode:Managed Access Point: Not-Associated Tx-Power=17 dBm[/COLOR]
Retry long limit:7 RTS thr:off Fragment thr:off
Encryption key:off
Power Management:on
As far as the adapter goes airmon , airodump works fine , injection test are ok but i haven't tested injection on a network without clients yet.
to get around this problem both ndiswrapper - no change in txpower and compat-wireless drivers including aircrack patches - still no luckQuote:
ls usb:
Bus 001 Device 003: ID 148f:3070 Ralink Technology, Corp. RT2870/RT3070 Wireless Adapter
Interface Chipset Driver
wlan0 Broadcom b43 - [phy0]
wlan1 Ralink RT2870/3070 rt2800usb - [phy1]
any further guidance to get the txpower up would be very much appreciated.
p.s for iwconfig wlan1 txpower ( any value lower than 17 ) the comandline works. any value above :
iwconfig wlan1 txpower 20
Error for wireless request "Set Tx Power" (8B26) :
SET failed on device wlan1 ; Invalid argument.


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Hey there, time traveller!
This article was published 7/12/2012 (1718 days ago), so information in it may no longer be current.
Your usual three little pigs, they're not.
Although most folks are familiar with the fairy tale, a few dozen elementary school students recently learned about a different trio of piglets.
Piggie$ Three is a reworking of the popular fable, which is part of a pilot program offered by Community Financial Counselling Services (CFCS).
The Winnipeg not-for-profit, no-fee agency helps individuals deal with financial problems and as part of Financial Literacy Month in November, one of its financial counsellors gave a series of presentations to students at Calvin Christian School's elementary campus.
The counsellor, Sally Massey-Wiebe, says the pilot program -- titled The Pig Tale$ Project -- is inspired by a financial literacy reading program that started in Atlantic Canada last year, in which children read a story called My Rows and Piles of Coins.
The story is about a boy in Africa who earns money helping his mother at the market so he can buy a bike.
Massey-Wiebe says she saw a need in Manitoba to promote financial literacy at an early age, too. But she wanted to take the concept further, developing her own rendition of the traditional story about hog homebuilders.
"My theory is that building on a known story about the Three Little Pigs with a very simple lesson might resonate in a way that could be part of their financial flashpoints that can be developed early on, yet they can carry that learning forward throughout their lives."
Instead of building homes, each piggy represents an aspect of basic financial management. One pig saves money, the other one gives money away and the last one likes to spend. But the spender is no impulse buyer. To quote directly from Massey-Wiebe's story: "Spend-it-Piggy is a careful guy who thinks and waits before he buys. Think, think, think before you go to the store, buying only what you need and not a whole lot more."
Massey-Wiebe says the story is simple by design so it has a lasting positive effect.
"The fact is we develop our perspectives on money at very early age -- probably far earlier than we have to make a lot of decisions about money -- so the earlier we can be exposed to what may be healthy ways of thinking about our finances, perhaps the better impact it will have on us down the road."
As a debt counsellor, Massey-Wiebe has seen her share of financial road hazards.
"I hear from so many of my adult clients comments like 'I never learned this at home,' or 'I never learned this at school,' so after hearing this often enough, you start to think 'How can we bring it (financial literacy) to younger people?' "
She's not alone. Providing children and teens with a little financial know-how is a hot topic. In the last few years, Canada's consumer watchdog -- the Financial Consumer Agency of Canada -- has launched its own program, The City, for middle and high school students.
But the federal government body's commissioner Ursula Menke has said financial literacy must start even earlier.
Despite the complexity surrounding money -- investing, RRSPs, taxes, etc. -- Massey-Wiebe says studies have shown children learn basic concepts very early. But how they learn about money varies.
The pilot may help shed light on just what children know about money, she says.
"Is it something they hear about in their homes, or something they're aware of themselves? Who knows?"
Mass media -- TV ads, specifically -- are likely a large influence, she says, adding she developed the program as a counterbalance to the pervasive messaging children see about consumption spending.
"Even from the consumer perspective, to consume in a way that isn't necessarily well thought out and rationally assessed as to the impact that it's going to have on you can have a very long-term detrimental effect on your life."
A teacher whose class participated in the pilot says the program's message is a welcome addition to the classroom because financial literacy often isn't part of the curriculum.
"Here, we'll tie money into story problems in math or tithing in Bible class, but it's actually good to isolate it as a skill and say 'You need to know how to save,' " Grade 5 teacher Sara Douma says.
"It's an important life skill."
Many students already understand the concepts well, she says. One student, for example, mentioned people should save for times when they don't have money, while another talked about saving in case something breaks and needs to be repaired.
Massey-Wiebe, who chose Calvin Christian because her children attend the school, says the program requires some fine-tuning and she hopes feedback from teachers and students will determine if content is too easy or difficult for 10- and 11-year-olds.
Principal Hank Vande Kraats says the school has always tried to emphasize to its students the need to give back to their community, but the pilot is another opportunity for them to become wise consumers at an early age.
"It's helping the kids to utilize better money that they've been gifted with," he says. "It's really about helping them learn the difference between a need and a want."
Kids count
What students had to say...
During the pilot presentation by Community Financial Counselling Services, Grade 5 students at Calvin Christian School learned how the Piggie$ Three spent 10 coins. One pig saved a coin, another shared a coin, and the third one spent the remaining eight very wisely. Here's what a few students had to say about money-minded hogs and finance in general:
Aidyn, 10: Aidyn likes to save his money in a bank account so he can buy video games. He has no favourite game in mind, so he keeps saving his Christmas and birthday money just in case he finds one he really wants.
Aidyn says he enjoyed the presentation, but he would manage his money a little differently from the pigs. "I think you should share, save and spend equally because then you can tithe and God likes it if you share your money."
Emily, 11: Emily says she always likes to learn about money.
"I like to learn about stuff that I should do in the future and just to become a wiser person." She saves her money in a bank account. Her allowance is directly deposited by her mom. "I'm saving for an iPod, a computer and university." She says she likes to save, but she respects the decisions of friends who prefer to spend their allowance. "People should save some for the future, but if you want to spend, it's your money."
Silvia, 10: Silvia says she especially liked to learn about saving money, something she didn't think much about before the presentation even though she has heard her parents talk about saving before. "You can save for a phone, an iPod and all those kinds of things," she says. Like all students who saw the presentation, she received a piggy bank. If she gets 10 coins, however, she plans to save a whole lot more than the pigs. "I actually think that maybe it should be eight to save because the more you spend, the fewer coins you have to save and share."
Gwyneth, 10: Gwyneth says she thinks the presentation will help her be more financially responsible. "Just learning how to save and not spend it all is a good thing to know before you get older and want to spend everything." She saves her money from birthdays and Christmas with a big goal in mind. "I'm saving my money in my piggy bank because my grandma told me when I save up $50, I can get an iPod," she says, adding her grandmother will pay the difference. Although she says she enjoys the saving part, she also knows balancing saving with the other two piggies is just as important. "The sharing part is really nice and saving money is good for something that you really want."