Andrea Phillips (born 20 July 1974) is an American transmedia game designer and writer. She has been active in the genres of transmedia storytelling and alternate reality games (ARGs), in a variety of roles, since 2001. She has written for, designed, or substantially participated in the creation of Perplex City, the BAFTA-nominated Routes (a project of Channel 4), and The 2012 Experience, a marketing campaign for the film 2012.

Entry to alternate reality gaming
Phillips came to the genre in 2001, when she co-moderated the Cloudmakers mailing list which served players of "The Beast", the ARG which revolved around the release of the movie A.I. Artificial Intelligence. The Cloudmakers community encompassed thousands of players of the game and eventually included a "guide," walking players step-by-step through the game as it happened, a "journey", describing in prose the content of the game and its backstory, and a "trail", functioning as an FAQ to organize the multiple sites and widespread information sources present within the game. As a player of the game, Phillips co-wrote "the journey" and contributed to versions 4.5 through 9.0 of "the trail".

Work in transmedia

Perplex City
In 2005, Phillips transitioned from being a player of transmedia and alternate reality games to being a designer of them. She was hired by Mind Candy as an "'ad hoc' polymath", doing "'a little bit of whatever it takes to keep the game rolling,' be it designing and writing puzzles, or live event coordination.". Perplex City was the first "freestanding" alternate reality game to run as a stand-alone project rather than as a marketing vehicle for a traditional media project and Phillips stayed with the project until Mind Candy announced in 2007 that Perplex City was being put on indefinite hold.

Routes
In 2008, Phillips was hired as Lead Game Designer for Routes, a multimedia game targeted at British teenagers and run by Channel 4 and the Wellcome Trust. Routes included interactive Flash games, an alternate reality game, a television documentary featuring Katherine Ryan, and a series of webisode videos. The project ran live for eight weeks between January and March 2009 and won or was shortlisted for a number of industry awards. It won a 2010 International Visual Communications Association (IVCA) Gold award in the Web 2.0 category and the IVCA Grand Prix award the same year. It was also a BAFTA nominee in the Children's Interactive category in 2009 and a BIMA winner for content.

Other projects
Phillips has also worked as lead writer and game designer for "The 2012 Experience", an alternate reality game used as marketing for 2012, a Roland Emmerich film.

Phillips also worked with Thomas Dolby in the creation of his online game "A Map of the Floating City", listed as "Quarter Master for game design, writing, UI."  The game's purpose was to promote the artists upcoming album of the same name.  Credits also listed Thanks to Hollywood producer J. J. Abrams.

On her own initiative, Phillips has developed Madame Zee, a Twitter stream and blog that deliver tongue-in-cheek horoscopes and advice, My Super First Day, a "massively collaborative storytelling project", and The TSA Choice, a crowdsourced activism site opposing recent changes to TSA airport screening procedures.

Industry participation
Phillips was a founding member of the International Game Developers Association's Special Interest Group on Alternate Reality Games and has carried out a variety of duties under that umbrella, including contributing to an Association whitepaper. She currently serves as Chairman of the Special Interest Group. She has also written extensively on the topic of transmedia on her blog, Deus Ex Machinatio.

Phillips has been a presenter at numerous industry gatherings, including Foo Camp 2010, South by Southwest 2010, and an MIT conference on "Storytelling 3.0".

Publications
Phillips in 2012 published A Creator's Guide to Transmedia Storytelling as a guide for current and aspiring modern storytellers. Phillips presents techniques, guidance, and information from her own professional experience as well as from interviews with other professionals in Transmedia.

In February, 2013, Phillips created a Kickstarter project to raise funds for a year-long fiction serial called The Daring Adventures of Captain Lucy Smokeheart. The project successfully funded on March 28, 2013, with 251 backers. Each month beginning in May 2013, Phillips will be releasing a new chapter in the fun and lighthearted adventure, and with each chapter, a puzzle to be solved as well.  By successfully solving the puzzles, a reader will be able to find the secret online location to Lucy's treasure.

In February, 2016, Phillips published The Daring Mermaid Expedition, an interactive fiction set in the Lucy Smokeheart world, with Choice of Games.

In July, 2020, she published America Inc.: A novel of democracy and dirty tricks, in which a corporation runs for President of the United States.

References

External links
International Games Developers Association
Official website

1974 births
Living people
People from Michigan
American game designers
Transmediation

Andrea Phillips


Kamaljit Singh Bawa, FRS (born 7 April 1939 in Punjab, India) is an evolutionary ecologist, conservation biologist and a distinguished professor of Biology at the University of Massachusetts, Boston. He is also the founder of Ashoka Trust for Research in Ecology and Environment (ATREE). In 2012, Bawa received the first Gunnerus Sustainability Award, the world's major international award for work on sustainability. He is an elected member of the American Academy of Arts and Sciences. He was elected a Member of the American Philosophical Society in 2019.

Academic career
Bawa received B.S., M.S., and PhD degrees from Panjab University, Chandigarh, India. After receiving his PhD in 1967, he came to the United States as a postdoctoral research associate and instructor at College of Forest Resources, University of Washington. He received the Maria Moors Cabot and the Charles Bullard Research Fellowships at Harvard University in 1972 and worked as a research fellow at the Grey Herbarium, Harvard University from 1973 to 1974. In 1974, he joined the Department of Biology, at University of Massachusetts, Boston as an assistant professor. He was promoted to associate professor in 1977 and to full professor in 1981 and became a distinguished professor in Biology in 1996 at the Department of Biology at University of Massachusetts, Boston.

Accolades and institutional affiliations

Along with First Gunnerus Sustainability Award, Bawa is a recipient of the highest awards from the two main professional societies in his field. In 2003, the Association for Tropical Biology and Conservation bestowed on him its highest honour by electing him as an Honorary Fellow.  The Society for Conservation Biology awarded him its Distinguished Service Award in 2009. He also received P.N. Mehra Memorial Award in Botany in 2007.

Bawa has been a Guggenheim Fellow from 1987 to 1988 as well as a Pew Scholar in Conservation and the Environment from 1991 to 1996, a Giorgio Ruffolo Visiting Scholar in Sustainability Science in the Sustainability Science Program at Harvard's Center for International Development, and a Bullard Fellow at the Harvard Forest in 1972, and again in 2009. He was an elected fellow for The National Academy of Sciences, India and the American Association for the Advancement of Science (AAAS), American Academy of Arts and Sciences, and the Royal Norwegian Society of Letters and Sciences.

He has served on NSF Advisory Panel on Conservation and Restoration Biology in 1991 and on population biology in 1993, 1994. He has also been a member of the Science Committee, DIVERSITAS-agrobiodiversity Group since 2006. He also serves on the advisory boards of Conabio, Natureserve, TEAM Program of Conservation International, William L. Brown Center of the Missouri Botanical Garden. He is a member of the Board of Trustees of S M Sehgal Foundation, previously named the Institute of Rural Research and Development (IRRAD), the Foundation for Revitalization of Local Health Traditions, and the Committee for Research and Exploration of the National Geographic Society.

He is the president of the Ashoka Trust for Research in Ecology and Environment (ATREE), a non-governmental organisation devoted to research, policy analysis, and education in India, member of the governing boards of the Institute of Ayurveda and Integrative Medicine, and Village Forward.

Bawa was elected as a Fellow of the Royal Society (FRS) in 2015.

In 2016 he was awarded the Jose Cuatrecasas Medal for Excellence in Tropical Botany.

Publications
Bawa is the author of more than 180 academic papers, author or editor of ten books, monographs or special issues of journals including Sahayadris: India's Western Ghats – A Vanishing Heritage. He is the editor-in-chief of Conservation and Society, an interdisciplinary journal in conservation; associate editor of Ecology and Society; and academic editor of PLoS ONE. He is a member of the editorial board of Journal of Sustainable Forestry. He was an associate editor of Conservation Biology from 1987 to 1993. He served on the editorial board of Journal of Arnold Arboretum from 1986 to 1990, Journal of Tree Science from 1986 to 1991, and Evolutionary Trends in Plants from 1987 to 1992.

Books

 Himalaya: Mountains of Life

References

1939 births
Indian ecologists
Conservation biologists
Fellows of the American Academy of Arts and Sciences
Living people
Missouri Botanical Garden people
Fellows of the Royal Society
Indian emigrants to the United States
Scientists from Punjab, India
20th-century Indian biologists
Members of the American Philosophical Society
University of Massachusetts Boston faculty

Kamaljit S. Bawa


Bet van Beeren (12 February 1902—16 July 1967) was a flamboyant, legendary bar owner in Amsterdam. While hers wasn't the first bar that allowed LGBT persons to openly associate, the fact that she was openly lesbian, and accepting of a very diverse clientele, led her establishment to be one of the most known. In 2017, she was honored by the city of Amsterdam when a canal bridge was renamed in her honor.

Early life
Elisabeth Maria van Beeren was born on 12 February 1902 in the Jordaan neighborhood of Amsterdam to Maria Johanna (née Brants) and Johannes Hendrik van Beeren. She was the oldest daughter and one of thirteen children of the couple. Her father worked in street construction and her mother ran a boarding house and delivered fish and vegetables by car around the neighborhood. Bet's education ended at middle school because her family needed her to work.

Career
Van Beeren went to work in a canning factory on Haarlemmerweg, quickly working her way up to foreman, but she didn't like the job and the work was dangerous. She lost two fingertips while working and after a fight with her boss, quit and went to work for her uncle at his pub, Amstelstroom, where she had previously worked part-time. She also rode around town in leather clothing on her motorcycle and sold fish. In 1927, she bought the bar with loans from the Oranjeboom Brewery and thereafter, was always loyal to that brand of beer, though other breweries later tried to gain her patronage. It was very unusual for a woman to own a business at that time, especially on the rough seawall area where it was located. She renamed the pub, Café 't Mandje (The Basket Café) because her mother brought the food in every day in a basket.

Van Beeren ran an open establishment where lesbians and gays could freely associate as long as there was no kissing, which would have violated the vice laws and have cost her her liquor license. Her mixed clientele included artists, intellectuals, pimps and prostitutes, sailors, and Major Bosshardt, the disapproving head of the Salvation Army. Van Beeren was flamboyant, craving the spotlight, and often dressed in a sailor suit or leathers, entertaining her clients with singing and dancing. She was openly lesbian, though she could entertain wealthy men if it would put meat or pastries on her family table. She drank a lot, some reports were 40 bottles of beer a day, and could curse like a sailor.

Making a lot of money from the pub, van Beeren was known for her charitable works, helping the poor, children and the elderly. She also claimed to have paid for one of the crosses atop the Nicholaas Church. Among her other legendary deeds, she allowed the bar to be used as an arms depot for the Dutch resistance during the Nazi occupation of the Netherlands. While homosexual men became targets of the Germans, van Beeren's pub was off-limits to German troops because of its reputation as a red-light district establishment. The use of the term owl for heterosexuals has been attributed to a device van Beeren used when the bar was being raided or when homophobic patrols were sweeping the area. She had a light installed in a plaster owl, which was lit to warn her customers. She hung neckties and souvenirs from patrons from the ceiling, held dances on Queen's Day where same sex couples could dance together, and on Fridays would let the Salvation Army band come in to raise funds for charity.

Death and legacy
Van Beeren died of liver disease on 16 July 1967. She laid in state on the billiard table of the pub for several days before her burial on 20 July at the Nieuwe Oosterbegraafplaats in Amsterdam. Greet, van Beeren's younger sister, continued to operate the business until 1982, when she closed it because of the heroin trade expansion in the area. Some of the items from the bar were incorporated into the Amsterdam Museum in 1998, but for the most part, the building remained untouched until Greet, shortly before her death, sold it to her niece, Diana van Laar. Van Laar completed a renovation of the pub and reopened it on 2 April 2008. In 2017, a  bridge spanning the Oudezijds Achterburgwal canal between the Korte Stormsteeg and Korte Niezel streets was renamed on the pub's 90th anniversary to honor van Beeren in a symbolic representation of her building bridges in the community between diverse groups.

References

Citations

Bibliography

1902 births
1967 deaths
Businesspeople from Amsterdam
Dutch lesbians
LGBT history in the Netherlands
20th-century Dutch businesspeople
20th-century Dutch LGBT people
Deaths from liver disease

Bet van Beeren


John of Montfort (; died 27 November 1283) was lord of Toron from 1257 to 1266 and Lord of Tyre from 1270 to 1283. He was the son of Philip of Montfort (lord of La Ferté-Alais, of Bréthencourt, of Castres, of Toron and of Tyre), and his second wife Maria of Antioch-Armenia (the elder daughter of Raymond-Roupen of Antioch and hence Lady of Toron and pretender of Armenia).

When he came of age, he received the lordship of Toron from his father, but the Mamluks conquered it in 1266. On 22 September 1268 he married Margaret, daughter of Henry of Antioch and of Isabella of Cyprus. Margaret was the sister of king Hugh III of Cyprus, who later became king of Jerusalem and negotiated a certain number of alliances with the nobility of the kingdom in order to shore up his pretence against Charles I of Sicily.  On the occasion of this marriage, Hugh III confirmed Montfort's possession of Tyre but reserved the throne's right to retake the fiefdom if John and Margaret died without issue.

In 1270 his father was killed by the Assassins, and John succeeded to the lordship and governed Tyre until his death in 1283.  He had no children, so Hugh III allowed  Humphrey of Montfort to succeed his brother.

Sources

1283 deaths
Christians of Lord Edward's crusade
John
John
Year of birth unknown

John of Montfort, Lord of Tyre


Business studies, often simply called business, is a field of study that deals with the principles of business, management, and economics. It combines elements of accountancy, finance, marketing, organizational studies, human resource management, and operations. Business studies is a broad subject, where the range of topics is designed to give the student a general overview of the various elements of running a business. The teaching of business studies is known as business education.

Countries in which the subject is taught under the name "business studies" include Mauritius, Oman, South Korea, Argentina, Australia, Bangladesh, Nepal, Brazil, Canada, Hong Kong, India, Ireland, Mexico, Singapore,  Malaysia, Cambodia, Kenya, Poland, Malta, New Zealand, Nigeria, Pakistan, South Africa, Sri Lanka, Sweden, the United Kingdom, Namibia, Zimbabwe and Indonesia.

United Kingdom

England
Business studies can deals be taken as part of the General Certificate of Secondary Education (GCSE) option for Year 9, Year 10 and Year 11 at secondary school and also can be taken as part of a GCE Advanced Level (A-level) course in Year 12 and Year 13. It includes a range of subjects, which give the student general understanding of the various elements of running a business. Subjects covered include, but are not limited to: Business Organization, People in Business, Marketing, Operations & Production, Finance, and Strategic Management.

Scotland
Business management is an option for National 5 and Higher qualifications. Both National 5 and Higher exams cover Understanding business, People, Finance, and Marketing and operations.

Entry to UK Higher Education
The University of Cambridge considers business studies not to be a 'traditional academic subject', although taking business studies individually will not disadvantage students as long as it is identified as 'essential' or 'desirable' for the course being applied for. It is also suitable when applying for economics at university, if the college the candidate comes from does not offer the economics A-level individually.

Hungary
After finishing secondary school, students in Hungary have the option of either taking an accredited 2–4 semester business course and obtaining a certificate, or applying to college or university. Students can also take part in a 2-semester preparatory business course to have a greater chance of getting accepted by a university. Hungarian business education has been organized according to the Bologna system since 2006.

Nepal
Business studies programmes are widely taught in the Nepal, where it is taught at every colleges of +2 level and also in colleges that provide A-Levels. A number of universities (public and private) are offering business studies programme under the heading of Business Administration.

South Africa
In South Africa, Business Studies  can be taken as an elective subject from a student's Grade 10 year through to their Grade 12 year;
it is offered as part of the standard NSC, as well the IEB (see Matriculation in South Africa).
As elsewhere, the syllabus covers a range of topics designed to give the student general understanding of the various elements of running a business. Accountancy  and Economics  are offered as separate, and more technical, subjects.

India
Business Studies is taught at the higher secondary level (Class 11 and 12) for students who have taken the Commerce Stream subject. According to the Central Board of Secondary Education, Business Studies is a compulsory subject for Commerce Stream along with Economics and Accountancy students. At the state board, the subject code for Business Studies is 054.

See also
 Business administration
 Business economics
 Business education

References

Business education

Business studies


A pull-tight seal (or pull-up seal) is a disposable tamper-evident seal which restricts access to closed objects for those who do not have access. The tightening seal is needed in cases where the use of more sophisticated security measures are impossible or impractical. The seal is not established for the physical protection of the object which is sealed, but for indicating attempts to interfere.

Layers of security
The tightening seal (Pull-up type) uses multiple layers of security:
an individual number;
an individual logo;
protection for the latching mechanism against direct access;
the ability to control of a condition of the locking mechanism (collet);
a material of collet production;
labeling method (pad printing or laser marking).

Any attempt to circumvent one of these protections must be visible easily and immediately.

Access control
The seal gives users the opportunity to provide access control to objects such as warehouses, vehicles, containers, gas stations, offices, vault cash in banks, cash collection bags, slot machines, lockers, luggage and many other objects. Also food (fish, meat, honey) and fur animals can be protected from forgery.

Design

The design of the pull-tight seal is configured of plastic in the form of arrows. They have a surface for marking an individual number and latching mechanism on the one hand, and a plastic cable on the other. Like a zip tie, the cable forms a loop during mill threading into the collet, which can not be separated without damaging the cable or the locking mechanism. Its integrity is monitored through a transparent cover.

Advantages and disadvantages
Advantages:
the possibility of visual control of integrity;
easy to install;
high quality;
can not be opened without damage;
unique numbering;
favorable price.
Disadvantages:
seal's material is easily broken and can not serve as a fastening element.

Security
Tamper-Evident: Pull-tight seals are designed to provide visual evidence of tampering. Once they are properly secured, any attempt to remove or tamper with the seal will cause visible damage or indicate signs of interference.

Adjustable Length: Pull-tight seals offer adjustable lengths, allowing them to fit a variety of applications. They can be pulled tightly around the item being secured, preventing unauthorized access or tampering.

Unique Identification: Many pull-tight seals come with unique identification numbers or barcodes printed on them. This feature helps in tracking and verifying the seal's authenticity and can be useful for inventory management or security audits.

Secure Closure: Pull-tight seals use a locking mechanism that securely fastens the seal in place. Once tightened, they are difficult to open without breaking or damaging the seal, ensuring the integrity of the sealed item.

Versatile Application: Pull-tight seals can be used in various industries and applications, such as securing cargo containers, securing doors, locking storage units, sealing evidence bags, and more. They are widely used in logistics, transportation, healthcare, law enforcement, and other sectors that require tamper-proof security measures.

Durable Materials: Pull-tight seals are typically made of strong and durable materials like high-density polyethylene (HDPE) or metal, which are resistant to tampering attempts such as cutting or pulling.

One-Time Use: Pull-tight seals are generally designed for one-time use. Once they have been removed or broken, they cannot be resealed, providing an added layer of security by preventing reapplication or resealing attempts.

Customization Options: Pull-tight seals can be customized with specific colors, logos, or text to enhance branding or identification. This customization can help differentiate between different security levels or indicate ownership.

Compliance Standards: Pull-tight seals may comply with industry standards and regulations, such as ISO 17712 for high-security seals used in international shipping containers. Compliance with these standards ensures that the seals meet specific security requirements.

It's important to note that the effectiveness of pull-tight seals relies on proper application and careful monitoring. Regular inspection and verification of the seals are necessary to ensure the integrity of the secured items.

Security

Pull-tight seal


The Lake City Community Memorial Building is a historic structure located in Lake City, Iowa, United States.  The building was built as a memorial to those who served in the American Civil War, the Spanish–American War, and World War I. It was a project of the women in the Lake City Civic Improvement Society, a Progressive Era organization that exemplified civic involvement and community cohesion. They provided the funding while the city council was responsible for its development. The two-story, brick Neoclassical structure was designed by the Des Moines architectural firm of Proudfoot, Bird & Rawson, and it was built by Arthur H. Neumann & Co., also of Des Moines. The main auditorium sat 750 people, and had a stage on the north side. It has subsequently been removed to increase the seating capacity. There was also a room for the city council chambers, which no longer meets here, a Memorial Room for use by the American Legion, kitchen facilities, and a women's meeting room. Across the top of the main facade are three limestone panels with the words "Soldiers," "Sailors," and "Marines" inscribed on them. In the arches above the three doors are inscriptions of the names of important battlegrounds from the three wars. Above the first door are: "Shiloh, Gettysburg, Antietam;" above the second, "Santiago, Manila, San Juan;" and above the third, "St. Mihiel, Argonne, Chateau Thierry." The building was listed on the National Register of Historic Places in 1990.

References

Buildings and structures completed in 1920
Lake City, Iowa
Neoclassical architecture in Iowa
Buildings and structures in Calhoun County, Iowa
National Register of Historic Places in Calhoun County, Iowa
Monuments and memorials on the National Register of Historic Places in Iowa

Lake City Community Memorial Building


Rebecca Sophia Clarke (February 22, 1833 – August 10, 1906), also known as Sophie May, was an American author of children's fiction. Using her nieces and nephews as inspiration, she wrote realistic stories about children. Between 1860 and 1903, she wrote 45 books, the most popular being the Little Prudy series. She spent most of her life in her native town of Norridgewock, Maine.

Early life and education

Rebecca Sophia Clarke was born in Norridgewock, Maine, to Asa and Sophia Clarke on February 22, 1833. She was tutored at home in the classical languages of Greek and Latin and attended school at the Norridgewock Female Academy. Along with her well-rounded education, preparation for her role as a writer probably began with her diary, which she kept from ages nine to eleven, diligently recording the sermons, debates and lectures she attended. At age 18, she moved to Evansville, Indiana, where she taught school. Her teaching career ended 10 years later due to a severe hearing loss and in 1861, she returned to her family home in Maine where she lived with her sister, Sarah Jones Clarke (1840-1929), who also wrote children's books and used the pen name, Penn Shirley.

Career

Clarke's work was published using the pseudonym, "Sophie May". She penned that name in 1861 and used it to sign her first story, which was published in the Memphis Appeal. When the story was finished, she signed her name, Sophie, and then said: "Well, I'll call it May, for I may write again and I may not".

Clarke was called "the Dickens of the nursery". The children in her books were often naughty and uninhibited. She was one of the first authors to write stories for children that depicted them realistically with all their humor, imagination and mischievousness, unlike the impossibly perfect children of previous fiction. Her most successful stories were of the Little Prudy characters which made their first appearance in short stories for children's periodicals, such as Grace Greenewood's The Little Pilgrim and the Congregationalist. Clarke's nieces were the inspiration for her characters: Prudy, Susy, and Dotty Dimple. The series was later published into books. She also contributed to other children's magazines, including Merry's Museum. From 1861 until 1903, Clarke wrote forty-five books, thirty-seven of these were series books and at least five of the others were also for children.

Later years

Clarke gave the city of Norridgewock a "brick building at the end of the bridge, to be used for library purposes and as a home for the "Village Improvement Society" in Norridgewock". She traveled and spent her winters in Baltimore, Florida, as well as California. After several months of "feeble health", Clarke died in Norridgewock, at the age of 73, on August 16, 1906. She is buried at the Old Oak Cemetery.  Her longtime home in Norridgewock is listed on the National Register of Historic Places.

List of works

Little Prudy (series 1864-1868)
 Little Prudy (1864), Sister Suzy (1864), Captain Horace (1864), Cousin Grace (1865), Fairy Book (1865), Dotty Dimple (1868)

Dotty Dimple (series 1868-1869)
 Dotty Dimple at Her Grandmother's (1868), Dotty Dimple Out West (1868), Dotty Dimple at Home (1868), Dotty Dimple at Play (1869), Dotty Dimple at School (1869), Dotty Dimple's Flyaway (1869)

Little Prudy's Flyaway (series 1870-1873)
 Little Folks Astray (1870), Prudy Keeping House (1870), Aunt Madge's Story (1871), Little Grandmother (1872), Little Grandfather (1873), Miss Thistledown (1873)

Flaxie Frizzle(series 1876-1884)
 Flaxie Frizzle (1876), Doctor Papa (1877), Little Pitchers (1878), Twin Cousins (1880), Flaxie's Kittyleen (1883), Flaxie Growing Up (1884)

Little Prudy's Children (series 1894-1901)
 Wee Lucy (1894), Jimmy Boy (1895), Kyzie Dunlee (1895), Wee Lucy's Secret (1899), Jimmy, Lucy, and All (1900), Lucy in Fairyland (1901)

Quinnebasset Girls (series 1871-1903)
 Doctor's Daughter (1871), Our Helen (1874), Asbury Twins (1875), Quinebasset Girls (1877), Janet (1882), In Old Quinnebasset (1891), Joy Bells (1903)

Other known books

 Kittyleen (1883)
 Drones' Honey (1887),
 Pauline Wyman (1897)
 The Champion's Diamonds (1897)

References

Further reading

External links
 Biography from readseries.com

American children's writers
Writers from Maine
People from Norridgewock, Maine
1833 births
1906 deaths
19th-century American women writers
Wikipedia articles incorporating text from A Woman of the Century

Rebecca Sophia Clarke


The People's Freedom Union was a left wing American political group which existed from 1919 to 1920. Established as a federation of liberal and radical organizations in New York City, the People's Freedom Union conducted marches in support of political prisoners detained under the Espionage Act during World War I, campaigned for a restoration of American civil rights suspended under the war, and agitated against American intervention in Mexico and Soviet Russia.

Organizational History

Establishment

The People's Freedom Union was the organizational successor of the People's Council of America, an anti-war organization established in New York City by pacifist and socialist political activists in an effort to end American participation in the European war. The group was headquartered at 138 West 13th Street, premises it shared with the American Civil Liberties Union. The organization declared itself a federation of "several New York groups" which intended to practice "the One Big Union idea applied to the peace-and-freedom movement."

The People's Freedom Union was organized in opposition to the expansion of militarism and imperialism in the post-war world. It declared in its literature that "imperialism is not dead, even though the kaiser and the other emperors have gone" and postulated that the empire-building foreign policy of Great Britain, France, Japan, the United States, and other nations was setting the table for a new round of war. The group therefore sought to organize "liberal and radical forces of the world" in advance of the next conflagration, to "get ready now before the passions of war again sweep them aside."

The group also sought the reestablishment of American civil liberties suspended during the World War I under the Espionage Act, declaring that "democracy without the unrestricted right to discuss public policies is the shabbiest of pretenses." It cited the recent banning and dispersal of public meetings, suppression of dissident newspapers, and the deportation and imprisonment of critical public speakers as examples of the abusive state of then-current law.

The People's Freedom Union declared its intent to take on "concrete tasks not already covered" by other groups participating in the federation, with a design to "gradually absorb other groups". The group was governed by an executive committee, with permanent officers and committees organized around specific projects handling day-to-day affairs.

The People's Freedom Union maintained a publication department under the imprint of "The People's Print", which issued weekly leaflets on pertinent topics in the news and was responsible for the issuance and sale of occasional pamphlets. The group also established a speaker's bureau which coordinated speaking tours of "men and women of national and international note who have a message bearing upon the objects for which the organization stands."

Activities

The People's Freedom Union organized a march up Fifth Avenue in New York on Christmas morning, 1919, in support of political prisoners. The march was to be followed by a dispersal in groups of 10 to picket on behalf of prisoners outside churches throughout New York City in hopes of stirring attendees in support of the cause of freeing prisoners of conscience jailed under the Espionage Act during the war. The march was ultimately broken up by the New York Police Department.

A critic of the organization later opined that this demonstration a "rather melodramatic", in which the participants paraded in single file, carrying banners in support of their cause. This criticism, contained in the report of the Lusk Committee established in 1919 by the New York State Senate, declared that marchers had been "led astray with respect to the great forces at play on the public opinion of the American people" and that:
The persons who have participated in this movement, not necessarily familiar with the objects and the purposes which actuate it, are sowing the seeds of disorder and doing their part to imperil the structure of American institutions.

The organization also organized a demonstration on February 12, 1920, at the White House in Washington, DC, in an effort to move President Woodrow Wilson to grant amnesty to political prisoners.

Membership

Executive Secretary of the People's Freedom Union was Frances M. Witherspoon.

Secretary of the Free Political Prisoners Committee of the People's Freedom Union was Tracy Dickinson Mygatt. Other well-known individuals involved in the organization included Evans Clark, Elizabeth Gurley Flynn, Lewis Gannett, Harry W. Laidler, Jessica Smith, and Norman Thomas, as well as sociologist Winthrop D. Lane.

Footnotes

Publications

 Alice Riggs Hunt, Facts about Communist Hungary Previous to its Overthrow by the Supreme Council at Paris. New York: The People's Press, n.d. [c. 1919].
 Louis P. Lochner, Mexico — Whose War? New York: The People's Press, n.d. [c. 1919].
 Scott Nearing and Eugene V. Debs, Before the Court: Nearing — Debs. New York: The People's Press, n.d. [c. 1919].
 Albert Rhys Williams, Russian Soviets: Seventy-six Questions and Answers on the Workingman's Government of Russia. New York: The People's Press, n.d. [c. 1919].
 Frances Fenwick Williams, The Winnipeg General Strike. New York: The People's Press, n.d. [c. 1919].
 Legislative Committee of the People's Freedom Union, The Truth About the Lusk Committee. New York: The Nation Press, March 1920.

See also

 American Civil Liberties Union
 People's Council of America for Democracy and Peace

Organizations established in 1919
1920 disestablishments in the United States
Civil liberties advocacy groups in the United States
Government watchdog groups in the United States
American Civil Liberties Union
1919 establishments in New York City

People's Freedom Union


Marie of Korikos (1321 – before 1405) served as the queen consort of Armenia from 1344–1363 and 1365–1373 through marriage to the kings Constantine III and Constantine IV, respectively.

After her second husband's death in 1373, she served as the penultimate ruler of the Armenian Kingdom of Cilicia, governing what little remained of the kingdom as regent from April 1373 to the election and coronation of Constantine's successor Leo V on 14 September 1374.

Life
Marie's maternal grandparents were Philip I, Prince of Taranto and his first wife Thamar Angelina Komnene. Philip was son of Charles II of Naples and his wife Maria of Hungary.

Marie's paternal grandparents were Hayton of Corycus and Isabella of Ibelin, daughter of Guy of Ibelin and Maria of Armenia, herself daughter of Isabella, Queen of Armenia and her second husband Hethum I, King of Armenia.

Marie's father had previously been married to Margaret of Ibelin and had a daughter, her half-sister Alice of Korikos, who married Leo IV, King of Armenia but was murdered by him in 1329 along with Marie's father who had acted as regent but had killed various members of the Armenian royal family.

Queen of Armenia

Queen consort, 1344–1373
Marie married her first husband in 1340, Constantine III, King of Armenia. From this marriage she became Queen consort.

Both sons died in childhood and neither succeeded their father.  They are named by their father in a contemporary manuscript which records a donation to the convent of Sis in memory of his sons Oshin and Lewon.

After her husband's death on December 21, 1362, he was eventually succeeded by his cousin Constantine IV, King of Armenia. Maria married the new King of Armenia but they had no children. Maria died before 1405.

Constantine IV was a weak and unpopular ruler. His reign saw the dwindling of Armenian domains in Cilicia to consist of little more than a narrow coastal stretch around the city of Sis. By the end of his reign, the Armenians retained control of only the city's citadel. The Armenians hoped to find a possible successor to the throne that would connect them to Cyprus and Western Europe, thus securing support and aid. They first sent a delegation to the Cypriote prince Leo de Lusignan, nephew of the former king Constantine II, though he rejected the proposal. When the delegation returned in April 1373, Constantine IV was assassinated.

Queen regent, 1373–1374
Upon the death of Constantine IV, an heir not yet having been chosen, Marie became regent of what remained of the kingdom.

Further delegations continued to be sent in search for a possible king. The Armenian nobles still desired to make Leo their king and sent a delegation to Peter II of Cyprus to ask for his approval of Leo's succession to the throne. Peter refused since he desired the Armenian throne for himself. Shortly thereafter, Leo nevertheless arrived in Armenia, accompanied by a tiny army to Sis. He reached the capital on 26 July 1374 and was crowned on 14 September, ending Marie's regency.

Issue
With Constantine III, King of Armenia:
Oshin (d. 1356), died young
Lewon (1338 – before 1357), died young

References

Bibliography
 T.S.R. Boase, editor. The Cicilian Kingdom of Armenia. Scottish Academic Press, 1978.

Queens consort of Armenia
1321 births
Year of death unknown
Hethumid dynasty
14th-century Armenian people
14th-century Armenian women
15th-century Armenian people
15th-century Armenian women
 14th-century women rulers

Marie of Korikos


Willow Shields (born June 1, 2000) is an American actress. She rose to widespread fame for her portrayal of Primrose Everdeen in the sci-fi dystopian adventure film series The Hunger Games (2012–2015). She earned nominations for a Young Hollywood Award and an MTV Award for her performance in the franchise's second and final installments respectively.

Shields made her acting debut with a guest appearance on the drama series In Plain Sight (2009), and subsequently starred in a supporting role in the television film Beyond the Blackboard (2011). Following The Hunger Games series, she has since achieved mainstream recognition for headlining the international-production fantasy film Into the Rainbow (2017), and playing Lorian in the drama film Woodstock or Bust (2019) and Serena in the Netflix drama series Spinning Out (2020).

Early life
Willow Shields was born in Albuquerque, New Mexico, the daughter of Carrie and Rob Shields, an art teacher. Her older brother, River, and twin sister, Autumn, are also actors.

Career

Beginnings and The Hunger Games film series (2008–2015)
Shields' first job was in 2008, where she had a small narrating role in the short film Las Vegas New Mexico 1875. She then made her screen debut for playing Lisa Rogan on the USA drama series In Plain Sight, a minor character seen in the episode "In My Humboldt Opinion" which was released in 2009. In 2011, Shields appeared in the television film Beyond the Blackboard alongside actress Emily VanCamp. In the film, she portrays a homeless child named Grace.

Shields was next cast in the science fiction adventure film The Hunger Games in April 2011, her first feature film role, where she was given the supporting role of Primrose Everdeen. Released the following year in March, The Hunger Games broke several box-office records and emerged as one of the highest-grossing films of its year. It was positively received by critics and audiences, and helped bring Shields widespread recognition. On portraying Primrose, she has said that "just growing up as the character is going to be really fun".

Shields went on to reprise the role of Primrose in the rest of the franchise. The series' second installment was the highest-grossing film of 2013, as well as the best received film of the franchise; she earned a nomination for a Young Hollywood Award for her performance in 2014. She was set to reprise the role for the series' final two films, Mockingjay Part 1 and Mockingjay Part 2, released in 2014 and 2015 respectively to critical and commercial success. The four films grossed a collective $2.97 billion at the box-office, which places it at 21st on the list of highest-grossing film franchises of all time. For Mockingjay Part 2, she received a nomination for an MTV Award.

Dancing With The Stars and mainstream roles (2016–present)
In 2012, it was announced that Shields would star as Rachel in the fantasy film The Wonder. Following a lengthy production, in which filming was done across China and New Zealand, it was released as Into the Rainbow in 2017, across various international film festivals. A theatrical release is planned, albeit it has been halted due to the COVID-19 pandemic. She was also cast in 2012 in the upcoming film A Fall From Grace, which is directed by Jennifer Lynch.

In February 2015, Shields was announced as one of the celebrities to compete on season 20 of the reality series Dancing with the Stars, where her professional partner was Mark Ballas. At age 14, she is the youngest competitor to ever appear on the show; the title previously belonged to Zendaya, who was 16 when she appeared on the series. The couple was controversially eliminated in the seventh week of competition, ultimately finishing in seventh place despite receiving consistently high scores from the judges throughout the season.

Dancing With the Stars performances

In 2018, Shields headlined the coming-of-age independent film Woodstock or Bust as Lorian. Her performance gained praise from critics, and won her an award at the Artemis Women in Action Film Festival. In December of that year, it was announced that Shields was cast in the role of Serena Baker on the Netflix original series Spinning Out. A series centered on figure skating, her stunts were performed by stunt actor Kim Deguise Léveillée. Spinning Out was released in 2020 to generally positive reviews, however it was cancelled after one season.

Personal life
In June 2022, Shields came out as bisexual via an Instagram post.

Filmography

Film

Television

Awards and nominations

References

External links

Living people
2000 births
American child actresses
American film actresses
American television actresses
Actresses from Albuquerque, New Mexico
21st-century American actresses
American twins
Fraternal twin actresses
American bisexual actors
Bisexual actresses
LGBT people from New Mexico

Willow Shields


Bank of the West Tower is a highrise office building in Albuquerque, New Mexico. It is located on Central Avenue some  east of Downtown. At , the 17-story tower was the tallest building in New Mexico when completed in 1963. It is now the fifth tallest building in the state, and the tallest outside of Downtown Albuquerque. The building was developed by the Del Webb Corporation and designed by the architectural firm of Flatow, Moore, Bryan, and Fairburn. For most of its history, the tower housed a succession of bank branches.

History
The tower was built by the Del Webb Corporation and originally housed the East Central branch of the First National Bank of New Mexico. The original name of the building was First National Bank Building East to avoid confusion with the bank's main building downtown. Groundbreaking ceremonies took place on July 12, 1961, and the bank was officially opened for business on February 16, 1963. During construction, the builders reportedly attached numbers to the side of the building to prevent drivers from being distracted by trying to count the number of floors.

When completed, the  tower surpassed the New Mexico Bank & Trust Building to become the tallest in New Mexico. Its construction, far from the existing highrises downtown, reflected an ongoing shift of people and capital from Albuquerque's decaying city center to the more suburban Northeast Heights. The building was intended to become the focal point of a new urban development called First National Bank Center, though ultimately only one other tower was built, an adjacent 10-story office building that once housed the headquarters of Microsoft. With urban renewal efforts underway downtown, the new highrise lost its title as the city's tallest building to the National Building just three years after opening, though it remains the tallest building in the city outside of Downtown.

The First National Bank branch originally occupied the first two floors of the building, while the basement housed the vaults and lock boxes, an event room, and a cafe. The top two floors were reserved for the members-only Albuquerque City Club. The club facilities included a bar, dining room, beauty salon, and saunas on the 16th floor, and a gymnasium and rooftop deck "for dancing, sunbathing and other outside activities" on the 17th floor. The club went out of business after only two years and its space was eventually converted into two residential penthouses, which remained in place as of 2015 along with a rooftop racquetball court.

First National Bank was purchased by First Security Bank in 1993, and the building's name and signage changed accordingly. The tower was renamed again in 2001 when Bank of the West bought the branch. The building is now vacant.

Architecture
The Bank of the West Tower was designed by the Albuquerque firm of Flatow, Moore, Bryan, and Fairburn, which was also responsible for the nearly identical Del Webb Building in Phoenix (later extensively remodeled). The building has 17 above-ground floors and a basement level, giving a total of  of floor space. The frame was constructed from poured-in-place reinforced concrete and employed post-tensioned girders to distribute the weight of each floor to the tower's exterior columns and central core, allowing for a column-free interior. The post-tensioning system also reduced the overall height of each story, allowing the developers to add an extra floor without changing the planned height.

The building's ground floor features pillars faced with gray Italian marble framing 28 large plate glass windows. The lobby and banking hall were originally finished in gray and cream-colored marble with walnut and aluminum trim, while "a dark green Grecian marbleized vinyl covering" was used on the upper floors. The elevator lobbies were decorated with fifteen  murals by Alice Garver depicting various aspects of New Mexico history, including indigenous peoples (second floor), covered wagons (10th floor), the Atomic Age (16th floor), and the Duke of Alburquerque (17th floor). Like much of Garver's work, the murals were fragile and have not survived.

On the exterior, white paint and tinted glass were used to reduce the building's cooling load. Each spandrel is faced with gold ceramic tile, which architect Max Flatow described as containing actual 23-karat gold, saying "We would be a richer society if we used our precious things on buildings instead of burying them in the ground." Approximately 2.5 million of the one inch square tiles were required to cover the building. The exterior of the tower is also decorated with gold-colored aluminum screens on the eleventh floor.

The top of the building originally featured the text "FIRST NATIONAL BANK" in illuminated green letters on all four sides. This was replaced in 1993 with "FIRST SECURITY BANK" in red lettering, and then in 2001 with the Bank of the West logo. As of 2012 the building no longer features any exterior signage.

See also
List of tallest buildings in Albuquerque

References

External links
Bank of the West Tower at Albuquerque Daily Photo

Skyscraper office buildings in Albuquerque, New Mexico
Buildings and structures on U.S. Route 66
Bank buildings in New Mexico
Office buildings completed in 1963
Modernist architecture in New Mexico
1963 establishments in New Mexico

Bank of the West Tower (Albuquerque)


Dahomey was a French colony. It was part of French West Africa from 1904 to 1958. In 1947, Dahomey became part of the French Union and had more freedom. On 11 December 1958, the French Fifth Republic was started. The colony became the self-governing Republic of Dahomey. Two years later on 1 August 1960 the country had full independence. In 1975 it changed its name to Benin.

History of Benin
French colonial empire
Former colonies in Africa

French Dahomey


Public Access is a 1993 American drama film directed by Bryan Singer in his feature film debut.  Singer also wrote the screenplay with Christopher McQuarrie and Michael Feit Dougan.  The film was shot in 18 days for US$250,000.  It was screened at the 1993 Sundance Film Festival, where it was a joint winner of the Grand Jury Prize.  Critics praised the technical direction of Public Access but did not lend similar praise to the film's story and the characters.

Plot

A clean-cut drifter ends up in a small town called Brewster. Getting wind of the local public-access television cable TV station, the man decides to host his own show called Our Town, which becomes a focal point for town citizens to call in and voice their problems anonymously. However, things start to get ugly and tensions rise for the show, which begins to elevate the man's signature catchphrase "What's wrong with Brewster?" into an entirely new subject for the people of Brewster, when the town becomes embroiled in a mess it has created, driven by a man whose intentions might be far more sinister than he appears to be.

Cast

Production
Bryan Singer, Christopher McQuarrie, and Michael Feit Dougan wrote the screenplay for Public Access.  Singer directed the screenplay in 1992 on a budget of $250,000 and with a schedule of 18 days.  The crew used leftover film stock from Bram Stoker's Dracula and Hoffa.  The director recalled the production experience, "Chris and I look at that film and wince a little.  Part of our reaction is, 'Wow, look what we did then. It was so small and undeveloped.'  Part of it is reliving the circumstances of the days we filmed each scene. This production was fraught with 100 times more turmoil than Usual Suspects—every day was a crisis. And then we also feel very nostalgic about it."  Singer compared Public Accesss themes to his follow-up film The Usual Suspects, "The two films are similar in the notion of things not always being what they seem.  They're also about audiences' projections on a stranger. In many ways, Verbal in The Usual Suspects is an extension of Whiley, by being a foil for our projections. Both films are about telling stories and provoking, which segues into my style—using sound and images and music to create tension."

Reception

When Public Access screened at the 1993 Sundance Film Festival, it was one of the two films to win the Grand Jury Prize in dramatic competition, sharing the award with Ruby in Paradise.  It also screened at the 1993 Florida Film Festival and won the Audience Award for best feature film.  Despite the recognition, the film did not secure a theatrical distributor.

Variety called Public Access a "technically proficient" film considering its small budget and schedule.  The trade paper observed, "What Singer and his co-scenarists seem to be getting at is a critique of Reagan-era greed, hypocrisy and antihumanism, as well as a commentary on the power of the media and its ability to distract the public from issues with attractive surfaces."  It summarized, "This very low-budget study of malaise lurking beneath the tranquil surface of a typical small American town is serious-minded and bounces around some provocative ideas, but is vague about important matters such as key story points, motivation and overriding theme."  Newsweek wrote, "The 27-year-old Singer's a real talent, but the moody 'Public Access' needed a stronger script. After an intriguing buildup, in which a mysterious stranger enters a small town and stirs up trouble on public-access TV, the story self-destructs."

Time Out Film Guide described Public Access as "this chilly little parable [that] taps into the poisonous well-springs of the middle-American psyche".  The magazine reviewed, "The film is overly measured, with lots of slow zooms and slow motion (even the actors seem to be on go-slow), but it's engrossing, and Marquette [who plays Whiley Pritcher] is a genuinely scary customer, a dry-cleaned all-American sociopath."  In contrast, The Hollywood Reporters Henry Sheehan wrote of Public Access as "a virtuosically stylish independent feature that is as full of flourishes as it is devoid of meaning".  Sheehan found the film "visually... ingenious" and that the soundtrack had "an inventive sophistication".  Despite the highlights, he felt that Public Accesss characters were "mere exigencies" and that the film could be "in the service of a more coherent or articulate story".

References

Further reading

External links

1993 films
1993 independent films
1990s thriller films
American independent films
American thriller films
1990s English-language films
Films scored by John Ottman
Films about television
Films directed by Bryan Singer
Films with screenplays by Christopher McQuarrie
Sundance Film Festival award-winning films
Films produced by Bryan Singer
Films with screenplays by Bryan Singer
1993 directorial debut films
1990s American films

Public Access (film)


Kentucky Educational Television (KET) is a state network of PBS member television stations serving the U.S. Commonwealth of Kentucky. It is operated by the Kentucky Authority for Educational Television, an agency of the Kentucky state government, which provides more than half of its annual funding. KET is the dominant public broadcaster in the commonwealth, with transmitters covering the vast majority of the state as well as parts of adjacent states; the only other PBS member in Kentucky is WKYU-TV (channel 24) in Bowling Green. KET is the largest PBS state network in the United States; the broadcast signals of its sixteen stations cover almost all of the state, as well as parts of Illinois, Indiana, Missouri, Ohio, Tennessee, Virginia and West Virginia. The network's offices, network center and primary studio facilities are located at the O. Leonard Press Telecommunications Center on Cooper Drive in Lexington; KET also has production centers in Louisville and at the Kentucky State Capitol Annex in Frankfort.

The plan for a statewide educational broadcaster was first conceived in 1959 by O. Leonard Press, who served as the founding director for the Kentucky Authority for Educational Television when it was established in 1962 and remained with KET for three decades. Broadcasting began on September 23, 1968, and the network grew into a force in educational, cultural, and public affairs broadcasting in the state. Some of its educational programs, such as distance learning and adult education, attracted national interest. In 1997, KET took over WKPC-TV, which had formerly been a separate public television station in Louisville; in the years that followed, KET became the first digital broadcaster in Kentucky. In addition to offering national programming from PBS and American Public Television, KET produces programs on Kentucky public affairs and culture as well as educational content. One of its four channels is the Kentucky Channel, which covers the Kentucky General Assembly.

History

Creation of the network
Interest in educational television in Kentucky existed but was later compared to some other states. In 1953, an educational figure in Louisville told Bill Ladd of The Courier Journal, "I just hope that Arkansas, Mississippi, and Tennessee don't get so far ahead of us that we can't ever catch up. I hope that Kentucky doesn't start off 48th in educational television." While Jefferson County, home to Louisville, began the process to build what became WFPK-TV (now WKPC-TV) on channel 15 in 1957, and the station signed on the next year, the impetus for what became KET came on July 22, 1959, when O. Leonard Press, the director of the radio department at the University of Kentucky (UK)—owner of educational radio station WBKY, on air since 1940—proposed a statewide educational television network that would include studios at the university, interconnection with other universities, and a transmitter system to deliver educational programs to schools. This service was conceived along the lines of Alabama Educational Television, which had started in 1955 as the first statewide educational network. Press touted a system incorporating WFPK-TV as well as complete coverage of the Commonwealth with the capacity to "stamp out illiteracy" and ensure universal teaching of basic school subjects. He also pushed for the entire network to be built at once to ensure that rural areas, which most needed such a service, were just as well-served as Kentucky's population centers.

The network took an important step forward when the Federal Communications Commission (FCC) agreed to designate 10 new UHF television channels in the state for non-commercial educational use in August 1961; the original design did not include the transmitters at Elizabethtown or Owenton (as the existing WFPK-TV was included), though it did provide for programs to originate from Lexington, Louisville, or Murray. The plan gained the support of governor Bert T. Combs, and the 1962 Kentucky General Assembly passed a trio of bills to set up the Kentucky Authority for Educational Television, enable the State Board of Education to lease facilities, and allow the state to issue revenue bonds to finance construction. It was hoped to begin KET broadcasts by December 1963, but difficulties mounted, including the refusal of the Midwest Program on Airborne Television Instruction (MPATI) to sign a contract to furnish programs until schools enrolled in its service. In October 1963, the Kentucky Authority for Educational Television applied for the first construction permits to build the network after clarifying grant rules that initially seemed to make the state government ineligible for funding from the United States Department of Health, Education, and Welfare.

However, a two-year setback was experienced in 1964 when the General Assembly—which budgets on a biennial basis—refused to fund construction of the transmitters. Other state needs were prioritized: in education, these included issues in Jefferson County, low teacher pay, and transportation problems. Planning activities continued during the period. The Elizabethtown transmitter had been added to the proposed network by 1965, when a feature article in the Sunday Herald-Leader noted that Kentucky's plan for transmitter construction had been adopted by other states, notably Georgia. Schools, meanwhile, continued to depend on sources such as MPATI and commercial stations in bordering states, such as WSAZ-TV in Huntington, West Virginia. However, MPATI increased its fees, and WSAZ-TV dropped the mathematics program it was carrying due to scheduling difficulties, affecting 2,700 students in eastern Kentucky. Schools in south-central Kentucky continued to utilize educational programs from WDCN-TV in Nashville, Tennessee; Glasgow had been among the charter users of WDCN educational programming when it began in 1962, and Bowling Green followed suit in 1964.

The 1966 General Assembly budget provided the necessary funds to start work on building KET by including a $359,000 appropriation. Another impetus was given by the Stuart Blazer Foundation, set up by Ashland Oil founder Paul G. Blazer in memory of his deceased son. The foundation began buying and deeding transmitter sites to the state, beginning with the Somerset site in April 1966. Federal matching funds were applied for and received from the Department of Health, Education, and Welfare and the Appalachian Regional Commission, while the FCC granted the 12 construction permits later in the year. After awarding WCVN-TV in Covington in late September, the commission awarded the remaining construction permits in November, the largest single award of permits to one applicant in its history. Ground was broken on the Lexington production center in June 1967, followed by bids for the equipment needed at the studios and transmitters.

By May 1968, work on the Lexington and Somerset transmitters had been completed, and KET had announced its initial array of 19 in-school programs, mostly for elementary school students. However, site problems snarled work in Covington. Ashland Oil had provided property in the Taylor Mill area, though the city of Covington also provided sites. However, Taylor Mill met with citizen protest despite being approved by the city council, while sites in Covington would interfere with a new instrument landing system for the Greater Cincinnati Airport. As a result, KET opted to return to Taylor Mill, in spite of opposition whipped up by a local housewife who fretted the facility would be a hazard to aviation and generate interference to reception of other TV stations.

The O. Leonard Press years (1968–1992)
KET finally went on the air for the first time on September 23, 1968, at 7:30 a.m. Eastern Time (6:30 a.m. Central Time). The first broadcast started with Governor Louie B. Nunn speaking at the network's dedication ceremony; Nunn himself turned the dial to officially put the network on the air. That first day, eight transmitters opened, at Ashland, Bowling Green, Elizabethtown, Lexington, Madisonville, Morehead, Owenton, Somerset, plus two dependent translators at Hopkinsville and Owensboro. Initially unable to produce its own programs, the original set of courses broadcast by KET were leased or purchased from other producers.

The Hazard, Murray and Pikeville transmitters, construction of which was delayed by weather, were not ready in time for the start of the network; Murray went into service on October 7, and the Hazard and Pikeville transmitters went on the air near the end of the year. WCVN-TV in Covington began broadcasting on September 8, 1969. Approximately 72 percent of the state's school districts were equipped to utilize KET programs at launch, a figure that grew to 85 to 90 percent within a year. After exclusively providing programs for schools, KET initiated evening broadcasting utilizing programs from National Educational Television on January 6, 1969, a delay that allowed time to train personnel and complete the studio setup. KET transitioned to become a member station of PBS in 1970 upon its creation. That same year, it debuted its first instructional series, the 17-lesson Kentucky Is My Land for use in 7th-grade history classes.

After the initial twelve-transmitter network was completed, three more stations were added between 1970 and 1980. Network reception turned out to be poor in the Louisville area, prompting the network to launch WKMJ-TV channel 68 on August 31, 1970. In Paducah, unsuccessful commercial station WDXR-TV was donated to the network; it was rebuilt and returned as WKPD in 1979, and a full-power Owensboro transmitter, WKOH-TV channel 31, started operating on February 14, 1980. After the sign-on of WKOH, the network was broadcasting over a total of 15 transmitters throughout the state and on eight low-power translator stations, primarily in eastern Kentucky. By this time, however, the production of programs from studios at the state universities had ceased except for taped content, with Lexington serving as KET's only studio site. KET began to receive PBS programming via satellite on April 15, 1978.

During the 1970s, KET also matured in the area of programming and structure. Friends of KET, a non-profit volunteer organization supporting KET's fundraising, was incorporated in 1971. Three years later, Comment on Kentucky, one of KET's flagship public affairs shows, debuted. In March 1975, KET broadcast the network's first telethon, dubbed Festival '75, a 10-day-long programming schedule that temporarily converted the network to an alternative channel to commercial outlets; this was done in hopes for the network's regular programming schedule to expand to a seven-day schedule. Three months later, KET began broadcasting seven days a week with the debut of a Saturday schedule. In 1978, KET initiated nightly coverage during the sessions of the Kentucky General Assembly. In expanding its public affairs remit, KET had to deal with political controversy, notably around its legislative coverage.

These increased public affairs and other programs did not detract from KET's educational mission. By 1977, 75 percent of Kentucky schools used KET programming, primarily in elementary classes, including 99.3 percent of the state's special needs students. The network produced a GED adult education series sold to stations in 25 states and the Department of Defense. The nationally regarded GED program in several iterations has continued to be a part of KET. In 1989, country musician Waylon Jennings earned his GED by watching tapes of the KET programs on his tour bus.

The early 1980s were a time of budget cuts for many public broadcasters, including KET. The network was in part insulated by a timing quirk: federal construction credits from the new facilities in Paducah and Owensboro accrued to KET in 1980 and 1981 and offset most of the state's budget cuts. Despite this environment, Press continued to push for ambitious expansion. KET etc. began broadcasting on Lexington's new cable system in 1981 with adult education programs as well as replays of KET programming. In order to make the service more widely available in Lexington and statewide on translators, KET applied for the then-open commercial channel 62 in the area, but after three commercial groups also sought the channel, KET withdrew its proposal in June 1982. Despite budget cuts, Press was reluctant to cede to commercializing inroads. KET did not air regular annual pledge drives until 1981, and underwriting announcements were modest and did not use company logos.

Later in the decade, Press proposed that KET begin satellite delivery of its in-school programming directly to schools. This system began to take shape in 1988 under the name KET Star Channels. Schools were outfitted with satellite dishes as well as keypads designed to provide two-way communication between instructors in Lexington and students throughout the state, inspired by a football play predictor game at a Lexington sports bar; KET reached an agreement with the maker, NTN Communications, to use its technology. Additionally, ground was broken on an expansion to the KET facility. The first Star Channels course, on statistics and probability, was taught in January 1989 to 24 Kentucky high schools and another 41 high schools in 16 states. The program was then rolled out statewide in the wake of the Kentucky Supreme Court finding the state's education system unconstitutional. Star Channels attracted international attention, including delegations from China and Kuwait.

In 1990, the General Assembly established the KET Fund for Independent Productions, a grant program to support the development of independent films in Kentucky.

Press announced his retirement from KET effective June 30, 1992. He would be replaced by Virginia Gaines Fox of Campbellsville, whom Press had hired to KET at the network's launch in 1968. By his retirement, Press had been honored as national public television manager of the year and had also served as chair of the National Association of Educational Broadcasters and the PBS board of directors and the vice chair of the National Association of Public Television Stations. That October, KET opened a  expansion of its Lexington facility, which was dedicated as the O. Leonard Press Telecommunications Center in this honor.

Acquisition of WKPC-TV and digitalization

Since opening WKMJ-TV in 1970, KET had competed with Louisville's WKPC-TV for viewers and supporters in that market. Attempts in the 1980s to reduce the duplication of programming between WKPC and KET had been largely unsuccessful. However, WKPC's owner, locally based Fifteen Telecommunications, Inc., had suffered a series of financial mishaps in the 1990s. As a result, in April 1996, the WKPC-TV board of directors opted to begin pursuing a merger into KET.

An agreement was reached between WKPC-TV and the Kentucky Authority for Educational Television in December 1996, by which KET acquired certain technical assets, including the land on which their shared transmission tower in New Albany, Indiana, sat, and the license. On July 1, 1997, KET's main programming moved to WKPC-TV. WKMJ-TV simultaneously suspended operations for a transmitter overhaul; it returned a month later at increased power, carrying a new service called KET2, which was designed with the Louisville metropolitan area in mind and initially featured additional children's programs, adult education programming and local productions. Outside of Louisville, KET2 was seen on cable systems statewide, and it replaced the former KET Etc. channel in Lexington. The state network also added to its schedule several programs that WKPC-TV had aired in the Louisville area but not KET in the rest of the state.

KET was the first Kentucky television station to begin digital broadcasts, with WKPC-DT in Louisville being activated on August 19, 1999, by governor Paul E. Patton as part of the opening day festivities of the Kentucky State Fair. This transition also placed KET among the first 10 public broadcasters to begin digital broadcasts. By late 2002, KET had completed digital rollout from all of its main transmitters and had begun multicasting four channels.

Gaines Fox retired at the end of 2002, having led KET through its digital television deployment and increased private support for the broadcaster. Local programming funding had tripled from 1989 to 2002, and the Kentucky independent film program ranked among the national leaders; 11,000 Kentucky high school students were enrolled in KET's distance learning classes. Fox was replaced by Malcolm "Mac" Wall, the executive director of the Oklahoma Educational Television Authority. Wall sought to improve engagement with Louisville by hiring a director of Louisville operations, the network's first executive based in the city, and opening an office there in addition to sharing studios with the Jefferson County school system. The network ceased analog broadcasting from all main transmitters on April 16, 2009. Later that year, KET opened a high-definition TV production center in Lexington. However, KET was one of the harder-hit PBS members by the Great Recession; in 2008, it lost $1.8 million in funding from the state of Kentucky and cut its staff by 18 percent.

Shae Hopkins leadership
To replace Wall, KET tapped Shae Hopkins, who had been a senior executive for the network and had been a staff member since 1986; unlike with Wall, executives opted not to conduct a national search in order to save money during major state budget cuts.

KET consolidated its separate Louisville offices and studios in 2011, adding the second streetside studio in American public television to its Main Street facility.

On January 29, 2014, the United States Department of Agriculture awarded KET a grant worth $357,700, as part of its Public Television Digital Transition Grant program, to upgrade 20 analog microwave relays for WKSO, WKMR, WKHA and WKPI to digital, in order to provide digital television service to rural areas of Kentucky.

KET's distance learning offerings transitioned to online-only delivery before being discontinued in 2018 after 30 years due to state budget cuts in Kentucky. Enrollment had dwindled to 648 students; four full-time and 14 part-time employees lost their jobs as a result.

On September 18, 2018, the Kentucky Historical Society dedicated a historical marker at the network's studio facility in observance of the network's 50th anniversary.

Funding
In fiscal year 2020–21, KET raised $25.9 million in operating revenue, 59 percent of which was represented by $15 million in funding from the Kentucky state government. The Corporation for Public Broadcasting accounted for another 17 percent of revenue, with the remainder split between grants and private donations.

Programming

KET's local programs generally center around one of three topics: Kentucky public affairs, Kentucky history and culture, and education.

Public affairs
On November 15, 1974, KET debuted Comment on Kentucky, a weekly public affairs program and political roundtable hosted by Al Smith, a newspaper publisher from Russellville. Smith hosted the program from 1974 to 1979 and again from 1982 to 2007, taking leave from KET when he was named to co-chair the Appalachian Regional Commission. By the time of his retirement, Smith was the longest-tenured host of a public affairs program on public television. The program was credited with bringing the state together, utilizing KET's statewide reach to discuss Kentucky issues. After Smith's retirement, Ferrell Wellman hosted Comment on Kentucky until 2013; he was replaced, first on an interim and then on a permanent basis, by Bill Bryant, news anchor for Lexington commercial station WKYT-TV.

Comment on Kentucky was joined in 1994 by Kentucky Tonight, which originally was a nightly statewide newscast before being retooled into an interview program. In addition to Kentucky Tonight, KET public affairs director Renee Shaw hosts Connections, a community affairs and interview program that began production in 2005, and Kentucky Edition, a new nightly news program that premiered in 2022.

KET also organizes political debates. Its first gubernatorial debate took place in 1975 and was moderated by Smith. In each gubernatorial election year from 1979 through 1995, KET organized and broadcast two gubernatorial debates; in 1999, incumbent governor Paul E. Patton faced weak opposition, and no debate was organized.

History and culture
In 1985, KET began airing Kentucky Afield, an outdoors show produced by the Kentucky Department of Fish and Wildlife Resources. The program had been on the air for more than 30 years and was previously syndicated for air by local commercial stations around the commonwealth.

1995 saw the debut of Kentucky Life, a feature magazine originally hosted by Byron Crawford of The Courier-Journal and later by Dave Shuffett from 1999 to 2015. From 2015 to 2022, former baseball player Doug Flynn was host; he was replaced by Chip Polston, a frequent on-air volunteer during KET's pledge drives, starting with season 28 in January 2023.

Other KET productions over the years have covered diverse aspects of Kentucky culture. In 2020, KET debuted The Farmer and the Foodie, an educational food show with hosts traveling the state.

Education
While most of KET's educational content is now delivered outside of television, its production continues at KET. The network was one of the first PBS LearningMedia partners when the service was created in its present form in 2011; KET content on PBS LearningMedia generated 3.5 million views, more than half outside of Kentucky, in KET's 2020–21 fiscal year. KET also continues to offer GED education services under the brand FastForward.

In 1987, the KET Enterprises unit began syndicating Learn to Read, an adult literacy program produced by commercial station WXYZ-TV in Detroit for people with a fourth-grade education or less, to public television stations.

Stations
KET broadcasts from 16 main transmitters and three low-powered translators on the ultra high frequency (UHF) band. In the Louisville area, KET has two transmitters: WKPC-TV (channel 15) and WKMJ-TV (channel 68), a legacy of when WKPC-TV was a separate station before being bought by KET in 1997. The latter converted to ATSC 3.0 (NextGen TV) operation on September 19, 2022. WCVN-TV in Covington began ATSC 3.0 broadcasts on June 5, 2023, as part of a partnership with Public Media Connect, the public broadcaster serving the Cincinnati area; KET provides transmission capacity in 3.0 format for WCET and WPTO (as well as datacasting capabilities for both organizations) and vice versa in 1.0 format, with fiber delivering signals between Lexington and Dayton, Ohio. This was the first partnership between separately owned public broadcasters.

Translators
KET also operates three translator stations:

Former translators

Network map

Subchannels
KET's transmitters broadcast four subchannels in most areas:

 The main KET channel;
 KET2, a secondary service created in 1997 in the wake of the Louisville merger, with an emphasis on how-to and travel programs and replays of PBS programs;
 The Kentucky Channel (KET KY), established in 2008, which covers the Kentucky General Assembly and broadcasts programs about Kentucky topics and independently produced programs;
 and KET PBS Kids, which was introduced in 2017.

The ATSC 3.0 transmitters at Louisville and Covington also make available the World Channel as subchannel 5.

In northern Kentucky, WCET broadcasts subchannels 54.1 and 54.3 of WCVN-TV in ATSC 1.0 format, while WPTO broadcasts subchannels 54.2 and 54.4.

From 2007 to 2010, KET broadcast KET ED, the Education Channel, which provided professional development and instructional programming. Until 2008, dedicated KET5 and KET6 subchannels carried live coverage of the Kentucky House of Representatives and Senate.

Bibliography

Books

References

External links

PBS member networks
Television stations in Kentucky
Legislature broadcasters in the United States
Educational and instructional television channels
Television channels and stations established in 1968
1968 establishments in Kentucky
Education in Kentucky

Kentucky Educational Television


Karl Ignaz Augustin Kohaut (Carolus Ignatius Augustinus; baptised August 26, 1726 – August 6, 1784) was an Austrian lutenist and composer of Czech descent. He is considered (along with Bernhard Joachim Hagen) to be one of the last important composers of music for Baroque Lute.

Born in Vienna, Karl Kohaut pursued a dual career as a diplomat and musician. He entered the Austrian civil service in 1756 or 1757 as a minor official in the state chancellery, but by 1778 he had reached the position of court secretary.

He was active as a violinist in performances organized by Gottfried van Swieten (in quartets by Haydn and Mozart), but he was most widely admired as a lutenist. He is recorded to have appeared as the soloist in a performance of one of his own lute concertos at the Tonkünstler-Societät on 17 March 1777, during which one of his symphonies was also performed.

Kohaut wrote seven lute concertos, which are fine examples of this rare genre. The concerto in F major is probably most well known, having been recorded at least four times: by Julian Bream, Alirio Díaz, John Schneiderman and Hopkinson Smith.  Kohaut's eight masses were frequently performed at the monasteries of Melk and Göttweig, especially the Missa Sancti Willibaldi, which was performed at Göttweig on 24 occasions, the last time as late as 1798. Kohaut's Symphony in F minor was his best known work during the 20th century, recorded on LP on the Supraphon label.

Works
Vocal:
Applausus Mellicensis (cant.), perf. 1764, A-M;
8 masses, A-GÖ, M, CZ-Bm, Pnm

Orchestral:
12 syms., A-M, CZ-Bu, Pnm;
7 lute concs., D-As, Bsb; Db Conc., A-Wgm, ed. D. Young (London, 1996)
1 double bass conc., DM

Chamber:
3 divertimentos, lute, 2 vn, b, B-Br, D-As;
5 divertimentos, lute, B-Br; Sonata, lute, D-As;
7 trios, 1 for lute, vn, b, 6 for 2 vn, b, A-GÖ, M, Wgm, D-Bsb;
7 partitas, 2 vn, b, A-Wgm, Wn; Qt, 2 vn, va, b, Wn; Trio, fl, vn, b, D-Bsb;
1 sonata, lute solo, DM
works listed in Breitkopf catalogues, 1762–3, 1766–7

Bibliography & references
 FétisB
 GerberL
 GerberNL
 MGG1 (J. Klima)
 New Grove (David Young)
 J. A. Hiller, ed.: Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, i (Leipzig, 1766)
 R. Freeman: The Practice of Music at Melk Monastery in the Eighteenth Century (diss., U. of California, 1971)
 J. Klima: 'Karl Kohaut, der letzte Wiener Lautenist', ÖMZ, xxvi (1971), 141–3 [with bibliography]

External links

18th-century Austrian people
18th-century classical composers
18th-century Austrian male musicians
18th-century classical musicians
Austrian Baroque composers
Austrian Classical-period composers
Austrian lutenists
Czech classical composers
Czech male classical composers
Austrian male classical composers
Composers for lute
Austrian people of Czech descent
Musicians from Vienna
1726 births
1784 deaths

Karl Kohaut


Wyoma is a small genus of the fungus moth family, Tineidae. Therein, it belongs to the subfamily Tineinae. It is probably fairly closely related to the type genus of its family and subfamily, Tinea, and can be most easily separated by the wing venation – in Tinea, two veins in each wing arise from a common stalk, whereas none do in Wyoma.

Description

The head is bulging and has a rough, scaly and hairy surface, but the well-developed proboscis is devoid of scales. The labial palps droop; their second segment is longer than the third and has a clump of stout bristles at the tip, facing outside. The maxillary palps are long and usually carried tucked in. The antenna are unbranched and about as long as the forewing; the scape bears a flimsy comb.

The forewings are narrow and have a rounded tip and 12 separate veins. Of these, vein 1b is simple, 2 starts near the angle of the wing, 7 reaches the leading edge near the tip and 11 starts from the basal fourth of the wing. Vein 4 is closer to 5 than to 3, and vein 10 is well separate from 9 and 11. The hindwings have only 8 veins, with the anal veins vestigial or absent. The hindwing veins are also all separated; vein 2 starts notably before the angle, while the position of vein 7 is equivalent to the forewing; veins 4-6 are evenly spaced, but vein 3 runs closer to vein 2.

The male genitals are symmetrical and resemble those of Tinea; they lack a socius, but gnathos and uncus are present. Female genitalia are not well described, but as dar as is known they differ markedly from those of Tinea.

Species
Only five species are contained in Wyoma:
 Wyoma dysgnoia J.F.G.Clarke, 1986
 Wyoma echinastra (Meyrick, 1931)
 Wyoma leucostega (Meyrick, 1932)
 Wyoma schoenoploca (Meyrick, 1911)
 Wyoma striaticostella (Petersen, 1959)

Footnotes

References
  (1986): Pyralidae and Microlepidoptera of the Marquesas Archipelago. Smithsonian Contributions to Zoology 416: 1-485. PDF fulltext (214 MB!)
  [2011]: Global Taxonomic Database of Tineidae (Lepidoptera). Retrieved 2011-DEC-22.

Tineinae
Tineidae genera

Wyoma


New Thing at Newport is a 1965 live album featuring two separate sets from that year's Newport Jazz Festival by  tenor saxophonists John Coltrane and Archie Shepp. It was recorded four days after the recording session for Coltrane's album Ascension, on which Shepp appeared, and is one of several albums documenting the end stages of Coltrane's "classic quartet," which would begin to break up by the end of that year with the departure of McCoy Tyner.

The Newport 1965 performance of "My Favorite Things" was also included in the 1978 release The Mastery of John Coltrane, Vol. 1: Feelin' Good. "One Down One Up" and "My Favorite Things" were both included in the 2007 compilation My Favorite Things: Coltrane at Newport.

Reception

Reviewer Tim Niland wrote that both of Coltrane's performances are "explosive in their intensity", with "One Down, One Up" "nearly boiling over at times". He stated: "Despite the audacity of the music there are enough hints of melody and the musicians are so obviously sincere in their desire to explore that they are given great support by the audience." Niland concluded: "While the music on this disc must have come as something of a shock to those who were unprepared for it, listening in historical context reveals it to be an excellent example of the rapidly evolving state of jazz in the mid 1960's by two of its most well known practitioners."

In a review for JazzTimes, Mac Randall wrote: "The classic Coltrane quartet was about to split when they played the '65 Newport Festival, and you can kinda tell; the leader is clearly aiming for something that his bandmates can't quite see. And yet the music they make together still packs a major emotional punch... A lot of people didn't like the 'new thing' that Trane and Shepp were offering here. Some still don't. But more than 50 years on, its breadth and depth are impossible to deny."

Writing for All About Jazz, Derek Taylor stated that Coltrane's quartet "works up a lengthy lather on 'One Down, One Up' before launching into a burning rundown of 'My Favorite Things.' Compared to other concert recordings by the quartet the first piece is just below par, though there's still plenty of incendiary fireworks ignited by the four... Coltrane's upper register tenor solo becomes so frenetic on 'One Down, One Up' that there are moments where he moves off mic, but his soprano work on 'My Favorite Things' is nothing short of astonishing, a blur of swirling harmonics that threatens split his horn asunder." Regarding Shepp's set, he wrote that it is "brimming with political overtones and barely contained dysphoria and his sound on tenor is an arresting amalgam of raspy coarseness and delicate lyricism... Shepp and his partners were pulling no punches in exposing the captive audience to their art."

Track listing

Original LP release

Side One
 Spoken introduction to John Coltrane's set by Father Norman O'Connor - 1:08
 "One Down One Up" - 12:28 (from Coltrane's set)
 "Rufus (Swung His Face at Last to the Wind, Then His Neck Snapped)" - 4:58 (from Shepp's set)

Side Two (from Shepp's set)
 "Le Matin des Noire" [sic] - 7:39
 "Scag" - 3:04
 "Call Me by My Rightful Name" - 6:19

CD release
From notes: For the first time, the pieces within each set appear here in the order in which they were performed.

 Spoken introduction to John Coltrane's set by Father Norman O'Connor - 1:08
 "One Down One Up" - 12:42
 "My Favorite Things" - 15:14; Spoken conclusion to John Coltrane's set by Father Norman O'Connor
 Spoken introduction to Archie Shepp's set by Billy Taylor - 1:41
 "Gingerbread, Gingerbread Boy" - 10:26
 "Call Me by My Rightful Name" - 6:38
 "Scag" - 3:19
 "Rufus (Swung His Face at Last to the Wind, Then His Neck Snapped)" - 5:17
 "Le Matin des Noire" - 8:20

Personnel
Recorded July 2, 1965, at the Newport Jazz Festival.

The John Coltrane Quartet
John Coltrane – tenor saxophone on "One Down One Up", soprano saxophone on "My Favorite Things"
 McCoy Tyner – piano
 Jimmy Garrison – double bass
 Elvin Jones – drums

The Archie Shepp Quartet
Archie Shepp – tenor saxophone, (recitation on "Scag")
 Bobby Hutcherson – vibraphone
 Barre Phillips – double bass
 Joe Chambers – drums

References

John Coltrane live albums
Albums recorded at the Newport Jazz Festival
1965 live albums
1965 in Rhode Island
Archie Shepp live albums
albums produced by Bob Thiele
Impulse! Records live albums
Split albums
Live free jazz albums
Live hard bop albums
Live avant-garde jazz albums

New Thing at Newport


The Kennedy Farm is a National Historic Landmark property on Chestnut Grove Road in rural southern Washington County, Maryland.  It is notable as the place where the radical abolitionist John Brown planned and began his raid on Harpers Ferry, Virginia (today West Virginia), in 1859.  Also known as the John Brown Raid Headquarters and Kennedy Farmhouse, the log, stone, and brick building has been restored to its appearance at the time of the raid.  The farm is now owned by a preservation nonprofit.

Historic significance
The Kennedy Farm is a parcel of under  of land on the west side of Chestnut Grove Road, a few miles north of Harpers Ferry, West Virginia, in a rural part of southern Washington County, Maryland. It is part of a much larger farm property that was purchased in 1852 by Dr. Robert Kennedy.  Kennedy took the small log cabin on the property, and mounted it on a tall (one-story in height) stone foundation, added a frame addition to one side, and covered both with a gabled roof.  Kennedy died in 1858.

John Brown arrived in Maryland in 1859 and rented the house. For three months Brown and his co-conspirators lived here, pretending to be exploring mining opportunities. Supporters arrived, weapons arrived, and they planned an attack on the federal armory at Harpers Ferry in a bid to incite a slave rebellion.

Conditions at the Kennedy farmhouse, described as "flea-infested", were spartan. The men slept upstairs on the floor. Brown's daughter Anne and Martha, Oliver's wife, who were there doing cooking and serving as look-outs, until Brown sent them home to New York on September 30, slept on crudely-stuffed mattresses. The wooden crates with weapons were covered and used for seats. Brown had to buy a stove in Harpers Ferry, as Anne failed at cooking potatoes in the fireplace.

On the day of the raid, October 16, 1859, 19 of the 22 at the farm left to carry out the raid. Three remained at the farmhouse to guard and manage the weapons: Owen Brown, Barclay Coppock, and Francis Jackson Meriam, When it became clear the raid was failing, all three scaped to the north, Owen to his brother John Jr.'s house in northeastern Ohio.

The farmhouse was searched immediately, and a trove of John's correspondence and many copies of his provisional constitution were found. These were much reported on in the press and played an important role in trying to find who Brown's financial supporters were.

Except for the engine house at the arsenal, which the raiders held for less than a day, the Kennedy Farm is the location most associated with John Brown's raid. It has been added to the National Register of Historic Places.

Post-raid history

The house underwent a number of ownership changes, and significant alterations, over the next 100+ years. In 1950, the IBPOEW (Black Elks) purchased the property as a memorial to John Brown and operated it as their National Shrine. During the years leading up to their selling of the property in 1966, the Elks built several buildings on the then- property, including a  by  auditorium that was used as a meeting place for Elks gatherings of up to three thousand persons on Fourth of July and Labor Day weekends.

The auditorium was rented on summer weekends by a local black entrepreneur, John Bishop, who booked into that venue dozens of the biggest stars of rhythm and blues on the Chitlin' Circuit, including Ray Charles, Aretha Franklin, James Brown, Marvin Gaye, Little Richard, Chuck Berry, B. B. King, Eartha Kitt, Otis Redding, Etta James, The Coasters, and The Drifters.

When it was designated a National Historic Landmark in 1974, it was described as a -story house that used stone, brick and log construction with a stucco overlay. It had four bays, with a double-tiered porch running outside three rooms on the first and second floors. There were two rooms in the attic, and a small shed addition to the rear. An interior stair links the central rooms inside, and an exterior stair links the porch's two levels.

The house then underwent a major restoration effort, funded by public and private sources, to return it to its 1850s appearance.

See also

List of National Historic Landmarks in Maryland
National Register of Historic Places listings in Washington County, Maryland

References

External links

, including photo in 1976, at Maryland Historical Trust

National Historic Landmarks in Maryland
Houses on the National Register of Historic Places in Maryland
Historic house museums in Maryland
John Brown sites
Museums in Washington County, Maryland
History museums in Maryland
Houses in Washington County, Maryland
Journey Through Hallowed Ground National Heritage Area
Historic American Buildings Survey in Maryland
National Register of Historic Places in Washington County, Maryland
Historically African-American theaters and music venues
Monuments and memorials to John Brown (abolitionist)
John Brown's raid on Harpers Ferry

Kennedy Farmhouse


Woldemar Friedrich  (20 August 1846 in Gnadau, Saxony – 16 September 1910 in Berlin) was a German historical painter and illustrator.

Biography

In 1863, he began his studies at the Prussian Academy of Arts in Berlin, with Carl Steffeck. Two years later, he went to Weimar, where he continued his studies with Arthur von Ramberg, Charles Verlat and Bernhard Plockhorst. During the Franco-Prussian War, he created illustrations for the weekly family magazine,  then, after the war, illustrated Der französische Krieg von 1870/71, by . After a study trip to Italy, he returned to Weimar in 1873, where he divided his time between illustrating and decorative painting; notably at the . In 1881, he accepted an appointment as Professor at the Grand-Ducal Saxon Art School.

In 1885, he went to Berlin, to teach "drawing from life" at the Academy of Arts. There he continued to do decorative work, in the dome at the State Exhibition Building. In 1886, he was awarded a small gold medal at the Große Berliner Kunstausstellung. This was followed by a trip to India, after which he produced a series of watercolors and paintings, as well as an illustrated book, Sechs Monate in Indien, with text by "E. von Leipziger".

Later decorative paintings of note include "The Diet of Worms", in the auditorium of the grammar school in Wittenberg, the allegorical paintings at the  in Leipzig, and a mural for the community center in Niederbarnim, which depicts the citizens of Bernau returning home, after defeating the Hussites in 1432.

From 1898, he was a member of the jury delegated to choose designs for the trading cards issued by the Stollwerck chocolate company. His fellow judges included Franz Skarbina, Emil Doepler and Bruno Schmitz, who was a partner in the company.

He died in Berlin at the age of sixty-four and was interred at the Kaiser-Wilhelm-Gedächtnis-Friedhof in Charlottenburg-Westend. His grave has not been preserved.

References

Further reading

External links

 More works by Friedrich @ ArtNet

 Goethes Leben: "Woldemar Friedrich's illustrations, presented as postcards, from the turn of the century"

1846 births
1910 deaths
German illustrators
19th-century German painters
19th-century German male artists
German male painters
20th-century German painters
20th-century German male artists

Woldemar Friedrich


The Cheonseongjinseong is located on Gadeokdo Island, Gangseo-gu, Busan Metropolitan City, the Republic of Korea. Gadeokdo Island area was strategically important, being located at the end of the sea route from Tsushima Islands of Japan to Busan and Jinhae, and thus had been vulnerable to Japanese marauders from ancient times. After the riots of 1510 by the Japanese residents in the three southern ports which were open for trade with Japan, plans to construct a fortress to defend the area were seriously discussed. The need for a fortress came to be felt even more acutely after the Japanese aggression of Saryangjin in 1544. A breakwater was thus constructed to shelter naval vessels and a fortress was built to accommodate naval forces. It fell to the Japanese, however, during their invasions of 1592–98 and was repaired later. The remaining wall of the fortress is 960m in circumference, 4.5m in thickness and 3.5m in height. Gates reinforced with barbicans are located at the west, south and north points. The east part of the fortress is surrounded by walls of double layers with no gate. There are redoubts at the corners of the wall and at each side of the gates to make the fortress more easily defensible. There are also traces of moats outside the wall. This fortress is valuable remains revealing much information about fortress constructions during the middle Joseon period.

References

Forts in South Korea
Gangseo District, Busan
Buildings and structures in Busan

Cheonseongjinseong