Carpenter is a small unincorporated community in Copiah County, Mississippi, United States. A former railroad town located seven miles from Utica in the extreme northwestern corner of the county, Carpenter was named for Joseph Neibert Carpenter, president of the Natchez, Jackson and Columbia Railroad.

History
At the dawn of the 20th century, a railroad affectionately known as "the Little J" to distinguish it from the old New Orleans, Jackson and Great Northern Railway, serviced Natchez, Fayette, Lorman, Hermanville, Carlisle, Carpenter, Utica, Adams Station, Learned, Oakley, Raymond and Jackson, Mississippi.  The Carpenter Methodist church, built in 1901, reflects the late Federal architecture Revival style that prevailed in Mississippi at the beginning of the 20th century. In 1990 the church yard was flanked by a massive water oak tree that measured 20 feet in circumference.  This church still stands and remained in good condition as of 2000. Worship services are held each week.  The Baptist church, built in 1903, features a rose window that is also typical of the late Federal style. Several water oak trees, each 15 feet in circumference, once enfolded the church, but are no longer standing due to bad weather and storms. One of the oldest homes in Carpenter built during the 1800s is the home of William L. Lloyd, a pioneer settler who donated the land for the depot and became the first depot agent. By 1970, the local Illinois Central Railroad line had closed down; the Carpenter depot was dismantled in the 1970s. By 2000, most residents were descendants of the pioneering families.

Carpenter was once home to eight general stores, a box factory, a blacksmith, two sawmills, and a drug store. The community was also served by a school and several churches.

A post office operated under the name Carpenter from 1884 to 1984.

Notable person
 Virgia Brocks-Shedd, librarian and poet

References

Unincorporated communities in Mississippi
Unincorporated communities in Copiah County, Mississippi

Carpenter, Mississippi


Ellsworth Kelly (May 31, 1923 – December 27, 2015) was an American painter, sculptor, and printmaker associated with hard-edge painting, Color Field painting and minimalism. His works demonstrate unassuming techniques emphasizing line, color and form, similar to the work of John McLaughlin and Kenneth Noland. Kelly often employed bright colors. He lived and worked in Spencertown, New York.

Childhood
Kelly was born the second son of three to Allan Howe Kelly and Florence Rose Elizabeth (Githens) Kelly in Newburgh, New York, approximately 60 miles north of New York City. His father was an insurance company executive of Scots-Irish and German descent. His mother was a former schoolteacher of Welsh and Pennsylvania German stock. His family moved from Newburgh to Oradell, New Jersey, a town of nearly 7,500 people. His family lived near the Oradell Reservoir, where his paternal grandmother introduced him to ornithology when he was eight or nine years old.

There he developed his passion for form and color. John James Audubon had a particularly strong influence on Kelly's work throughout his career. Author Eugene Goossen speculated that the two- and three-color paintings (such as Three Panels: Red Yellow Blue, I 1963) for which Kelly is so well known can be traced to his bird watching and his study of the two- and three-color birds he saw so frequently at an early age. Kelly said he was often alone as a young boy and became somewhat of a "loner." He had a slight stutter that persisted into his teenage years.

Education
Kelly attended public school, where art classes stressed materials and sought to develop the "artistic imagination." This curriculum was typical of the broader trend in schooling that had emerged from the Progressive education theories promulgated by the Columbia University's Teacher's College, at which the American modernist painter Arthur Wesley Dow had taught. Although his parents were reluctant to support Kelly's art training, his school teacher, Dorothy Lange Opsut, encouraged him to go further. As his parents would pay only for technical training, Kelly studied first at Pratt Institute in Brooklyn, which he attended from 1941 until he was inducted into the Army on New Year's Day 1943.

Military
Upon entering the U.S military service in 1943 Kelly requested to be assigned to the 603rd Engineers Camouflage Battalion, which took many artists. He was inducted at Fort Dix, New Jersey and sent to Camp Hale, Colorado, where he trained with mountain ski troops. He had never skied before. Six to eight weeks later, he was transferred to Fort Meade, Maryland. During World War II, he served with other artists and designers in a deception unit known as The Ghost Army. The Ghost soldiers used inflatable tanks, trucks, and other elements of subterfuge to mislead the Axis forces about the direction and disposition of Allied forces. His exposure to military camouflage during the time he served became part of his basic art training. Kelly served with the unit from 1943 until the end of the European phase of the war.

Postwar education
Kelly used the G.I. Bill to study from 1946–47 at the School of the Museum of Fine Arts, Boston, where he took advantage of the museum's collections, and then at the École nationale supérieure des Beaux-Arts in Paris. While in Boston, he exhibited in his first group show at the Boris Mirski Gallery and taught art classes at the Norfolk House Center in Roxbury. While in Paris, Kelly established his aesthetic. He attended classes infrequently, but immersed himself in the rich artistic resources of the French capital. He had heard a lecture by Max Beckmann on the French artist Paul Cézanne in 1948 and moved to Paris that year. There he encountered fellow Americans John Cage and Merce Cunningham, experimenting in music and dance, respectively; the French Surrealist artist Jean Arp; and the abstract sculptor Constantin Brâncuși, whose simplification of natural forms had a lasting effect on him. The experience of visiting artists such as Alberto Magnelli, Francis Picabia, Alberto Giacometti and Georges Vantongerloo in their studios was transformative.

Career
After being abroad for six years Kelly's French was still poor and he had sold only one painting. In 1953 he was evicted from his studio and he returned to America the following year.
 He had become interested after reading a review of an Ad Reinhardt exhibit, an artist whose work he felt his work related to. Upon his return to New York, he found the art world "very tough." Although Kelly is now considered an essential innovator and contributor to the American art movement, it was hard for many to find the connection between Kelly's art and the dominant stylistic trends. In May 1956 Kelly had his first New York City exhibition at Betty Parsons' gallery. His art was considered more European than was popular in New York at the time. He showed again at her gallery in the fall of 1957. Three of his pieces: Atlantic, Bar, and Painting in Three Panels, were selected for and shown at the Whitney Museum of American Art's exhibit, "Young America 1957". His pieces were considered radically different from the other twenty-nine artists' works. Painting in Three Panels, for example, was particularly noted; at the time critics questioned his creating a work from three canvases. For instance, Michael Plante said that, more often than not, Kelly's multiple-panel pieces were cramped because of installation restrictions, which reduced the interaction between the pieces and the architecture of the room.

Kelly eventually moved away from Coenties Slip, where he had sometimes shared a studio with fellow artist and friend Agnes Martin, to the ninth floor of the high-rise studio/co-op Hotel des Artistes at 27 West 67th Street.

Kelly left New York City for Spencertown in 1970 and was joined there by his partner, photographer Jack Shear, in 1984. From 2001 until his death Kelly worked in a 20,000-square-feet studio in Spencertown reconfigured and extended by the architect Richard Gluckman; the original studio had been designed by Schenectady-based architects Werner Feibes and James Schmitt in exchange for a site-specific painting Kelly created for them. Kelly and Shear moved in 2005 to the residence they shared until the painter's death, a wood-clad Colonial house built around 1815. Shear serves as the director of the Ellsworth Kelly Foundation. In 2015, Kelly gifted his building design concept for a site of contemplation to the Blanton Museum of Art at the University of Texas in Austin. Titled Austin, the 2,715-square-foot stone building—which features colored glass windows, a totemic wood sculpture and black-and-white marble panels—is the only building Kelly designed and is his most monumental work. Austin, which Kelly designed thirty years prior, opened in February 2018.

Kelly died in Spencertown, New York on December 27, 2015, aged 92.

Painting
While in Paris, Kelly had continued to paint the figure but by May 1949, he made his first abstract paintings. Observing how light dispersed on the surface of water, he painted Seine (1950), made of black and white rectangles arranged by chance. In 1951 he started a series of eight collages titled Spectrum Colors Arranged by Chance I to VIII. He created it by using numbered slips of paper; each referred to a colour, one of eighteen different hues to be placed on a grid 40 inches by 40 inches. Each of the eight collages employed a different process.

Kelly's discovery in 1952 of Monet's late work infused him with a new freedom of painterly expression: he began working in extremely large formats and explored the concepts of seriality and monochrome paintings. As a painter he worked from then on in an exclusively abstract mode. By the late 1950s, his painting stressed shape and planar masses (often assuming non-rectilinear formats). His work of this period also provided a useful bridge from the vanguard American geometric abstraction of the 1930s and early 1940s to the minimalism and reductive art of the mid-1960s and 1970s. Kelly's relief painting Blue Tablet (1962), for example, was included in the seminal 1963 exhibition, Toward a New Abstraction, at the Jewish Museum.

During the 1960s he started working with irregularly angled canvases. Yellow Piece (1966), the artist's first shaped canvas, represents Kelly's pivotal break with the rectangular support and his redefinition of painting's figure/ground relationship. With its curved corners and single, all-encompassing color, the canvas itself becomes the composition, transforming the wall behind it into the picture's ground.

In the 1970s he added curved shapes to his repertoire. Green White (1968) marks the debut appearance of the triangle in Kelly's oeuvre, a shape that reoccurs throughout his career; the painting is composed of two distinct, shaped monochromatic canvases, which are installed on top of each other: a large-scale, inverted, green trapezoid is positioned vertically above a smaller white triangle, forming a new geometric
composition.

After leaving New York City for Spencertown in 1970, he rented a former theater in the nearby town of Chatham, allowing to work in a studio more spacious than any he had previously occupied. After working there for a year, Kelly embarked on a series of 14 paintings that would become the Chatham Series. Each work takes the form of an inverted ell, and is made of two joined canvases, each canvas a monochrome of a different color. The works vary in proportion and palette from one to the next; careful attention was paid to the size of each panel and the color selected in order to achieve balance and contrast between the two.

A larger series of twelve works which Kelly started in 1972 and did not complete until 1983, Gray was originally conceived as an anti-war statement and is drained of color. In 1979 he used curves in two-colour paintings made of separate panels.

In later paintings, Kelly distilled his palette and introduced new forms. In each work, he started with a rectangular canvas which he carefully painted with many coats of white paint; a shaped canvas, mostly painted black, is placed on top.

In reference to his own work Kelly said in an interview in 1996: "I think what we all want from art is a sense of fixity, a sense of opposing the chaos of daily living. This an illusion, of course. Canvas rots. Paint changes color. But you keep trying to freeze the world as if you could make it last forever. In a sense, what I've tried to capture is the reality of flux, to keep art an open, incomplete situation, to get at the rapture of seeing."

Kelly commented "I realized I didn't want to compose pictures … I wanted to find them. I felt that my vision was choosing things out there in the world and presenting them. To me the investigation of perception was of the greatest interest. There was so much to see, and it all looked fantastic to me."

Lithographs and drawings
Kelly tendered drawings of plants and flowers from the late 1940s on. Ailanthus (1948) is the first plant drawing that he executed in Boston, Hyacinth (1949) was the first one he did when he was in Paris. Beginning in 1949, while living in Paris (and influenced in this choice of subject by Henri Matisse and Jean Arp) he began to draw simple plant and seaweed forms. The plant studies are, for the most part, contour drawings of leaves, stems and flowers done in clean strokes of pencil or pen and centered on the page.

He took up printmaking in a concerted fashion in the mid-1960s, when he produced his Suite of Twenty-Seven Lithographs (1964–66) with Maeght Éditeur in Paris. It was then that he created his first group of plant lithographs. From 1970 on he collaborated primarily with Gemini G.E.L. His initial series of 28 transfer lithographs, entitled Suite of Plant Lithographs, marked the beginning of a corpus that would grow to 72 prints and countless drawings of foliage. In 1971, he completed four editions of prints and an edition of the multiple Mirrored Concorde at Gemini G.E.L. His Purple/Red/Gray/Orange (1988), at eighteen feet in length, may be the largest single-sheet lithograph ever made. His recent editions, The River, States of the River and River II, reflect the fascination with water Kelly possessed since his early days in Paris. In 1975, Kelly was the first artist to exhibit for the Wadsworth Atheneum Museum of Art's MATRIX series. The exhibition displayed Kelly's Corn Stalk drawings series and two of his 1974 cor-ten steel sculptures.

Sculpture

Although Kelly may be better known for his paintings, he also worked at sculpture throughout his career. In 1958, Kelly conceived one of his first wood sculptures, Concorde Relief I (1958), a modestly scaled wall relief in elm, which explores the visual play and balance between two rectangular forms layered on top of each other, the uppermost with its top-right and lower-left corners removed. He made 30 sculptures in wood throughout his career. From 1959 onwards, he created freestanding folded sculptures. The Rocker series began in 1959 after Kelly's casual conversation with Agnes Martin, who lived below him on Coenties Slip in Lower Manhattan. Playing with the paper top from a take-out coffee cup, Kelly cut and folded a section of the round object, which he then put on the table and rocked back and forth. Soon after, he constructed his first sculpture-in-the-round, Pony. The title refers to a child's hobby horse with curving rocker supports.

In 1973 Kelly began regularly making large-scale outdoor sculpture. Kelly gave up painted surfaces, instead choosing unvarnished steel, aluminum or bronze, often in totem-like configurations such as Curve XXIII (1981). While the totemic forms of his freestanding sculptures can measure up to 15 feet tall, his wall reliefs can span more than 14 feet wide. Kelly's sculpture "is founded on its adherence to absolute simplicity and clarity of form." For his 1980s sculptures, during this period of his time in Spencertown, the artist devoted for the first time as much energy to his sculptures as to his painting, and in the process producing over sixty percent of his total 140 sculptures.
Kelly created his pieces using a succession of ideas on various forms. He might have begun with a drawing, enhanced the drawing to create a print, taken the print and created a freestanding piece, which was then made into a sculpture. His sculptures are meant to be entirely simple and can be viewed quickly, often only in one glance. The viewer observes smooth, flat surfaces that are secluded from the space that surrounds them. This sense of flatness and minimalism makes it hard to tell the difference between the foreground and background. Kelly's Blue Disc was included in the seminal 1966 exhibit at the Jewish Museum in New York entitled, Primary Structures, alongside many much younger artists just beginning to work with minimal forms.

Style
William Rubin noted that "Kelly's development had been resolutely inner-directed: neither a reaction to Abstract Expressionism nor the outcome of a dialogue with his contemporaries." Many of his paintings consist of a single (usually bright) color, with some canvases being of irregular shape, sometimes called "shaped canvases." The quality of line seen in his paintings and in the form of his shaped canvases is very subtle, and implies perfection. This is demonstrated in his piece Block Island Study (1959).

Influences
Kelly's background in the military has been suggested as a source of the seriousness of his works. While serving time in the army, Kelly was exposed to and influenced by the camouflage with which his specific battalion worked. This taught him about the use of form and shadow, as well as the construction and deconstruction of the visible. It was fundamental to his early education as an artist. Ralph Coburn, a friend of Kelly's from Boston, introduced him to the technique of automatic drawing while visiting in Paris. Kelly embraced this technique of making an image without looking at the sheet of paper. These techniques helped Kelly in loosening his drawing style and broadened his acceptance of what he believed to be art. During his last year in Paris, Kelly was ill and also suffered depression; Sims thought that influenced his predominant use of black and white during that period.

Kelly's admiration for Henri Matisse and Pablo Picasso are apparent in his work. He trained himself to view things in various ways and work in different mediums because of their inspiration. Piet Mondrian influenced the nonobjective forms he used in both his paintings and sculptures. Kelly was first influenced by the art and architecture of the Romanesque and Byzantine eras while he was studying in Paris. His introduction to Surrealism and Neo-Plasticism influenced his work and caused him to test the abstraction of geometric forms.

Curating
In 2014 Kelly organized a show of Matisse drawings at the Mount Holyoke College Art Museum in South Hadley, Massachusetts. In 2015, he curated "Monet/Kelly" at the Clark Art Institute.

In 1990 Kelly curated the exhibition, "Artist's Choice: Ellsworth Kelly Fragmentation and the Single Form," at the Museum of Modern Art.

Personal life
In 1956, he met Robert Indiana who moved in the same building and they became partners. Kelly became his mentor. They broke up around 1964. One of the reasons was Indiana's use of words in his paintings and Kelly considered such technique not worthy of high art.

From 1984 until his death, Kelly lived with his husband, photographer Jack Shear, who serves as the director of the Ellsworth Kelly Foundation.

Artworks (selection)

Red Yellow Blue White and Black, Red Yellow Blue White and Black II 1953, oil on canvas, Art Institute of Chicago, Chicago
White Disk, White Disk III 1961, oil paint on wood, Art Institute of Chicago, Chicago
Window, Museum of Modern Art, Paris, 1949, oil and wood on canvas, Private Collection
Spectrum of Colors Arranged by Chance, 1951–53, oil on wood, San Francisco Museum of Modern Art
Black Ripe, 1955, oil on canvas, Collection of Harry W. and Mary Margaret Anderson
Sculpture for a Large Wall, 1956–57, anodized aluminum, Museum of Modern Art, New York
Red Orange (Inca), 1959, oil on canvas, Wadsworth Atheneum, Hartford
Red Blue Green, 1963, oil on canvas, Museum of Contemporary Art, San Diego
Curve IX, 1974, polished aluminum, Private Collection
Houston Triptych, 1986, bronze, Museum of Fine Arts, Houston
Three Panels: Orange, Dark Gray, Green, 1986, oil on canvas, Museum of Modern Art, New York
Red Curves, 1996, oil on canvas, Private Collection
High Yellow, 1960, oil on canvas, Blanton Museum of Art in Austin, TX
Nine Squares 1976–77, oil on canvas, Collection of Tate
 "Spectrum VIII" (2014), acrylic on canvas, 12 joined panels, Fondation Louis Vuitton, Paris
Austin, 2015, structure, Blanton Museum of Art in Austin, TX
 Barcelona houses sculptures of Ellsworth Kelly (1987). A piece of his "Totem" series stands at the entrance of the Parc de la Creueta del Coll. The Plaça del General Moragues, a small square near Bac de Roda Bridge, is graced with two pieces: Another totem and a dihedrally shaped sculpture.

Exhibitions
Kelly's first solo exhibition was held at the Galerie Arnaud, Paris, in 1951. His first solo show in New York was held at the Betty Parsons Gallery in 1956. In 1957, he showed works in a group exhibition at the Ferus Gallery, Los Angeles. In 1959 he was included in the Museum of Modern Art's ground-breaking exhibition, Sixteen Americans. Kelly was invited to show at the São Paulo Biennial in 1961. His work was later included in the documenta in 1964, 1968, 1977, 1992. A room of his paintings was included in the 2007 Venice Biennale.

Kelly's first retrospective was held at the Museum of Modern Art in 1973. His work has since been recognized in numerous retrospective exhibitions, including a sculpture exhibition at the Whitney Museum of American Art, New York, in 1982; an exhibition of works on paper and a show of his print works that traveled extensively in the United States and Canada from 1987–88; and a career retrospective in 1996 organized by the Solomon R. Guggenheim Museum, which traveled to the Museum of Contemporary Art in Los Angeles, the Tate Gallery in London, and the Haus der Kunst in Munich. Since then, solo exhibitions of Kelly's work have been mounted at the Metropolitan Museum of Art in New York (1998), Fogg Art Museum in Cambridge (1999), San Francisco Museum of Modern Art (1988/2002), Philadelphia Museum of Art (2007), and Museum of Modern Art in New York (2007).

In 1993 the Galerie nationale du Jeu de Paume in Paris mounted the exhibition "Ellsworth Kelly: The French Years, 1948–54," based on the artist's relationship with the city, which travelled to the National Gallery of Art, Washington D.C.; in 2008, the Musée d'Orsay honored Kelly with the exhibition "Correspondences: Paul Cézanne Ellsworth Kelly". Haus der Kunst exhibited the first comprehensive retrospective of Kelly's black and white works in 2012.

On the occasion of the artist's 90th birthday in 2013, the National Gallery of Art in Washington mounted an exhibition of his prints; the Barnes Foundation in Philadelphia put together five sculptures in a show; the Phillips Collection in Washington exhibited his panel paintings; and the Museum of Modern Art opened a show of the "Chatham Series".

Selected solo exhibitions
 1951  Kelly Peintures et reliefs, Galerie Arnaud, Paris
 1956  Betty Parsons Gallery, New York
 1957  Betty Parsons Gallery, New York
 1957  Young America 1957, Whitney Museum of American Art, New York
 1973  Ellsworth Kelly, Museum of Modern Art, New York
 1977  Ellsworth Kelly: Paintings, Leo Castelli Gallery, New York
 1982  Ellsworth Kelly: Sculpture, Whitney Museum of American Art, New York
 1985  Ellsworth Kelly: White Panel II", High Museum of Art, Atlanta
 1987  Ellsworth Kelly: Works on Paper, Fort Worth Art Museum, Fort Worth
 1994  Ellsworth Kelly: Recent Paintings, Matthew Marks Gallery, New York
 1996  Ellsworth Kelly: A Retrospective, Guggenheim Museum, New York
 2002  Ellsworth Kelly in San Francisco, San Francisco Museum of Modern Art, San Francisco
 2003  Ellsworth Kelly: The Self-Portrait Drawings, 1944–1992, Matthew Marks Gallery, New York
 2006  Ellsworth Kelly: New Paintings, Matthew Marks Gallery, New York
 2010   Ellsworth Kelly: Drawings 1954–1962, Middlesbrough Institute of Modern Art, Middlesbrough, United Kingdom
 2012   Ellsworth Kelly: Schwarz und Weiss, Museum Wiesbaden, Wiesbaden
 2014   Monet | Kelly, Clark Art Institute, Williamstown, Massachusetts

Public commissions

In 1957 Kelly was commissioned to produce a 65-foot-long wall sculpture for the Transportation Building at Penn Center in Philadelphia, his largest work to that date. Largely forgotten, the sculpture entitled Sculpture for a Large Wall (1957) was eventually dismantled. Kelly has since executed many public commissions, including Wright Curve (1966), a steel sculpture designed for permanent installation in the Guggenheim's Peter B. Lewis Theater; a mural for the UNESCO headquarters in Paris in 1969; Curve XXII (I Will) at Lincoln Park in Chicago in 1981; a 1985 commission by I. M. Pei for the Raffles City building in Singapore; the Houston Triptych, vertical bronze planes mounted on a tall concrete at the Museum of Fine Arts, Houston, in 1986; Totem (1987), a sculpture for the Parc de la Creueta del Coll, Barcelona; the Dallas Panels (Blue Green Black Red) (1989) for the Morton H. Meyerson Symphony Center, Dallas; a 1989 sculpture for the headquarters of Nestlé in Vevey, Switzerland; Gaul (1993), a monumental sculpture commissioned by the Institute d'Art Contemporain, Nîmes, France; a two-part memorial for the United States Holocaust Memorial Museum, Washington, D.C., in 1993; and large-scale Berlin panels for the Deutscher Bundestag, Berlin, in 1998. For the John Joseph Moakley United States Courthouse (designed by Henry N. Cobb) in Boston he designed The Boston Panels, 21 brilliantly colored aluminum panels installed in the central rotunda as a single work throughout the building.

In 2013 Ellsworth Kelly was commissioned the work "Spectrum VIII" (completed in 2014) a large-scale multi-panel painting serving as curtain for the Auditorium designed by Frank Gehry at the Louis Vuitton Foundation, Paris. See "Ellsworth Kelly", Francesca Pietropaolo ed., Cahiers de la Fondation, no.1, (Paris: Fondation Louis Vuitton, 2014).

Kelly's two-paneled Blue Black (2001), 28 feet tall and made of painted honeycomb aluminum, was commissioned for the Pulitzer Arts Foundation, St. Louis, and the large-scale bronze Untitled (2005) was commissioned specifically for the courtyard of the Phillips Collection. In 2005, Kelly was commissioned with the only site-specific work for the Modern wing of the Art Institute of Chicago by Renzo Piano. He created White Curve, the largest wall sculpture he has ever made, which is on display since 2009. Kelly installed Berlin Totem, a 40 feet stainless-steel sculpture, in the courtyard of the Embassy of the United States, Berlin, in 2008.

In 1986 Kelly conceived his first free-standing building for a private collector, but it was never realized. Only in 2015, the Blanton Museum of Art acquired his design for a 2,715-square-foot stone building, including 14 black-and-white marble panels and colored glass windows, planning to build it on the museum's grounds at the University of Texas, Austin. The building was opened to the public February 18, 2018. A work of art and architecture, Austin, is deemed the culmination of Kelly's career.

Kelly was commissioned to create a large outdoor sculpture in 1968 for the Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY. The sculpture titled Yellow Blue was inspired by the Empire State Plaza setting, and is Kelly's largest standing sculpture at nine feet high and nearly sixteen feet across. Yellow Blue was his first steel sculpture and remains the only one to date in painted steel.

Collections
In 1957 the Whitney Museum of American Art bought a painting, Atlantic, which depicted two white wave-like arcs against solid black; it was Kelly's first museum purchase. Today, his work is in many public collections, including those of the Centre Pompidou, Paris, the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Governor Nelson A. Rockefeller Empire State Plaza Art Collection, Albany, NY, The Hyde Collection, Glens Falls, NY, and Tate Modern, London. In 1999, the San Francisco Museum of Modern Art announced that it had bought 22 works, paintings, wall reliefs and sculptures, by Ellsworth Kelly. They have been valued at more than $20 million. In 2003, the Menil Collection received Kelly's Tablet, 188 framed works on paper, including sketches, working drawings and collages. Notable private collectors include, among others, Eli Broad and Gwyneth Paltrow.

Recognition
1963: Brandeis Creative Arts Award, Brandeis University, Waltham, Massachusetts
1964: Carnegie International
1974: Member of the National Institute of Arts and Letters
1987: Chevalier de l'Ordre des Arts et des Lettres
1999: Edward MacDowell Medal
2000: Praemium Imperiale
2013: Brandeis University honorary doctorate of Humane Letters, Brandeis University, Waltham, Massachusetts
2013: National Medal of Arts, presented by the President of the United States

Kelly has also received numerous honorary degrees, among others from Bard College (1996), Annandale-on-Hudson, New York; Royal College of Art, London (1997); Harvard University, Cambridge (2003); and Williams College (2005).

Kelly postage stamps
The United States Postal Service announced in January, 2019, that a set of stamps honoring Kelly's artwork would be issued in 2019. The USPS press release acknowledges Kelly's pioneering of a "distinctive style of abstraction based on real elements reduced to their essential forms." Ten works are represented, including Yellow White, Colors for a Large Wall, Blue Red Rocker, Spectrum I, South Ferry, Blue Green, Orange Red Relief (for Delphine Seyrig), Meschers, Red Blue and Gaza. The set of stamps will be issued on May 31, 2019.

Art market
The dealer Betty Parsons first offered him a solo exhibition in 1956. In 1965, after nearly a decade with Parsons, he began to show with the Sidney Janis Gallery. In the 1970s and 1980s, his work was handled jointly by Leo Castelli and Blum Helman in New York. In 1992, he joined the Matthew Marks Gallery, New York and Los Angeles, and the Anthony d'Offay Gallery in London. The facade of Marks's Los Angeles gallery was inspired by Study for Black and White Panels, a collage he made while living in Paris in 1954, and a painting, Black Over White. From 1964 he produced prints and editioned sculptures at Gemini G.E.L. in Los Angeles and Tyler Graphics Ltd near New York City.

In 2014 Kelly's painting Red Curve (1982) sold at auction for $4.5 million at Christie's New York. That auction record for a work by Ellsworth Kelly was set by the 13-part painting Spectrum VI (1969), which sold for $5.2 million at Sotheby's New York, Contemporary Art Evening sale, November 14, 2007.

In Nov 2019, Christie's set an auction record for the artist with the work Red Curve VII'', sold for a $9.8million.

References

External links

 Ellsworth Kelly in St Ives exhibition at Tate St Ives, UK, 2006
 Ellsworth Kelly in "Blue Green Black Red: The Dallas Panels" on the north wall of the main lobby at the Meyerson Symphony Center in Dallas, Texas
 Biography from the Museum of Modern Art, includes selected images and bibliography
 Biography from Guggenheim Museum includes selected works, and suggested reading list.
 VernissageTV Interview with Ellsworth Kelly at the Art 39 Basel Fair.
 Ellsworth Kelly in the National Gallery of Australia's Kenneth Tyler collection
 Ellsworth Kelly: Sculpture on the Wall Barnes Foundation exhibition catalogue, 2013
 Smithsonian, December 2015: Why Ellsworth Kelly Was a Giant in the World of American Art
 USPS Announcement of Ellsworth Kelly Stamps

1923 births
2015 deaths
20th-century American painters
20th-century American printmakers
20th-century American sculptors
20th-century American male artists
21st-century American painters
21st-century American male artists
21st-century American sculptors
Abstract painters
American abstract artists
American contemporary painters
American LGBT painters
American LGBT sculptors
American LGBT military personnel
American male painters
American male sculptors
United States Army personnel of World War II
Knights of the Legion of Honour
American gay artists
Honorary Members of the Royal Academy
LGBT people from New York (state)
Gay painters
Gay sculptors
Gay military personnel
Minimalist artists
People from Newburgh, New York
People from Oradell, New Jersey
Pratt Institute alumni
Recipients of the Praemium Imperiale
United States National Medal of Arts recipients
Skowhegan School of Painting and Sculpture alumni

Ellsworth Kelly


Fusor is a proposed term for an astronomical object which is capable of core fusion. The term is more inclusive than "star".

Motivation
To help clarify the nomenclature of celestial bodies, Gibor Basri proposed to the IAU that any "object that achieves core fusion during its lifetime" be called a fusor.

This definition includes any form of nuclear fusion, so the lowest possible mass of a fusor was set at roughly  (Jupiter masses) at which point deuterium fusion becomes possible. This is significantly lower than the point at which sustained fusion of protium (, "regular" hydrogen) becomes possible, around . Objects are considered "stellar" when they are about , when their gravitational contraction is halted by the heat generated by core fusion, establishing hydrostatic equilibrium, and they become main sequence stars. Fusors would include active stars and many brown dwarfs.

The introduction of the term "fusor" would allow for a simple definition:
 Fusor – An object capable of core fusion
 Planemo – A round non-fusor
 Planet – A planemo that orbits a fusor

In this context, the word round is understood to mean "whose surface is very nearly on the gravitational equipotential", and orbits to mean "whose primary orbit is now, or was in the past around", and capable implies fusion is possible sometime during the existence of the object by itself.

See also

 Dwarf planet
 Exoplanet
 Gas giant
 Mesoplanet
 Planetar (astronomy)
 Planetesimal
 Planetoid
 Pulsar planet

Footnotes

References

Star types
Definition of planet

Fusor (astronomy)


Charles Hutchins Stewart (September 22, 1867 – June 18, 1936) was a four-term mayor of Melbourne, Florida from 1890 to 1891, and 1902 to 1905.

Early life and family
He was born in Joliet, Illinois on September 22, 1867, the son of William F. Stewart (b. Ohio) and Julia Ann Hutchins (b. Maysville, Kentucky).

He married Annie Mabel Nash in Titusville on May 24, 1888. She was the daughter of Clarence and Annie Hyatt Nash, a wealthy family from Norwalk, Connecticut with a home in Daytona.

He and his wife Annie Mabel Nash Stewart came to Melbourne in 1888. They were well educated and cultured, but wanted to be pioneers.

Career
He was elected mayor in 1890 when he was only 23.

He opened a hardware store and mortuary on New Haven Ave named Fee & Stewart Hardware Co. and Fee Mortuary Company with his partner, Frank Fee, who would also serve as mayor. The business expanded to include farm supplies, furniture, a bank and an undertaking parlor. In those days, banking was a natural extension of the hardware business, because they very often had to extend credit to their customers. Fee and Stewart founded the Melbourne State Bank on April 3, 1893. At that time, it the nearest bank was in St. Augustine. The bank closed during the Depression.

In 1902, Fee sold his interests in Melbourne to Stewart and moved to Fort Pierce where he reopened the bank, renaming it the Bank of Fort Pierce.

In 1908, he was a presidential elector for the Republican Party.

Documentation exists from as early as 1898 in the form of letters and invoices, books and newspaper articles reflecting his business was already located at 1002 E New Haven Ave, Melbourne, FL.

In 1919, Stewart's Front Street store burned down, along with most of the downtown businesses in "The Great Fire." After this time, the downtown was no longer in that area, but moved to the west side of U.S. 1. Stewart moved his business to New Haven Avenue. He may have moved his business to 1002 E New Haven Ave before the fire of 1919.

In 1920, he was a co-founder of the Melbourne Golf and Country Club.

Death
He died in Melbourne, Florida, on June 18, 1936. He was buried in Daytona Beach, Florida.

References

1867 births
1936 deaths
American bankers
American merchants
American people of Scottish descent
American pharmacists
Florida postmasters
City and town clerks
Florida Republicans
American funeral directors
Hardware merchants
Mayors of Melbourne, Florida
Northwestern University alumni
People from Joliet, Illinois
1908 United States presidential electors
19th-century American merchants

Charles H. Stewart


"And Then We Kiss" is a song by American singer Britney Spears. It was written by Spears, Mark Taylor and Paul Barry, while production was handled by Taylor. The song did not make the final track listing of Spears' fourth studio album, In the Zone (2003), and was later remixed by Junkie XL for inclusion on Spears' first remix album, B in the Mix: The Remixes (2005). It was also included on the extended play released to promote the remix album, titled Key Cuts from Remixed (2005). The Junkie XL remix of "And Then We Kiss" was released as a promotional single in Australia and New Zealand on October 31, 2005. The original version produced only by Taylor leaked online in September 2011.

The Junkie XL remix of "And Then We Kiss" is a Eurotrance song with influences of techno and usage of dance-rock guitars, synthesizers and symphonic strings. The lyrics speak about a kiss and the different sensations that a woman experiences, including trembling, crying and moaning. Junkie XL explained that he wanted to make the song a 2006 version of Depeche Mode's "Enjoy the Silence". The Junkie XL remix of "And Then We Kiss" was well received by music critics, with some noticing its potential to be a radio or club hit. The song failed to appear on any major record charts, however, it peaked at number 15 on the US Billboard Hot Dance Airplay.

Background
"And Then We Kiss" was written by Spears, Mark Taylor and Paul Barry, while produced by Taylor. The song was recorded in the same sessions as "Breathe on Me", and was originally intended for In the Zone (2003). This version produced by Taylor features an electronica vibe reminiscent of Madonna's Ray of Light (1998), and contains a flamenco guitar with prominent lead vocals by Spears. "And Then We Kiss" was set to be included as a UK and Japan bonus track on Britney & Kevin: Chaotic (2005), but was replaced with "Over to You Now" for unknown reasons.

The song was remixed by Junkie XL and released on her remix album B in the Mix: The Remixes (2005). In the album credits, both Taylor and Junkie XL were listed as producers of the song. All instruments, including guitar, bass guitar, synths and drums, were played by Junkie XL. Audio mastering was done by Chaz Harper at Battery Mastering. In September 2005, it was announced by Billboard that the remix would serve as the music for the ad campaign behind Spears' fragrance, Fantasy. The Junkie XL Remix was released as a promotional single from B in the Mix: The Remixes on October 31, 2005, in Australia and New Zealand, as "And Then We Kiss". The version of the song produced by Taylor remained unreleased for years, until a new mix of the song labeled as the original version leaked online on September 2, 2011. After suggestions that it may be a fake, Taylor confirmed its authenticity to Bradley Stern of Muumuse.com on September 5, 2011.

The Junkie XL Mix appears in the 2007 video game Dance Dance Revolution Supernova 2 for the PlayStation 2 in North America.

Composition

"And Then We Kiss" is four minutes and twenty-eight seconds long. It is a Eurotrance song with influences of techno and usage of synthesizers. The song blends dance-rock guitars and symphonic strings and closes with an orchestral overtone. Its lyrics talk about a kiss and the different sensations that the protagonist experiences, including trembling, crying and moaning. At the beginning she sings the lines "Lying alone / touching my skin" which suggest that the whole song may actually be a fantasy. Spears's vocals are much less prominent than on the original version. In an interview with About.com, Junkie XL said he wanted to turn the song "into a 2006 version of Enjoy the Silence with really electronic chunky beats and nice melodic guitar lines. Besides the fact that [Britney]'s singing on it, it could be a track off my album because it's the same vibe. I'm really happy with the end result and so are they."

Reception
The Junkie XL Remix of "And Then We Kiss" received positive reviews from music critics. Jennifer Vineyard of MTV noted "And Then We Kiss" had "the potential to be a radio or club hit — if Jive were actively promoting [B in the Mix]". Barry Walters of Rolling Stone said the remix "brings a simpatico blend of symphonic strings and dance-rock guitars" in its melody, while Spence D. of IGN noted Junkie XL makes "the remix an understated swatch of atmospheric neo-goth poing and staccato rhythms." A reviewer of Yahoo! Shopping considered the song "dreamy". Kurt Kirton of About.com said that the remixes of "And Then We Kiss", "Toxic", "Touch of My Hand", "Someday (I Will Understand)" and "...Baby One More Time" "hold their own"; Gregg Shapiro of the Bay Area Reporter, however, said "the many flaws in Spears' reedy, cold and mechanical voice are brought to the forefront" in the remixes. MTV writer Bradley Stern praised Junkie XL, writing, "the sublime remix found producer Junkie XL taking the (still) unreleased studio version of "And Then We Kiss" [...] and smoothing it over into one of Britney's most lush, mature musical moments of all time."

"And Then We Kiss" was not officially released as promotional single in the United States, therefore it was not eligible at the time to appear on Billboards Hot 100. Even so, promotional vinyls were sent to radio stations, who started to play the song unofficially and it managed to garner enough airplay to appear on the Hot Dance Airplay chart of Billboard in early 2006. It debuted at number 25 on the chart issue dated February 25, 2006, reaching a new position of 23 on the following issue. After five weeks on the chart, "And Then We Kiss" reached a peak of 15, on the chart issue dated March 25, 2006. The song spent a total of eleven weeks on the chart, making its last appearance on the week of May 6, 2006. Despite being released in Australia and New Zealand, "And Then We Kiss" failed to appear on major charts of both countries.

Track listing
Digital download
"And Then We Kiss"  – 4:28

12" vinyl
"And Then We Kiss" (Junkie XL Remix)  – 4:28
"And Then We Kiss" (Junkie XL Remix Instrumental)  – 4:28
"And Then We Kiss" (Junkie XL Undressed Remix)  – 4:41
"And Then We Kiss" (Junkie XL Undressed Remix Instrumental)  – 4:41

Credits and personnel
 Britney Spears — lead vocals, songwriting
 Michael Taylor — songwriting
 Paul Barry — songwriting
 Mark Taylor — producer
 Junkie XL — producer, remixer, all instruments
 Chaz Harper — audio mastering

Credits and personnel adapted from B in the Mix: The Remixes album liner notes.

Charts

Weekly charts

Monthly charts

Year-end charts

References

Songs about kissing
2005 singles
Britney Spears songs
Jive Records singles
Song recordings produced by Mark Taylor (record producer)
Songs written by Britney Spears
Songs written by Mark Taylor (record producer)
2005 songs
Songs written by Paul Barry (songwriter)
Number-one singles in Israel

And Then We Kiss


In American politics, a superdelegate is a delegate to a presidential nominating convention who is seated automatically.

In Democratic National Conventions, superdelegates—described in formal party rules as the party leaders and elected official (PLEO) category—make up slightly under 15% of all convention delegates. Before 2018, Democratic superdelegates were free to support any candidate for the presidential nomination in all rounds of balloting. (This contrasts with pledged delegates, who were selected based on the party presidential primaries and caucuses in each U.S. state, in which voters choose among candidates for the party's presidential nomination.) In 2018, the Democratic National Committee reduced the influence of superdelegates by barring them from voting on the first ballot at the Democratic National Convention, allowing them to vote only in a contested convention.

In Republican National Conventions, each Republican Party state chairman and two district-level committee members from each state are automatically seated as delegates, but they are mostly obliged to vote for their state's popular vote winner under the rules of the party branch to which they belong.

In Democratic National Conventions

Description of superdelegates
Of all the delegates to the Democratic National Convention, slightly under 15% are superdelegates. According to the Pew Research Center, superdelegates are "the embodiment of the institutional Democratic Party – everyone from former presidents, congressional leaders and big-money fundraisers to mayors, labor leaders and longtime local party functionaries." Democratic superdelegates are formally described (in Rule 9.A) as automatic (or unpledged) party leader and elected official (PLEO) delegates; each falls into one or more of the following categories based on other positions they hold:

 Elected members of the Democratic National Committee. Elected DNC members include "the chairs and vice chairs of each state and territorial Democratic Party; 212 national committeemen and committeewomen elected to represent their states; top officials of the DNC itself and several of its auxiliary groups (such as the Democratic Attorneys General Association, the National Federation of Democratic Women and the Young Democrats of America); and 75 at-large members who are nominated by the party chairman and chosen by the full DNC." Most at-large DNC members "are local party leaders, officeholders and donors or representatives of important Democratic constituencies, such as organized labor." At the 2016 Democratic National Convention, there were 437 DNC members (with 433 votes) who were superdelegates.
 Democratic governors (including territorial governors and the mayor of the District of Columbia). There were 21 Democratic governors who were superdelegates at the 2016 Democratic National Convention.
 Democratic members of Congress. There were 191 U.S. representatives (including non-voting delegates from Washington, D.C., and territories) and 47 U.S. senators (including Washington, D.C., shadow senators) who were superdelegates at the 2016 Democratic National Convention.
 Any sitting Democratic president or vice president, if applicable.
 Distinguished party leaders: consisting of all former Democratic presidents, vice presidents, congressional leaders (Democratic speakers of the U.S. House of Representatives, Democratic minority leaders of the House, and Democratic leaders of the Senate, and DNC chairs). There were 20 of these who were superdelegates at the 2016 Democratic National Convention.

Because the number of superdelegates depends on the number of Democratic members of Congress and Democratic governors, the exact number of superdelegates may change during the primary season (ahead of the convention) due to officials' deaths, resignations, or special elections.

Not all superdelegates attend the convention. For example, during his time in Congress, Democratic U.S. Representative Jim Matheson skipped every convention. Former Vice President Al Gore skipped the 2016 Convention. Most Democratic members of Congress skipped the 2020 Convention, choosing not to physically attend in light of the COVID-19 pandemic.

State residency
Under party rules, automatic delegates shall "legally reside in their respective state and ... shall be recognized as part of their state's delegation" (Rule 9.E). For example, in the 2008 convention, former Maine Governor Kenneth M. Curtis was a superdelegate (by virtue of his position as a past DNC chair), but because had moved to Florida in 2006, he was counted as part of the Florida delegation, not the Maine delegation.

Loss of superdelegate status
Additionally, under party rules, automatic delegates are automatically disqualified if they have "publicly expressed support for the election of, or has endorsed, a presidential candidate of another political party" (Rule 9.E) and no delegate "shall participate or vote in the nominating process for a Democratic presidential candidate who also participates in the nominating processes of any other party for the corresponding elections" (Rule 2.E).  Thus, a person who would otherwise qualify as a superdelegate lose his or her superdelegate status by endorsing another party's presidential candidate. In 2008, Senator Joe Lieberman of Connecticut endorsed Republican John McCain, which, according to the chairwoman of the Connecticut Democratic Party, resulted in his disqualification as a superdelegate. Lieberman's status had, however, previously been questioned because, although he was a registered Democratic voter and caucused with the Democrats, he won re-election as the candidate of the Connecticut for Lieberman Party and was listed as an "Independent Democrat" on the ballot. Lieberman did not attend the Democratic Convention; he was instead a speaker at the Republican Convention.

Comparison with pledged delegates
The remaining 85% of delegates are pledged to a candidate and chosen in primaries and caucuses. Unlike the Republican primary process (in which many states have a "winner-take-all" process, awarding all or most votes to the candidate who wins a plurality of the vote), Democrats follow a proportionality rule. All candidates who received at least 15% of the vote are awarded delegates in proportion to their share of the vote. Most pledged delegates are allotted based on candidates' proportions of the vote at the district level (these generally correspond to congressional districts, but in some states correspond to state senate districts or specially designated "delegate districts"). Additional delegates (the "at-large" delegates) are awarded to candidates based on statewide results. Finally, there are pledged "party leader and elected official" (PLEO) delegates. These are large city mayors, state legislative leaders, and county party officials who are pledged to a certain candidate; like the statewide at-large delegates, pledged PLEO delegates are allocated proportionally to presidential candidates based on the statewide primary or caucus vote. The district, at-large, and PLEO delegates collectively constitute a state or territory's pledged delegation.

Unlike superdelegates, who may support a candidate of their choice, pledged delegates generally must support the candidate to whom they are pledged. Since 1982, the party rules have stated that: "Delegates elected to the national convention pledged to a presidential candidate shall in all good conscience reflect the sentiments of those who elected them."

If a candidate who has earned pledged delegates drops out before the national convention, then that candidate's delegates who were elected at the district level are released from their obligation to the dropped-out candidate. Pledged delegates who are allocated at the district level to a candidate who subsequently drops out of the race become "free agents": they often support the candidate whom the dropped-out candidate endorses, but are not obligated to do so. By contrast, statewide pledged delegates are usually proportionally reallocated to candidates still in the race at the time when the states formally elect their delegates: this typically takes place at a statewide convention held after the primary or caucus, but before the national convention in mid-summer.

By contrast, many superdelegates choose announce endorsements, but they are not bound to those preferences, and may support any candidate they wish, including a candidate who has dropped out of the presidential race.

History

Origins
In the aftermath of the chaotic 1968 Democratic National Convention, the Democratic Party sought to shift the balance of power in the selection of the party's presidential candidate to primary elections and caucuses, mandating that all delegates be chosen via mechanisms open to all party members; these rules were implemented following the recommendations of the McGovern-Fraser Commission. This increased grassroots control of Democratic conventions. However, after Democratic George McGovern lost in a landslide to Richard Nixon in 1972, and after a decisive fight over the rules at the 1980 convention between supporters of Jimmy Carter and supporters of Edward M. Kennedy, followed by Carter's defeat by Ronald Reagan in 1980, the party changed its nominating rules again.

A commission headed by North Carolina Governor Jim Hunt issued a report in 1982, on a 47–6 vote, to set aside 550 unpledged delegate seats held by party officials, to vote alongside the 3,300 Democratic pledged votes. This partial reversal of the trend toward grassroots control was supported by mainstream party leaders in Congress, as well as organized labor. It increases the power of the institutional party "regulars" against insurgent "outsider" maverick candidates. Their initial proposal to have superdelegates represent 30% of all delegates to the national convention was defeated in favor of a compromise proposal by Geraldine A. Ferraro, in which superdelegates made up about 14% of delegates. The proportion of superdelegates eventually expanded over time, reaching about 20% at the 2008 convention.

1984 and 1988
In 1984, only state party chairs and vice chairs were guaranteed superdelegate status. The remaining spots were divided two ways. Democratic members of Congress were allowed to select up to 60% of their members to fill some of these spots. The remaining positions were left to the state parties to fill with priority given to governors and big-city mayors, led by Democrats and based on population. In the 1984 election, the major contenders for the presidential nomination were Gary Hart, Jesse Jackson, and Walter Mondale. Entering the final handful of primaries on June 5, Mondale was leading Hart in the delegate count, with Jackson far behind. The battle for delegates became more dramatic that night when Hart won three primaries, including the big prize of California in a cliffhanger. The Mondale campaign said, and some news reports agreed, that Mondale secured the needed 1,967 delegates to clinch the nomination that night in spite of losing California. But the Associated Press concluded he was "barely short of the magic majority." Mondale wanted to make it indisputable that he had enough delegate votes, and his campaign set a deadline of one minute before noon; he made 50 calls in three hours to nail down an additional 40 superdelegates and declared at a press conference that he had 2,008 delegate votes. At the convention in July, Mondale won on the first ballot.

In 1988, this process was simplified. Democrats in Congress were now allowed to select up to 80% of their members. All Democratic National Committee members and all Democratic governors were given superdelegate status. This year also saw the addition of the distinguished party leader category (although former DNC chairs were not added to this category until 1996, and former House and Senate minority leaders were not added until 2000). In 1992 was the addition of a category of unpledged "add-ons", a fixed number of spots allocated to the states, intended for other party leaders and elected officials not already covered by the previous categories. Finally, beginning in 1996, all Democratic members of Congress were given superdelegate status. The superdelegates have not always prevailed, however. Howard Dean took an early lead in delegate counts before the first primaries in the 2004 Democratic presidential primaries, but was later defeated by John Kerry, who won a succession of primaries and caucuses and, ultimately, the nomination. In 1988, a study found that delegates selected through the primary and caucus process were not substantively different from superdelegates in terms of issue viewpoints. However, superdelegates are more likely to prefer candidates with Washington experience than outsider candidates.

2008 election
At the 2008 Democratic National Convention, the superdelegates made up approximately one-fifth of the total number of delegates. The closeness of the race between the leading contenders, Hillary Clinton and Barack Obama, led to speculation that the superdelegates would play a decisive role in selecting the nominee, a prospect that caused unease among some Democratic Party leaders. Obama led in pledged delegates at the end of voting in the state contests while not winning enough to secure the nomination without the superdelegates. In May 2008, however, Obama took the lead in superdelegate endorsements for the first time; Clinton dropped out four days after Obama clinched the nomination.

Pledged delegates from state caucuses and primaries eventually numbered 3,573, casting 3,566 votes, resulting in a total number of delegate votes of 4,419. A candidate needed a majority of that total, or 2,209, to win the nomination. Superdelegates accounted for 19.6% of convention delegates, while delegates chosen in the Democratic caucuses and primaries accounted for approximately four-fifths (80.4%) of the Democratic convention delegates. At the convention, Obama won 3,188.5 delegate votes and Clinton won 1,010.5 with 1 abstention and 218 delegates not voting.

2016 election
In 2016, a campaign for superdelegates was a feature of the campaign between former Secretary of State Hillary Rodham Clinton and U.S. Senator Bernie Sanders for the Democratic nomination; Sanders' campaigns and his supporters initially criticized the role of superdelegates, the majority of whom favored Clinton. Several mainstream media outlets included superdelegates in the candidate delegate totals during the primary elections although superdelegates do not vote until the convention and may change their minds on whom they are planning to vote for anytime before the convention. The DNC asked media outlets to not include superdelegate pledges in delegate totals, but many outlets, including the Associated Press, NBC, CBS, and Politico, continued to report total pledged delegates, lumping together superdelegates and pledged delegates. Sanders supporters objected to this practice, argued that it inflated Clinton's lead and discouraged Sanders supporters.

Sanders initially said that the candidate with the majority of pledged delegates should be the nominee; in May 2016, after falling behind in the elected delegate count, he shifted, pushed for a contested convention and arguing that, "The responsibility that superdelegates have is to decide what is best for this country and what is best for the Democratic Party." Ultimately, Clinton won the nomination without relying on the votes of superdelegates; she led Sanders by a substantial number of elected delegates (from primary and caucus votes), as well by a substantial margin in the popular vote. She became the presumptive nominee in early June 2016, after the California primary; at the time, Clinton had 1812 pledged delegates and 572 superdelegates, and Sanders has 1520 pledged and 46 superdelegates. Sanders continued to campaign after the last Democratic primary, unsuccessfully seeking to persuade superdelegates to switch their allegiance to him; ultimately, he conceded the race and endorsed Clinton on July 12, 2016.

Reform of superdelegates

DNC Unity Reform Commission (2016–17)
On July 23, 2016, ahead of the 2016 Democratic National Convention, the 2016 DNC Rules Committee voted overwhelmingly (158–6) to adopt a superdelegate reform package. The new rules were the result of a compromise between the Hillary Clinton and the Bernie Sanders presidential campaigns; in the past, Sanders had pressed for the complete elimination of superdelegates.

Under the reform package, a 21-member unity commission, chaired by Clinton supporter Jennifer O'Malley Dillon and vice-chaired by Sanders supporter Larry Cohen, was appointed after the 2016 general election. The commission's recommendations would be voted on at the next Democratic National Committee meeting, well before the beginning of the 2020 Democratic primaries. The commission was to consider "a mix of Clinton and Sanders ideas": expanding the ability of eligible voters to participate in caucuses (an idea supported by Clinton) and expanding the ability of unaffiliated or new voters to join the Democratic Party and vote in Democratic primaries via same-day registration and re-registration (an idea supported by Sanders). The commission drew comparisons to the McGovern–Fraser Commission, which established party primary reforms before the 1972 Democratic National Convention.

By April 2017, the complete commission had been appointed. In accordance with the compromise agreement, the 21 members include, in addition to O'Malley Dillon and Cohen; nine members selected by Clinton, seven selected by Sanders, and three selected by the DNC chair (Tom Perez). By May 2017, the DNC Unity Reform Commission had begun to meet to begin drafting reforms, including superdelegate reform as well as primary calendar and caucus reform.

The commission met in the summer and fall of 2017. Different proposals on superdelegates were considered by the party. One proposal was to bind all or some superdelegates to the results of state primaries and caucuses. Whether to abolish superdelegates altogether remained controversial within the party. In December 2017, the Unity Commission's recommendations  were delivered to the DNC Rules and Bylaws Committee. Perez and Deputy DNC Chair Keith Ellison co-authored an op-ed for CNN, announcing that the party would make a "significant" cut in the number of superdelegates who vote to decide on the presidential nominee.

Adoption of superdelegate reform (2018)
Ultimately, the DNC decided to prevent superdelegates from voting on the first ballot, instead of reducing their numbers. On August 25, 2018, the DNC approved a plan to reduce the influence of superdelegates by barring them from voting on the first ballot at the Democratic National Convention, allowing them to vote only in a contested convention (i.e., if a Democratic National Convention did not choose the nominee on the first ballot, because no candidate received an absolute majority (more than 50%) of the pledged delegates elected from the outcome of primaries and caucuses). This does not preclude superdelegates from publicly endorsing a candidate of their choosing before the convention.

The plan, which was endorsed by DNC chair Tom Perez, former DNC chair Howard Dean, and other party leaders, passed by an overwhelming margin; the New York Times noted that the compromise was a "rare mind meld  between the Democratic establishment and progressive activists who have often chided the party's elite." The only dissenter on the DNC Rules Committee was former DNC chairman Donald L. Fowler, who argued that the existing system worked.

2020 election
The first Democratic presidential primaries cycle under the new 2016–2018 superdelegate reform measures took place in 2020.

Criticism and defenses
The votes of superdelegates have never actually determined the Democratic nominee, although in 1984 they may have helped Walter Mondale win on the first ballot at the convention.

Critics
Critics have assailed superdelegates' role in Democratic National Conventions both before and after the 2017 reforms. Susan Estrich argued in 2008 that superdelegates have more power than other delegates because of their greater freedom to vote as they wish beginning with the first ballot. (Superdelegates' ability to vote on the first ballot was eliminated after the 2017 reform.) U.S. Senator Tim Kaine, Hillary Clinton's former running mate, said in 2017 that he agreed with Bernie Sanders that  superdelegates should be eliminated from the process: "I have long believed there should be no superdelegates. These positions are given undue influence in the popular nominating contest and make the process less democratic." Prominent Democratic strategists Bob Shrum and Bill Carrick have also opposed superdelegates, and called for them to be dropped from the nominating process.

The role of superdelegates in the nominating process has also been criticized as unrepresentative. In 2007, Politico found that about half of the superdelegates were white men, compared to 28% of the Democratic primary electorate. Of the superdelegates at the 2016 Convention, 58% were male and 62% were non-Hispanic white (20% were black and 11% were Hispanic). The average age was about 60. There is no bar on lobbyists serving as DNC members (and thus superdelegates); ABC News found that about 9% of superdelegates at the 2016 Democratic National Convention (67 people in all) were former or current lobbyists registered on the federal and state level.

Defenders
Author Jonathan Rauch and political scientist Ray La Raja argued in 2019 that the U.S. has given too much power to primary voters, and that this inflicts harms to democracy. They argue that "the role of superdelegates in the Democratic nomination process could be strengthened instead of weakened" and that this form of early vetting was positive, suggesting that this formal form of the "invisible primary" can be a positive force to counter-balance populism "by restoring the Madisonian pillars of pluralism, checks on power, and deliberative institutions."

In February 2016, U.S. Representative Debbie Wasserman Schultz, chair of the Democratic National Committee, defended the role of superdelegates in an interview with Jake Tapper, arguing that unpledged delegates ensure "that party leaders and elected officials don't have to be in a position where they are running against grass-roots activists" and minimizes competition between the two groups.

In Republican National Conventions
In the Republican Party, as in the Democratic Party, members of the party's national committee automatically become delegates. There are three Republican National Committee delegates (the national committeeman, national committeewoman, and state party chair) for each state.

At the 2012 Republican National Convention, convention rules were amended to obligate unpledged RNC members (the "superdelegates") to vote according to the result of primary elections held in their states if the state holds a primary. Pledged delegates selected by Republican primaries are assigned either on a proportional or a "winner-take-all" basis.

However, if a candidate does not win the party's nomination on the first ballot (i.e., by securing a majority—more than 50%), then some delegates become "unbound" free agents, depending on rules specific to state parties. For most states, delegates are "unbound" as soon as a first ballot concludes without a nominee being selected; for other states (including Texas) delegates are not unbound until a second ballot also fails to produce a majority for a candidate; and delegates from some other states (including Kansas and Alabama) remain bound to their candidate until the candidate releases them.  These rules apply to both pledged delegates and superdelegates, meaning that superdelegates would play a role in selecting the nominee at a contested convention.

Superdelegates make up about 7% of all delegates to Republican national conventions. In the 2008 Republican National Convention, 123 RNC delegates among the 2,380 total delegates were not pledged to any candidate. In the 2016 Republican National Convention, 168 delegates among the 2,472 total delegates were "super" (unbound).

See also
List of superdelegates at the 2008 Democratic National Convention
List of superdelegates at the 2016 Democratic National Convention
List of automatic delegates at the 2020 Democratic National Convention

References

Notes

United States presidential nominating conventions
Organizational structure of political parties

Superdelegate


Lilith Sternin (formerly Sternin-Crane), M.D., Ph.D., Ed.D, A.P.A. is a fictional character on the American television sitcoms Cheers and Frasier, portrayed by Bebe Neuwirth. The character first appears as a date for Frasier Crane, though mutual hostility and discomfort causes the evening to end badly. Several months later, Lilith meets Frasier again and, with some help from Frasier's ex-fiancée, Diane Chambers (Shelley Long), they start a romantic relationship, eventually living together, marrying, and having a son, Frederick.

In the final season of Cheers, Lilith has an affair with another man and leaves Frasier. The affair later unravels and Lilith returns, seeking reconciliation with Frasier. Although Cheers ended ambiguously with regard to Frasier and Lilith's marriage, at the beginning of the spin-off series Frasier, their divorce had been finalized, with Lilith gaining custody of Frederick and remaining in Boston while Frasier has moved back to his hometown of Seattle. Lilith occasionally appears in Frasier, sometimes with Frederick.

Role in Cheers
Lilith debuts in the Cheers episode "Second Time Around" (1986), as Frasier Crane's (Kelsey Grammer) date. In the episode, their first date does not go well. Lilith walks out of the date because she disdains the bar as Frasier's location for their date and Frasier's activities at the bar. In "Abnormal Psychology" (1986), they feel mutual attraction again when he becomes accustomed to her makeover done by Diane Chambers (Shelley Long). At first reluctant to start over again, they then decide to go on another date. For years they live together, as first shown in "Dinner at Eight-ish" (1987). "Our Hourly Bread" (1988) reveals that they wed one month before the episode. (In "Smotherly Love" (1992), they re-enact their wedding to please Lilith's mother Betty (Marilyn Cooper), who was irritated that she had not been present for their marriage.) In "The Stork Brings a Crane" (1989), Lilith gives birth to Frederick during the taxi ride home after false labor in the hospital.

The tenth-season Cheers episode "I'm Okay, You're Defective" (1991) features two plots: one subplot about Lilith pressuring Frasier to finalize his will and one main plot about Sam Malone's (Ted Danson) concern that his sperm count may be low. The episode's epilogue is described as "Many years later" with an elderly Lilith and adult Frederick (Rob Neukirch) sitting for the reading of Frasier's will. The lawyer opens the sealed envelope and is surprised to find Sam's sperm count report, which turns out stable. In response to the mix-up, Lilith bitterly remarks, "That damn bar."

In the eleventh and final season (1992–93), in "Teaching with the Enemy" (1992), Lilith admits her affair with another man – Dr. Louis Pascal (Peter Vogt). In "The Girl in the Plastic Bubble" (1992), Lilith leaves Frasier, with him contemplating suicide until she promises to him that the marriage can be saved, to live with Pascal in Pascal's experimental underground eco-pod. In "Is There a Doctor in the Howe?" (1993), a depressed Frasier almost has sex with Rebecca Howe (Kirstie Alley) in their bed until Lilith unexpectedly returns. In the following episode, "The Bar Manager, The Shrink, His Wife and Her Lover" (1993), Lilith storms out of the room to go to Cheers, demanding the others tell her how long Frasier and Rebecca have been having an affair. The other characters have no idea as the affair has barely started that very evening. Lilith reveals that the eco-pod experiment with Pascal was a disaster — Pascal turned out to be claustrophobic, among other mental problems — and she abandons the project to return to Boston. Frasier and Rebecca, and eventually Pascal, converge on Cheers in pursuit of Lilith. Pascal, armed with a pistol, demands Lilith return to him, threatening to shoot Frasier and the others. Lilith demands that he shoot her first, which causes him to back down and surrender to police. Although Frasier initially refuses to take Lilith back, her pathetic sobbing wins him over, suggesting a reconciliation can occur.

Role in Frasier
In the spin-off Frasier, Lilith and Frasier have divorced, and Frederick continually lives with Lilith in Boston after Frasier's move to Seattle. In the opening scene of the 1993 pilot episode of Frasier ("The Good Son"), Frasier is hosting his call-in radio show and relates the following:

Six months ago, I was living in Boston. My wife had left me, which was very painful. Then she came back to me, which was excruciating. ...So I ended the marriage once and for all, packed up my things, and moved back here to my home town of Seattle.

Actress Bebe Neuwirth reprises the role of Lilith in several episodes of Frasier. In her debut Frasier episode, "The Show Where Lilith Comes Back" (1994), Lilith calls Frasier during his radio show, which surprises him, and mocks Frasier's psychiatric advice to his callers, especially one who overeats and whom Lilith attempts to help. Later at his apartment, Lilith reminds him about their times together during marriage. They make love at one point, but end up regretting it, strongly indicating no chance of a lasting reconciliation. Throughout the series, Lilith reappears on occasion, often rekindling hers and Frasier's lingering emotional bond, sometimes over concern about the future of Frederick (Trevor Einhorn), who also makes recurring appearances.

A running gag throughout Frasier is that Frasier's father and brother, Martin Crane (John Mahoney) and Niles Crane (David Hyde Pierce), are never pleased to see Lilith. Martin finds her "weird" and usually shouts out in shock when he unexpectedly sees her in his and Frasier's apartment. Niles resents her for mocking the vows at his wedding but forgives her when she apologizes. Lilith's presence frightens Martin's dog Eddie, terrifying the normally defiant dog into obedience. Martin's live-in physical therapist, Daphne Moon (Jane Leeves), who fancies herself as having minor psychic abilities, routinely suffers debilitating headaches when Lilith is in town, citing an evil spiritual presence.

Lilith marries her fiancé Brian (James Morrison), an MIT seismologist who appears in only one episode "Adventures in Paradise, Part Two" (1994). A later episode, "Room Service" (1998), reveals that Lilith is recently divorced from Brian after he came out of the closet.

Her final Frasier episode is "Guns 'N Neuroses" (2003), where Lilith's colleague Nancy (Christine Dunford), sets Frasier up on a blind date with Lilith, having no idea of their mutual history. However, the two meet up for a drink while Lilith is in Seattle and, when it overruns, they both end up cancelling on the blind date (never learning they had been set up with each other). When the two are interrupted by a loud argument between a young married couple in the next room, Frasier and Lilith successfully resolve the couple's dispute, then spend the night together watching television and finally falling asleep together on the couch. The next morning, they part ways as loving friends without restarting their romance.

Lilith will return in the 2023 edition of Frasier.

Creation and development

A stereotypical "intelligent ice queen" Lilith Sternin first appeared in one single scene of a Cheers episode "Second Time Around" (1986; season 4, episode 17), intended as a one-off character. However, she was brought back in the fifth season and became a recurring character thereafter. Over the years, like Diane Chambers, an educated Lilith is often mocked yet "manages to put people in their place."

Cheers and Frasier writers Ken Levine and David Isaacs found the chemistry of Frasier and Lilith "special" enough to compare them with Katharine Hepburn and Spencer Tracy mixed with "Prozac" and to comfortably write stories about. Nevertheless, Neuwirth did not want to appear as a regular player, and left the role of Lilith on Cheers. Neuwirth's career has since been focused on stage work. However, she made several guest appearances as Lilith in the spin-off Frasier.

The Frasier episode "Wheels of Fortune" (2002) reveals that Lilith has a half-brother, Blaine (Michael Keaton), whom Frasier despises due to Blaine's relentless swindling.

Reception
This role earned Neuwirth two Emmy Awards as an Outstanding Supporting Actress in 1990 and 1991.

According to an April 1–4, 1993, telephone survey of 1,011 people by the Times Mirror Center for the People and the Press (now Pew Research Center), before the Frasier premiere and the Cheers finale, Sam Malone (Ted Danson) was voted a favorite character by 26 percent, and Frasier Crane and Lilith Sternin were voted favorites by 1 percent each. In response to a question of spinning off a character, 15 percent voted Sam, 12 percent voted Woody Boyd (Woody Harrelson), 10 percent voted Norm Peterson (George Wendt), and 29 percent voted no spin-offs. Frasier Crane, whose own spin-off Frasier debuted in September 1993, was voted 2 percent to have his own show.

Bill Simmons, who at the time worked for ESPN, deemed Lilith Sternin one of his least favorite Cheers characters. Martha Nolan from The New York Times called Frasier and Lilith "repressed" when married together in Cheers. Josh Bell from About.com called Frasier and his ex-wife Lilith Sternin one of the "best sitcom divorced couples" of all-time.

Steven H. Scheuer from Sarasota Herald-Tribune considered Lilith's significance to and marriage with Frasier "fun" to watch, especially when, in "Severe Crane Damage" (1990), she used comparisons between "the duller good boy" Frasier and "the interesting bad boy" Sam Malone as "psychiatric examples of the good boy–bad boy syndrome". Faye Zuckerman and John Martin from The New York Times called their marriage in Cheers a hilariously "[perfect mismatch]". Television critic Kevin McDonough from New York praised Kelsey Grammer and Bebe Neuwirth's performances as "repressed individuals" and "separate couple on TV" with "acidic and hilarious" chemistry together.

References

Citations

General bibliography
 Bjorklund, Dennis A. Cheers TV Show: A Comprehensive Reference. Praetorian Publishing, 1993. Google Books. Web. 8 April 2012. Another edition
 Gates, Anita. "TELEVISION; Yes, America Has a Class System. See 'Frasier'. The New York Times, 19 Apr. 1998. Web. 9 Feb. 2012.

All articles that may contain original research
Television characters introduced in 1986
Cheers characters
Frasier characters
Fictional female doctors
Fictional American Jews
Fictional Jewish women
American female characters in television
Crossover characters in television
Fictional American psychiatrists

Lilith Sternin


Sir Anthony Hope Hawkins, better known as Anthony Hope (9 February 1863 – 8 July 1933), was a British novelist and playwright.  He was a prolific writer, especially of adventure novels but he is remembered predominantly for only two books: The Prisoner of Zenda (1894) and its sequel Rupert of Hentzau (1898). These works, "minor classics" of English literature, are set in the contemporaneous fictional country of Ruritania and spawned the genre known as Ruritanian romance, books set in fictional European locales similar to the novels.  Zenda has inspired many adaptations, most notably the 1937 Hollywood movie of the same name and the 1952 version.

Early career and Zenda

Hope was educated at St John's School, Leatherhead, Marlborough College and Balliol College, Oxford. In an academically distinguished career at Oxford he obtained first-class honours in Classical Moderations (Literis Graecis et Latinis) in 1882 and in Literae Humaniores ('Greats') in 1885.

Hope trained as a lawyer and barrister, being called to the Bar by the Middle Temple in 1887. He served his pupillage under the future Liberal Prime Minister H. H. Asquith, who thought him a promising barrister and who was disappointed by his decision to turn to writing.

Hope had time to write, as his working day was not overfull during these early years and he lived with his widowed father, then vicar of St Bride's Church, Fleet Street.  His short pieces appeared in periodicals but for his first book, he was forced to resort to a self-publishing press.  A Man of Mark (1890) is notable primarily for its similarities to Zenda: it is set in an imaginary country, Aureataland, and features political upheaval and humour.  More novels and short stories followed, including Father Stafford in 1891 and the mildly successful Mr Witt's Widow in 1892. He stood as the Liberal candidate for Wycombe in the election of 1892 but was not elected.

In 1893, he wrote three novels (Sport Royal, A Change of Air and Half-a-Hero) and a series of sketches that first appeared in The Westminster Gazette and were collected in 1894 as The Dolly Dialogues, illustrated by Arthur Rackham.

Dolly was his first major literary success.  A. E. W. Mason deemed these conversations "so truly set in the London of their day that the social historian would be unwise to neglect them," and said that they were written with "delicate wit [and] a shade of sadness."

The idea for Hope's tale of political intrigue, The Prisoner of Zenda, being the history of three months in the life of an English gentleman, came to him at the close of 1893 as he was walking in London. Hope finished the first draft in a month and the book was in print by April.  The story is set in the fictional European kingdom of 'Ruritania', a term which has come to mean "the novelist's and dramatist's locale for court romances in a modern setting." Zenda achieved instant success and its witty protagonist, the debonair Rudolf Rassendyll, became a well-known literary creation.  The novel was praised by Mason, literary critic Andrew Lang, and Robert Louis Stevenson.

The popularity of Zenda persuaded Hope to give up the "brilliant legal career [that] seemed to lie ahead of him" to become a full-time writer but he "never again achieved such complete artistic success as in this one book." Also in 1894, Hope produced The God in the Car, a political story, which the late nineteenth-century English novelist George Gissing thought was "of course vastly inferior to what I had supposed from the reviews".

Later years
Hope wrote 32 volumes of fiction over the course of his lifetime and he had a large popular following.  In 1896 he published The Chronicles of Count Antonio, followed in 1897 by a tale of adventure set on a Greek island, entitled Phroso. He went on a publicity tour of the United States in late 1897, during which he impressed a New York Times reporter as being somewhat like Rudolf Rassendyll: a well-dressed Englishman with a hearty laugh, a soldierly attitude, a dry sense of humour, "quiet, easy manners", and an air of shrewdness.

In 1898, he wrote Simon Dale, a historical novel involving actress and courtesan Nell Gwyn.  Marie Tempest appeared in the dramatisation, called English Nell.  One of Hope's plays, The Adventure of Lady Ursula, was produced in 1898.  This was followed by his novel The King's Mirror (1899), which Hope considered one of his best works; and Captain Dieppe (1899).  In 1900, he published Quisanté and he was elected chairman of the committee of the Society of Authors.  He wrote Tristram of Blent in 1901, The Intrusions of Peggy in 1902,  and Double Harness in 1904, followed by A Servant of the Public in 1905, about the love of acting.

In 1906, he produced Sophy of Kravonia, a novel in a similar vein to Zenda which was serialised in The Windsor Magazine; Roger Lancelyn Green is especially damning of this effort.  Nevertheless, the story was filmed twice, in Italy in 1916 as Sofia De Kravonia, and in the United States in 1920 as Sophy of Kravonia or, The Virgin of Paris. Both adaptations featured the actress Diana Karenne in the title role (billed as "Diana Kareni" in the latter film).

In 1907, a collection of his short stories and novelettes was published under the title Tales of Two People; as well as the novel Helena's Path.  In 1910, he wrote Second String, followed by Mrs Maxon Protests the next year.

Hope wrote and co-wrote many plays and political non-fiction during the First World War, some under the auspices of the Ministry of Information.  Later publications included The Secret of the Tower, and Beaumaroy Home from the Wars, in 1919 and Lucinda  in 1920. Lancelyn Green asserts that Hope was "a first-class amateur but only a second-class professional writer.

Personal life
Hope married Elizabeth Somerville (1885/6–1946) in 1903 and they had two sons and a daughter. He was knighted in 1918 for his contribution to propaganda efforts during World War I.

He published an autobiographical book, Memories and Notes, in 1927.

Death
Hope died of throat cancer at the age of 70 at his country home, Heath Farm at Walton-on-the-Hill in Surrey.  There is a blue plaque on his house in Bedford Square, London.

Bibliography

The Ruritanian Trilogy
 The Heart of Princess Osra, 1896 - a fix-up novel containing 9 linked short stories
 The Prisoner of Zenda: being the history of three months in the life of an English gentleman, 1894.
 Rupert of Hentzau: being the sequel to a story by the same writer entitled the Prisoner of Zenda, 1898.

Other works
 A Man of Mark, 1890.
 Father Stafford,1891.
 Mr Witt's Widow: A Frivolous Tale, 1892.
 A Change of Air, 1893.
 Half a Hero, 1893.
 Sport Royal and other stories, 1893.
 The Dolly Dialogues, 1894.
 The God in the Car, 1894.
 The Indiscretion of the Duchess: being a story concerning two ladies, a nobleman, and a necklace, 1894.
 The Chronicles of Count Antonio, 1895.
 Comedies of Courtship, 1896.
 Phroso: A Romance, 1897.
 Simon Dale, 1898.
 The King's Mirror, 1899.
 Quisanté, 1900.
 Tristram of Blent: an episode in the story of an ancient house, 1901.
 The Intrusions of Peggy, 1902.
 Double Harness, 1904.
 A Servant of the Public, 1905.
 Sophy of Kravonia, 1906.
 Tales of Two People, 1907.
 The Great Miss Driver, 1908.
 Love's Logic and other stories, 1908.
 Dialogue, 1909.
 Second String, 1910.
 Mrs Maxon Protests, 1911.
 Helena's Path, 1912.
 The New (German) Testament: some texts and a commentary, 1914.
 Militarism, German and British, 1915.
 A Young Man's Year, 1915.
 Why Italy is with the Allies, 1917.
 Captain Dieppe, 1918.
 Beaumaroy Home from the Wars,  1919.
 Lucinda, 1920.
 Little Tiger: A Novel, 1925.
 Memories and Notes, 1927.

See also
 Assassinations in fiction

Notes

References
   This six-page introduction is primarily a biography and includes a detailed bibliography of Hope's oeuvre and of biography and criticism concerning him.

External links

 Anthony Hope Collection at the Harry Ransom Center

1863 births
1933 deaths
Alumni of Balliol College, Oxford
19th-century British novelists
Knights Bachelor
Members of the Middle Temple
People educated at St John's School, Leatherhead
People from Lower Clapton
Presidents of the Oxford Union
20th-century English novelists
19th-century English writers
Writers from London
Deaths from cancer in England
Deaths from throat cancer
Liberal Party (UK) parliamentary candidates

Anthony Hope


KLJA (107.7 FM) is a radio station broadcasting a Spanish AC format. Licensed to Univision Radio in Georgetown, Texas, United States, it serves the Austin area. The station has a transmitter in Georgetown and has studios along MoPac Expressway in Northwest Austin.

History

Sign-on, Austin's original alternative
The station signed on the air In October 1991 as "107.7 K-Nack" KNNC, giving Austin its first commercial Alternative/Modern Rock-formatted station under the ownership of Rees-Slaymaker Radio Partnership. The station, always hampered by its relatively small 3 kW signal broadcasting from the far northeastern corner of the market, faced competition in 1995 when Sinclair Telecable launched 101X on its Austin rimshot, KROX-FM. At the time, KROX was licensed to Giddings and, while it broadcast with a full 100 kilowatts, its tower was located between Bastrop and La Grange and only provided listenable coverage to southeastern portions of the Austin market. In 1997, Sinclair (a Virginia-based radio operator, not to be confused with Sinclair Broadcasting) leased KNNC and began simulcasting 101X on 107.7 to supplement KROX's then-weak northern metro signal.

Sale to Simmons, flip to classic hits
Later in 1997, Rees-Slaymaker sold KNNC to Utah-based Simmons Media Group, who ended the 101X simulcast and flipped 107.7 to a 70s-based Classic Hits format as "107.7 the Hawk" KAHK. As the 80s Hits format was picking up steam nationally in the early 2000s, Simmons flipped KAHK to an 80s-based format as "107.7 the End, Austin's 80s Channel" KTND in February 2001. After only about a year, KTND shifted to Modern Rock, placing the station back into competition with KROX (which by that time had relicensed to Buda and upgraded its facilities to fully cover the Austin market.)

Switch to Spanish
Simmons began divesting stations outside of its home market of Salt Lake City in 2003, with KTND being sold to Univision, along with their entire Albuquerque station cluster. Univision's purchase of the station was their entry into the Austin radio market, and was preceded by the purchase of TV station KAKW in 2002. Upon taking control of the station in April 2003, Univision launched Regional Mexican "La Invasora" on the station, which was recalled KINV. Univision changed formats on the station again in 2005, and KINV became Latin Classic Hits "Recuerdo 107.7". In 2008, following the demise of the Latin Pop format on what was then KXXS (98.9), KINV flipped to Latin Pop as "Hitz 107.7" KHZS. Just shy of Hitz 107.7's first birthday, KHZS returned to Regional Mexican format as "La Jefa" on October 16, 2009. On September 11, 2013, La Jefa moved to sister station KLQB (104.3) and KLJA shifted to a younger-skewing version of the Regional Mexican format as "El Sancho 107.7", "El Sancho"—translating colloquially to "the other one"—has a double meaning: an "alternative" (as in: to KLQB's programming) or "the other man" (as in: a "mister"). This would later be dropped in favor of Univision's "Más Variedad" Spanish Adult Hits format. On February 6, 2018, Univision dropped "Más Variedad" and switched it to Spanish AC as "Amor 107.7."

References

External links

LJA
LJA
Univision Radio Network stations
Radio stations established in 1989

KLJA


Liskeard School and Community College is a coeducational secondary school and sixth form with former engineering specialist status, located in Liskeard, Cornwall, England.

History
The first school in Liskeard was founded in 1550 on Castle Hill, later site of a Civil War battlefield.  For a time it was maintained by the Earls of St Germans, but it closed around 1834 due to a decline in numbers and financial difficulties.  From 1835 a series of private schools existed in the borough, until 1908 when the Cornwall Education Committee built the County School at Old Road.  From 1945 it was known as Liskeard Grammar School until September 1978 when it became the Lower School site of Liskeard School, following amalgamation with the town's secondary modern school.

Liskeard County Secondary School received its first pupils on Monday 12 September 1960, and was formally opened by the Minister of Education, Sir David Eccles on 7 July the following year.  Costing £100,000, it was built to accommodate around 500 pupils on the site of the current school at Luxstowe.  Its glass and steel structure made "free use of fresh air and sunlight" according to local newspaper reports, whilst other modern features included a well-equipped gymnasium, automated central heating and synchronised clocks across the school, operated from the secretary's office.  A new block was opened by the Right Honourable Margaret Thatcher, Secretary of State for Education and Science in 1974, following the raising of the school leaving age from 15 years to 16, two years earlier.  Like many similar secondary schools in Cornwall, from the late 1970s it housed the Upper School (3rd Year / Year 9 upwards), when it merged with the town's grammar school to create a split-site comprehensive school.

Today, with increased pupil numbers requiring many to be taught in temporary buildings, the need for improvements to Liskeard's secondary and primary schools was being raised in Parliament. By the late 1990s, Liskeard School and Community College had been extended at Luxstowe Site, and the Old Road site closed and redeveloped for housing. A further multi-million pound technology facilities were added in 2002, and the original buildings were completely updated by 2011. Formerly Cornwall's only school with an engineering speciality, it now caters for approximately 1100 students aged between 11 and 19, and employs around 200 teaching and non-teaching, full- and part-time staff. It also has an advice and information service, a centre for children with autism and a Sixth Form College offering A-Levels and Level 3 Qualifications. The current headteacher is Dan Wendon, who took over from Alex Lingard in 2022.

In 2017 the school began the process of establishing a Multi-Academy Trust with other schools in South East Cornwall. They converted to academy status on 1 April 2017.

Notable former pupils

 Francis Vyvyan Jago Arundell (1780–1846), antiquary and oriental traveller
 Merryn Doidge, rugby international
 Robert Stephen Hawker, clergyman, poet and eccentric
 Jane Johnson, novelist
 Humphrey Prideaux, scholar
 Bernard Deacon, local historian
 Walter Moyle, politician and political writer

References

Secondary schools in Cornwall
Educational institutions established in the 16th century
Academies in Cornwall
Liskeard
1550 establishments in England

Liskeard School and Community College