Janet Graham Travell (December 17, 1901 – August 1, 1997) was an American physician and medical researcher.

Early life and education
She was born in 1901 to John Willard and Janet Eliza (Davidson) Travell.  Heavily influenced by her father's profession of physician, Travell made the decision to pursue a career in the medical field. In June 1929, in New York City, Janet married John William Gordon Powell, who was an investment counselor. They had two daughters—Janet and Virginia.  At the age of 95, Travell died of heart failure at her home in Northampton, Massachusetts.

She is remembered as President John F. Kennedy's personal physician and a researcher of the concept of trigger points as a cause of musculoskeletal referred pain.

Career

During her career, Travell pioneered techniques for the treatment of myofascial pain, including dry needling.  Her career began with her educational pursuits at Wellesley College and continued in graduate school as she pursued an M.D. from Cornell University Medical College in New York City.  Upon graduating in 1926, Travell completed two years of residency at New York Hospital while concurrently serving as an ambulance surgeon for the New York City police force.  After completion of residency, Travell became a research fellow at Bellevue Hospital, where she studied the effects of digitalis in patients with lobar pneumonia. Once her fellowship was concluded, Travell returned to Cornell University to serve as instructor in the Department of Pharmacology and later as Associate Professor of Clinical Pharmacology. While working for Cornell, she also acted as a cardiology consultant for Sea View Hospital in Staten Island.

Travell accepted a Josiah Macy, Jr. Fellowship at Beth Israel Hospital in New York to study arterial disease from 1939 to 1941.  It was during her tenure that she first became interested in skeletal muscle pain, which defined her later career.  Her research produced new anesthetic techniques for the treatment of painful back muscle spasms that proved very successful among patients.  Travell's techniques included the use of a local procaine injection and vapocoolant sprays to relieve pain.  The sprays are still popular in sports medicine treatments today.

It was her success with alleviating skeletal muscle pain that resulted in Travell being the first female personal Physician to the President. Travell was called upon by the personal orthopedic surgeon of Senator John F. Kennedy to assist with back pain treatments.  Kennedy suffered from terrible pain possibly resulting from invasive back surgeries related to injuries sustained during World War II.  When Kennedy won the presidential election in 1960, he appointed her as his personal physician.  Her treatments included the use of a rocking chair with a matching rocking ottoman to help alleviate back pain, in the process popularizing their use among the public, who saw the President pictured in his rocker in the Oval Office.  She continued to serve as Personal Physician to the President following the assassination of John F. Kennedy, with his successor Lyndon B. Johnson. She continued through Johnson's re-election, but decided to leave the White House in 1965.

While serving as the President's personal physician, Travell also took on the role of Associate Clinical Professor of Medicine at the George Washington University in 1961.  Even after leaving the White House, she continued teaching at the university as a faculty member for the School of Medicine. She occupied positions as Associate Clinical Professor 1961–1970, Emeritus Clinical Professor of Medicine 1970–1988, and Honorary Clinical Professor of Medicine from 1988 until her death in 1997.  Travell remained active in the medical field until the end: writing articles, giving lectures, and attending conferences.

Research
Her personal interest led her to investigate, explain and expound on the phenomenon of myofascial pain syndrome, secondary to trigger points, first written about in the 1920s by Dr Dudley J. Morton. She drew attention to the role of "Morton's Toe" and its responsibility for causing physical pain throughout the body.

Travell's research resulted in over 100 scientific articles, as well as the acclaimed 1983 co-authored book with David G. Simons: Myofascial Pain and Dysfunction. The Trigger Point Manual.  She also wrote her autobiography, Office Hours: Day and Night, which sheds light on her career and life.

Quote

 "I have lived in a very special world - a world of love and security; beauty and serenity; opportunity, adventure, and variety; challenge and achievement; and the appreciation of my peers. I have had a sufficiency of everything that I desired and a surfeit of nothing." Dr. Travell, author's note to Office Hours: Day and Night, 1968.

References

External links
 JanetTravellMD.com
 Myofascial Pain and Dysfunction: The Trigger Point Manual
 Office Hours: Day and Night, The Autobiography of Janet Travell, M.D.
 Dr. Janet G. Travell, M.D.: "The Mother of MYOFASCIAL - TRIGGER POINT Knowledge"

 Guide to the Janet G. Travell Papers, 1910-1997, Special Collections Research Center, Estelle and Melvin Gelman Library, the George Washington University

American cardiologists
Women cardiologists
American medical researchers
Weill Cornell Medical College alumni
Wellesley College alumni
20th-century American women physicians
20th-century American physicians
1901 births
1997 deaths
Place of birth missing
Physicians to the President
Kennedy administration personnel
George Washington University faculty

Janet G. Travell


The deepwater arrowtooth eel (Histiobranchus bathybius) is a cutthroat eel of the genus Histiobranchus, found globally. It was named by Albert Günther in 1877. It is a little bigger than all the other species in the genus Histiobranchus.

References

 "Histiobranchus bathybius". Integrated Taxonomic Information System. Retrieved 19 March 2006.
 Froese, Rainer; Pauly, Daniel (eds.) (2006). "Histiobranchus bathybius" in FishBase. January 2006 version.
 Tony Ayling & Geoffrey Cox, Collins Guide to the Sea Fishes of New Zealand, (William Collins Publishers Ltd, Auckland, New Zealand 1982) ISBN 0-00-216987-8

Eels

Deepwater arrowtooth eel


Tickhill is a market town and civil parish in the City of Doncaster, South Yorkshire, England, close to the border with Nottinghamshire.  At the 2001 census it had a population of 5,301, reducing to 5,228 at the 2011 Census.

Geography
It lies eight miles south of Doncaster, between Maltby and Harworth, on the busy conjunction of the A631 and A60 roads, and adjacent to the A1(M) motorway. It is located at 53° 26' North, 1° 6' 40" West, at an elevation of around 20 metres above sea level. The River Torne passes close to the south-east of the town where it is the boundary between South Yorkshire and Nottinghamshire, eventually meeting the River Trent.

Notable buildings in Tickhill include the substantial ruins of Tickhill Castle which contain a private residence leased by the Duchy of Lancaster, St Mary's Church – a large 13th-century parish church, the parish room, an old hospital called St Leonard's, and the market cross.

Toponymy

"Tickhill" is an Old English place-name, meaning either "Hill where young goats are kept" or "Hill of man called Tica". It is composed of one of either ticce ("young goat") or the name Tica, and the word hyll. The village was not recorded in the Domesday Book but was recorded as Tikehill sometime in the 12th century.

History

William I
Shortly after the Norman Invasion, William I of England gave the lands around Tickhill to Roger de Busli, who built a castle on a small hill.  Richard de Busli, grandson of Roger's brother Arnold, co-founded nearby Roche Abbey with Richard FitzTurgis in 1147.

Middle Ages
During the Middle Ages, Tickhill was the second most important town, after Doncaster, in what is now South Yorkshire.  The Domesday Book lists the settlement under the former estate centre at Dadsley, now lying on the northern edge of the town.  Dadsley was served by a church atop All Hallows Hill, which by 1361 had been downgraded to a chapel.  Evidence suggests that the chapel was unused after the English Reformation, and was razed in the mid-17th century.

Tickhill's eponymous hill was probably the base of what is now the motte of Tickhill Castle.  The town grew up around the castle, and St Mary's was built soon after to replace All Hallows as the settlement's main church.

Initially, Tickhill was one of England's most successful new towns.  It gained a friary and St Leonard's Hospital.  The Guild of St Cross was established in the town, and it is believed to have acted as the settlement's main governing body.  In 1295, Tickhill sent two members to Parliament, but did not do so subsequently.

Sixteenth century
As castles declined in importance during the medieval period, so did Tickhill.  By the 16th century, only a hall was occupied on the castle site, but the market and an annual fair on St Lawrence's Day survived.  A little trade was gained from its position on the main road to Bawtry.  In 1777, a butter cross was erected in the marketplace in an attempt to revive the weekly market, but this ceased in the 1790s.

Strafforth and Tickhill was one of the wapentakes of the West Riding of Yorkshire. The Tickhill Psalter, an outstanding medieval illuminated manuscript was made in the Worksop Priory Nottinghamshire, is currently on display in New York City. It is named after John de Tickhill, born locally and who was made Prior of Worksop in the 14th century.

The following records from St Mary's Church, Tickhill are available at the Doncaster Archives:

 Baptisms 1542–1895
 Marriages 1538–1910
 Burials 1537–1901
 Banns 1798–1838
 Index: Baptisms 1542–1718, 1771–1839
 Index: Marriages 1538–1677, 1754–1838
 Index: Burials 1538–1674, 1771–1855
 Bishop's transcripts 1600–1866

1900s
The Tickhill and Wadworth railway station was open from 1910 to 1929. There has been much debate whether to reopen this station.

Castle

Tickhill Castle was built by Roger de Busli, one of the most powerful of the first wave of Norman magnates who had come to England with William the Conqueror. The castle had an eventful history in national life. It was held for the usurping prince John against his brother King Richard I, when the latter returned from abroad in 1194, after his absence on crusade, was the site of a three-week siege during baronial conflicts in 1322. In the civil war of the 1640s, its importance as a local centre of resistance led to its 'slighting' (intentional disabling) by Parliament after the defeat of the royalist forces there in 1648. (Conisbrough, long disused as a fortress by this time, escaped such a fate.)

Today, Tickhill castle remains an impressive ruin, retaining its Norman gatehouse, built in 1129–1130, the foundations of the 11-sided keep (one of only two in the world) on a mound  high, built in 1178–9 on the model of the keep at Conisbrough, substantial defensive ditches, some parts of which remain as a moat, and walls enclosing an inner courtyard covering .

Jubilee Wood
In 2002 a new public access wood was planted as a Queen's Jubilee project. 'Jubilee Wood' consists of 2002 native trees in 4 acres of land next to the River Torne, south of Tickhill (OS map reference SK 599917).

Flooding

Notable residents
 James Burbeary, cricketer
 William de Tickhill, 14th-century civil servant and judge
 Francis Fletcher, late 16th-century Vicar of Tickhill, accompanied Francis Drake on his circumnavigation of the world
 Israel Tonge, informer in the "Popish" plot
 Jean Fergusson, actress playing Marina in Last of the Summer Wine
 Duggie Brown, comedian
 Gervase Phinn, author
 John Mayock, Olympic athlete
 John Regis, Olympic athlete
 Jeremy Clarkson, television presenter and Journalist
 Paul Warne, manager of Rotherham United

See also

Tickhill Psalter
Listed buildings in Tickhill

References

External links

 Tickhill Online
 Tickhill on the GENUKI genealogical site
 Tickhill & District Local History Society

Towns in South Yorkshire
Civil parishes in South Yorkshire

Tickhill


In Christianity, the words born again, regenerated or transformed are synonymous with spiritual rebirth and sometimes salvation from the Holy Spirit. It means having a "personal" faith in Jesus Christ. The term is most often used by Evangelical, Fundamentalists, Pentecostal and some Mainline branches of Protestant Christianity.

The term came to be in the New Testament, where: "Jesus replied, "Very truly I tell you, no one can see the kingdom of God unless they are born again."

Other websites
 Why should anyone need to be born again?
 Sermon #45: The New Birth  by John Wesley

Protestant theology
Evangelicalism

Born again (Christianity)


The cantata Naomi and Ruth, Op. 27, is a nonliturgical work, written by Mario Castelnuovo-Tedesco in 1947.

It is subtitled "small cantata for woman's voice on the book of Ruth" and its text is in English. The composer described the work as autobiographical with the soprano, Naomi,  representing his mother and the choir, Ruth, his wife. The work is representative of the Judaic inspiration of the composer.

The first performance took place in Los Angeles in 1949. Performance lasts approximately ten minutes.

References

Compositions by Mario Castelnuovo-Tedesco
Cantatas
1949 cantatas
Book of Ruth

Naomi and Ruth


The Boy and the King is a 1992 feature-length animated film made in Egypt by the Islamic film company Astrolabe Pictures. It includes a soundtrack of Islamic songs in English, performed by young Muslims.

Plot summary
The story surrounds a young boy called Obaid. He is confronted with a choice to live an easy life in this world or to struggle for reward in the hereafter. The story takes place during the tyrannical rule of King Narsis, who controls his people by encouraging them to worship idols and frightening them with the magic of Cinatas, his evil sorcerer. Cinatas chooses Obaid to be his student, someone who will assist him in his magic. At first, the boy is tempted by dreams of the power and the influence he will wield as the king's next sorcerer. But, soon after he starts to question his priorities. He begins talking to a righteous and a very holy man, who opens his mind to the true meaning of life.

This righteous man tells Obaid that there is only one God, Allah Almighty and that He created mankind to worship Him alone. Though these words appeal to Obaid's heart and mind, he is still pretty much confused. The righteous man advises him to seek the truth on his own – and thus begins the boy's quest for the real meaning of life.

Sources
This story is taken from an authentic narration or a hadith of Islamic prophet Muhammad that explains the reference to "the people of the Ditch" in Surat Al-Burooj from the Qur'an (85:4). The Qur'anic story is about a boy who believes in Allah Almighty, and he is blessed with divine protection from the plotting of a wicked king and a sorcerer.

See also
 List of Islamic films
 List of animated Islamic films
 Fatih Sultan Muhammad
 The Jar: A Tale From the East
 People of Ditch

External links
 Domain of Islam - The Boy and the King - The Legend of Obaid
 The Boy and the King on Muslimville TV

1992 films
1992 animated films
Egyptian animated films
Islamic animated films
Hadith
1990s English-language films

The Boy and the King


Itbaraks (English: Shaggy Dog) or just Baraks are Turkic mythological creatures. They were "dog headed, dark coloured manly creatures". According to the Oghuz Khagan Narratives, their country was in the "unknown northwest". It can be assumed that it's around today's Siberia. Oghuz tried to invade them but couldn't succeed, so he had to retreat to a small island.

Dog-headed men
A huge part of Oghuz Khagan Narratives was about "invasions on dog-headed men". Turks called them "Itbaraks". "It" means "dog" and "Barak" means a dark, shaggy dog species. When Oghuz Khagan's invasion on Itbaraks failed and he retreated to a small island, one of his dead soldiers' widow wife(could be a beautiful Itbarak woman) gave birth. Oghuz Khagan and his people had no home or tent. So the woman had to give birth to his child in a hollow. Oghuz named this child "Kıpçak (Kipchak)", meaning "hollow" in Old Turkic.

When Oghuz Khagan had invaded Itbarak lands after 17 years, he gave the lands to Kıpçak to rule. Year after years, Kıpçak's lineage has believed to become the old Turkic tribe Kipchaks.

Oghuz Khagan Narratives
The text about Itbaraks in the Narratives:

"Barak", that's what the Turks called the shaggy dog.
That's how they named the big noble dog.
The Barak is told in the sagas.
It was believed to be other dogs ancestor.
This dog was noble, and enormously big.
Hunting and shepherd dogs was his sons.

In the Northwestern Asia, there was Itbarak.
Turks were far away from them in the Middle Asia.
They had body of a man, head of a dog.
Their color was dark, like the Black Devil.
Their women was pretty and didn't run away from the Turks.
They were medicated, you couldn't spear them.

The saga said Oghuz Khagan was defeated.
He tried to recover on the island he retreated.
After seventeen years, Oghuz defeated them.
Women helped him, and the war has ended.
Oghuz gave this territory to "Kıpçak-Beg"
So Turks called the area "Kıpçak".

Similarities to other mythologies
Stories about "Dog-headed men" can be found on many other mythologies. Europeans called them "Borus" and believed they were living in northern parts of today's Northern Europe. The itbaraks were believed to live in the pretty much same area.

References
Bahaeddin Ögel, Turkic Mythology(Volume 1, Page 191)
Bahaeddin Ögel, Turkic Mythology(Volume 1, Page 194)

Turkic legendary creatures
Kipchaks
Mythological human hybrids
Mythological dogs

Itbarak


Robert Jackson (born 6 January 1949, Coventry, England) is an English rock musician most famous for being a member of Badfinger from 1974-75 and 1981-83, and of The Fortunes from 1995-2018. He currently tours under the name Badfinger in the United Kingdom.

Career

Indian Summer and Ross
Jackson formed his first professional rock band, named Indian Summer, in 1969. The band released a debut album, Indian Summer, on Neon Records in 1971, but disbanded the following year in the wake of business difficulties. Jackson and bandmate Alan Ross decided to develop another band, named Ross, in 1973. The band released two albums on RSO Records: Ross in 1973, and The Pit and the Pendulum in 1974. Despite touring extensively in the United States with Eric Clapton, the band failed to capture an audience. Directly after completing studio sessions in Los Angeles, Jackson left the group.

Badfinger 1974
Badfinger was a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group named The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. Over the next five years the band recorded five albums for Apple and toured extensively, before they became embroiled in the chaos of Apple Records' dissolution. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland. In 1970, the band engaged American businessman Stan Polley to manage their commercial affairs.

Badfinger had four consecutive worldwide hits from 1970 to 1972: "Come and Get It" (written and produced by Paul McCartney), "No Matter What", "Day After Day" (produced by George Harrison) and "Baby Blue", the latter of which - in 2013 - made a resurgence onto the Billboard Hot Rock Songs chart at number 14 after it was featured in the finale of the television series Breaking Bad. Their song "Without You" has been covered many times, including a Billboard number one hit for Harry Nilsson.

After Apple Records folded, Badfinger signed to Warner Bros. Records, but Polley's financial machinations resulted in internal friction that soon caused Ham to quit Badfinger, to be replaced by Bob Jackson on keyboard and guitar, Ham rejoined and Molland then left the band instead. However, a lawsuit filed by Warner's music publishing arm against Polley over missing escrow account money led Warner to withdraw Badfinger's 1974 album Wish You Were Here from the market seven weeks after its release, which effectively cut off the band's income. Warner's then refused to accept (or pay the band for) Badfinger's next album, Head First (which was the final album that would feature Pete Ham and Tom Evans as Badfinger), because of the dispute with Polley, leaving the band destitute. Three days before his 28th birthday, on 24 April 1975, Ham committed suicide by hanging himself, leaving a note that included damning comments about Polley.

Over the next three years, the surviving members struggled to rebuild their personal and professional lives against a backdrop of lawsuits, which tied up the songwriters' royalty payments for years. The Badfinger albums Airwaves (1979) and Say No More (1981) (both of which excluded both Gibbins and Jackson) floundered, as Molland and Evans see-sawed between cooperation and conflict in their attempts to revive and capitalise on the Badfinger legacy. Having seen Ham's body after Ham's wife had called him, Evans reportedly never got over his friend's suicide, and was quoted as saying in darker moments, "I wanna be where he is." On 19 November 1983, Evans also took his own life by hanging.

The Dodgers
Badfinger disbanded following Peter Ham's suicide in 1975. Jackson remained in contact with Evans, and the two formed a band named The Dodgers in 1976. The Dodgers released a handful of singles and one album by 1977, but that year Jackson was released by the band following management problems.

The Searchers and The Byron Band
Jackson was hired by The Searchers in 1979, contributing to the group's tours and two subsequent album releases, The Searchers (1979) and Play For Today (1980). In 1980, Jackson and Mel Collins joined The Byron Band that had been formed by Uriah Heep's former lead singer. Jackson departed from the band in 1981, after the band recorded the album On The Rocks for Creole Records.

Badfinger 1982
Jackson reteamed with Tom Evans and Mike Gibbins in 1982 to form a new Badfinger lineup, touring and recording exclusively in the United States. However, Evans committed suicide in late 1983, upon which Jackson disbanded Badfinger. He later invited Joey Molland to join him and Gibbins for another Badfinger outing in 1984 for a specialty tour in the United States. Although well received, the lineup did not last. Jackson began concentrating on writing and recording, making home recordings for demonstration records but not touring.

The Fortunes
Jackson appeared on two CDs in the 1990s: 7 Park Avenue and Golders Green, adding parts to posthumous releases by Pete Ham. He was subsequently hired by The Fortunes in 1995, and he remained with the group off and on for the next ten years, releasing three albums and performing on several tours. On 18 May 2006, Jackson rejoined the Fortunes and has toured extensively with them ever since. The band's Past & Present theatre shows featured many Badfinger songs and anecdotes. Jackson played on several albums, and appeared in the United Kingdom, Australia, Dubai, Las Vegas, Hong Kong, Netherlands and Belgium. The band also successfully played the United Kingdom, the United States, Canada, Netherlands, and Sweden during 2009.

Other activities

In 2000, Jackson finally succeeded in getting Snapper Records to issue the 1974 recordings for the Badfinger album Head First, along with personal demos, as a double CD package. Various outings have included sessions alongside Pete Brown, Jack Bruce, Jeff Beck, Andy Fairweather Low, The Motors, and many others. Jackson and Tom Evans joined a side project, Cheetah, and performed at Mide Festival, France.

In 2013, Jackson organised and performed at the unveiling of the Pete Ham Blue Plaque for Swansea Council, celebrating the achievements of Ham and Badfinger.

Badfinger 2015
In 2015, Jackson formed another Badfinger lineup featuring Andy Nixon on guitar and vocals, Michael Healey on bass and vocals, and Ted Duggan on drums, which continues to tour to the present day.

Discography
Indian Summer by Indian Summer, 1971
Moon by Moon 1973
Ross by Ross, 1973
The Pit and the Pendulum by Ross, 1974
Head First by Badfinger, recorded 1974 (released 2000)
Love on the Rebound by The Dodgers, 1978
The Searchers by The Searchers, 1979
Play for Today by The Searchers, 1980
On the Rocks by The Byron Band, 1981
Spend My Nights in Armour by Pete Brown (with Jeff Beck & Jack Bruce), 1987
7 Park Avenue by Pete Ham (released 1997)
Golders Green by Pete Ham (released 1999)
Some Bridges by The Fortunes, 1999
The Fortunes...Live by The Fortunes, 2001
Heroes Never Die by The Fortunes, 2004
Play On by The Fortunes, 2008

References

External links
Badfinger Lineups 1974
 Prisoners of Rock & Roll
Tom Brennan
Coventry Music Blog
Echo
Jason Dale
Badfinger official website
The Fortunes official website

1949 births
Living people
Badfinger members
English keyboardists
English rock guitarists
Musicians from Coventry
English rock keyboardists
English rock singers
English male singer-songwriters
English singer-songwriters
English male guitarists
20th-century English male singers
20th-century English singers
20th-century British guitarists
21st-century English male singers
21st-century English singers
21st-century British guitarists

Bob Jackson (musician)


Frederick IV (Danish: Frederik; 11 October 1671 – 12 October 1730) was King of Denmark and Norway from 1699 until his death. Frederick was the son of Christian V of Denmark-Norway and his wife Charlotte Amalie of Hesse-Kassel.

Early life

Frederick was born on 11 October 1671 at Copenhagen Castle as the eldest son of King Christian V and his spouse Charlotte Amalie of Hesse-Kassel. The newborn prince was baptised the same evening with the name Frederick by the royal confessor Hans Leth. His grandfather King Frederick III had died a year and a half before he was born, and as the eldest son of the ruling King he was thus Crown Prince from birth. At the age of 18, he was given a seat on the Council of State as the heir apparent to the throne.

As Crown Prince, Frederick broadened his education by travelling in Europe, led by his chamberlain Ditlev Wibe. He was particularly impressed by the architecture in Italy and, on his return to Denmark, asked his father for permission to build a summer palace on Solbjerg, as the hill in Valby was then known, the future site of Frederiksberg Palace. The one-storey building, probably designed by Ernst Brandenburger, was completed in 1703.

Frederick was allowed to choose his future wife from a number of Protestant royal daughters in northern Germany. In 1695, he visited the court of Gustav Adolph, Duke of Mecklenburg-Güstrow in Güstrow. But his visit there was cut short by a message telling of his brother Prince Christian's serious illness (he had, in fact, already died in Ulm). Frederick later returned to Güstrow, where he was forced to choose the eldest of the unmarried princesses. On 5 December 1695 at Copenhagen Castle, he married Louise of Mecklenburg-Güstrow, herself a great-great-granddaughter of Frederick II of Denmark.

At the death of Christian V on 25 August 1699, the couple became King and Queen of Denmark-Norway. They were crowned on 15 April 1700 in the chapel of Frederiksborg Palace.

Reign

Domestic rule
Frederick's most important domestic reform was the abolition in 1702 of the so-called vornedskab, a kind of serfdom which had applied to the peasants of Zealand since the Late Middle Ages. His efforts were largely in vain because of the introduction in 1733 of adscription (stavnsbånd), a law that forced peasants to remain in their home regions, by which the peasantry were subjected to both the local nobility and the army.

After the Great Northern War, trade and culture flowered. The first Danish theatre, Lille Grønnegade Theatre, was created and the great dramatist Ludvig Holberg (1684–1754) began his career. He established the College of Missions which funded the missionary Hans Egede (1686–1758) in taking forward the colonisation of Greenland. Politically this period was marked by the King's connection to the Reventlows, the Holsteiner relatives of his second queen, and by his growing suspicion of the old nobility.

During Frederick's rule Copenhagen was struck by two disasters: the plague of 1711, and the great fire of October 1728, which destroyed most of the medieval capital.  The King had been persuaded by astronomer Ole Rømer (1644–1710) to introduce the Gregorian calendar in Denmark-Norway in 1700, but the astronomer's observations and calculations were among the treasures lost to the fire.

Frederik IV, having twice visited Italy, had two pleasure palaces built in the Italian baroque style: Frederiksberg Palace was extended during his reign, when it was converted into a three-storey H-shaped building, completed in 1709 by Johan Conrad Ernst, giving the palace a true Italian baroque appearance and Fredensborg Palace, both considered monuments to the conclusion of the Great Northern War.

Venetian journey

Frederick IV holds a memorable place in the social history of the city of Venice due to a visit he made during the winter of 1708–09. The King stayed in the city with an entourage of at least 70 people, formally incognito as Count of Oldenburg, not to be unknown, but in order to avoid the cumbersome and costly etiquette of a royal visit. During his nine-week stay, the King was a frequent guest at operas and comedies and a generous buyer of Venetian glass. During the visit to the state armoury, he received the republic's gift: two large ore guns and an ore mortar. A regatta on the Grand Canal was held in his honour and is immortalised in a painting by Luca Carlevarijs. The winter that year was particularly cold, so cold that the lagoon of Venice froze over, and the Venetians were able to walk from the city to the mainland. It was joked that the king of Denmark had brought the cold weather with him. He also paid a visit to the dowager grand-princess Violante at the grand-ducal court of the Medicis.

Foreign affairs

On his return from he led political negotiations with the Elector Augustus of Saxony and Frederick I of Prussia about the impending plans of war against Sweden. For much of Frederick IV's reign Denmark-Norway was engaged in the Great Northern War (1700–1721) against Sweden. In spite of the conclusion of the Peace of Travendal in 1700, there was soon a Swedish invasion and threats from Europe's western naval powers. In 1709 Denmark again entered the war, encouraged by the Swedish defeat at Poltava. Frederick IV commanded the Danish troops at the Battle of Gadebusch in 1712. Although Denmark-Norway emerged on the victorious side, she failed to regain her lost possessions in southern Sweden. The most important result was the destruction of the pro-Swedish Duchy of Holstein-Gottorp, which re-established Denmark's domination in Schleswig-Holstein. Between 1703 and 1711, Frederick sent military units to Hungary and supported Austria in the Rákóczi's War of Independence. The Danish regiments fought against the Kuruc army and French auxiliaries (Battle of Zsibó).

Much of the King's life was spent in strife with kinsmen. Two of his first cousins, Charles XII of Sweden and Frederick IV, Duke of Holstein-Gottorp (the three men were the grandsons of Frederick III of Denmark), had waged war upon his father jointly. Initially defeated by the Swedes and forced to recognise the independence of Holstein-Gottorp, Frederick finally drove the next duke of Holstein-Gottorp, Duke Charles Frederick (who was Frederick IV's first cousin once removed) out of Schleswig in 1713, and avoided the revenge contemplated by Charles Frederick's mother-in-law, Catherine I of Russia.

Personal life
Frederick was deemed a man of responsibility and industry — often regarded as the most intelligent of Denmark-Norway's absolute monarchs. He seems to have mastered the art of remaining independent of his ministers. Lacking all interest in academic knowledge, he was nevertheless a patron of culture, especially art and architecture. His main weaknesses were probably pleasure-seeking and womanising, which sometimes distracted him. He was the penultimate Danish king to make a morganatic marriage (the last was Frederick VII with Louise Rasmussen aka "Countess Danner").

Without divorcing Queen Louise, in 1703 he married Elisabeth Helene von Vieregg (d.1704). After the death of Elisabeth, he entered into a romance with her lady-in-waiting Charlotte Helene von Schindel, though he later lost interest in her. In 1711, Frederick fell in love with 19-year-old Countess Anne Sophie Reventlow, daughter of the then Grand-Chancellor Conrad von Reventlow. He carried her off from her home, Clausholm Castle near Randers, after her mother refused to let her daughter be a royal mistress. Frederick had seen Anne Sophie at a masquerade ball at Koldinghus, where the royal family resided during the plague that devastated Copenhagen. A secret marriage was held at Skanderborg on 26 June 1712. At that time he accorded her the title "Duchess of Schleswig" (derived from one of his own subsidiary titles). Three weeks after Queen Louise's death in Copenhagen on 4 April 1721, he legalised his relationship with Anna Sophie by a new marriage, this time declaring her queen consort (the only wife of a hereditary Danish king to bear that title who was not a princess by birth). It was undoubtedly a relief to regularise a relationship they both saw as sinful. Of the nine children born to him of these three wives, only two of them survived to adulthood: the future Christian VI and Princess Charlotte-Amalia, both from the first marriage. All the other children died in infancy.

The Reventlows took advantage of their kinship to the King. Anna's sister, the salonist Countess Christine Sophie Holstein of Holsteinborg, was nicknamed Madame Chancellor because of her influence. Within a year of making Anna Queen, Frederick also recognized as dynastic the issue of the morganatic marriages of two of her kinsmen, Duke Philip Ernest of Schleswig-Holstein-Glucksburg (1673–1729) and Duke Christian Charles of Schleswig-Holstein-Plön-Norburg (1674–1706), to non-royal nobles. The other Schleswig-Holstein dukes of the House of Oldenburg perceived their interests to be injured, and Frederick found himself embroiled in complicated lawsuits and petitions to the Holy Roman Emperor. Also offended by the Countess's elevation were Frederick's younger unmarried siblings, Princess Sophia Hedwig (1677–1735) and Prince Charles (1680–1729), who withdrew from Copenhagen to their own rival court at the handsomely re-modelled Vemmetofte Cloister (later a haven for dowerless damsels of the nobility).

Later life
During the King's last years he had dropsy (oedema), and was also affected by the consequences of an accident in an explosion in a cannon foundry in Copenhagen. He also had private sorrows that inclined him toward Pietism, a form of faith that would rise to prevalence during the reign of his son. During his last years, Frederick IV asked for the loyalty of his son in order to protect Queen Anna Sophie. Despite the growing weakness, he set in 1730 on a muster travel; he reached Gottorp but had to return, and died in Odense, on the day after his 59th birthday. He was buried in Roskilde Cathedral, the site of the mausoleum of Danish royalty.

Issue
With his first queen, Duchess Louise of Mecklenburg-Güstrow:

Prince Christian (28 June 1697 - 1 October 1698)
King Christian VI of Denmark (10 December 1699 - 6 August 1746)
Prince Frederik Charles (23 October 1701 - 7 January 1702)
Prince George (6 January 1703 – 12 March 1704)
Princess Charlotte Amalie (6 October 1706 – 28 October 1782)

With his second wife Elisabeth Helene von Vieregg:

Frederik Gyldenløve (1704–1705)

With his third wife and second queen, Countess Anne Sophie von Reventlow:
Princess Christiana Amalia (23 October 1723 - 7 January 1724)
Prince Frederik Christian (1 June 1726 - 15 May 1727)
Prince Charles (16 February 1728 - 10 December 1729)

Ancestry

References

External links

 The Royal Lineage at the website of the Danish Monarchy
 Frederik IV at the website of the Royal Danish Collection at Rosenborg Castle

|-

1671 births
1730 deaths
17th-century Norwegian monarchs
18th-century Norwegian monarchs
Frederick IV of Denmark
Dukes of Schleswig
Dukes of Holstein
Counts of Oldenburg
People from Denmark–Norway
Burials at Roskilde Cathedral
Danish people of the Great Northern War
17th-century monarchs of Denmark
18th-century monarchs of Denmark
Recipients of the Order of the White Eagle (Poland)
Children of Christian V of Denmark
Crown Princes of Denmark
Crown Princes of Norway

Frederick IV of Denmark


The Aeromarine AMC was the first American all-metal hulled commercial flying boat.

Development
Design work on the AMC started in 1921 with the goal of producing an aluminum-hulled flying boat that would be more durable than contemporary all-wood construction. Aeromarine's wooden-hulled boats required drying out when waterlogged. The excess weight of a waterlogged hull could be as much as 456 lb. A model of the AMC was wind-tunnel tested at MIT before choosing an open cockpit design.

Design
The AMC was a two-bay biplane flying boat with an aluminum hull. The spruce woodspar wings were fabric covered with small tip floats for stability. The engine was mounted just below the top wing in a pusher configuration with a forward-mounted radiator.  Two 50-gallon streamlined main fuel tanks sat on the top wing on either side of the engine with a 70-gallon fuselage-mounted reserve. The hull was constructed of eighteen forms and five watertight bulkheads.  It had two rows of small bench seats for passengers in the front.  The pilot and mechanic sat slightly raised in individual open cockpits behind the passengers, beneath the main wing. The hull used Alcoa 17S aluminum treated with potassium nitrate with Canton flannel/Asphalt watertight seals and Valspar aluminum paint.

Operational history
The AMC was intended to replace the Aeromarine 75 flying boats used by Aeromarine Airways in service between New York, San Juan, and Puerto Rico. Within three days of its first flight on 1 June 1923, the aircraft was flown from Keyport, New Jersey to New York to try to find additional customers. The aircraft flew 800 passengers on 186 flights before delivery to Aeromarine Airways in December 1923. The aircraft was christened the Morrow Castle II and flew on record-setting long-distance flights between New Jersey, Cuba, San Juan, and Puerto Rico totalling fifteen thousand miles before returning to New Jersey. Aeromarine ceased service in late 1924, without a customer base for sales, only the one AMC was completed.

The sole AMC was sold to Fairchild Air Transport (Fairchild Aerial Surveys Co of Canada Ltd ) on 25 May 1926 for use on Canadian passenger service and aerial photography. It was dismantled on 28 February 1930.

Specifications (AMC)

See also

References

External links
Image of an Aeromarine AMC
Canada Air & Space Museum AMC picture library

Flying boats
AMC
Single-engined pusher aircraft
Biplanes
1920s United States airliners

Aeromarine AMC


Der Opernball (The Opera Ball) is an operetta in three acts with music by Richard Heuberger, and libretto by Viktor Léon and Heinrich von Waldberg, based on the 1876 comedy  by Alfred Delacour and Alfred Hennequin. Alexander von Zemlinsky assisted Heuberger with the orchestration.  Its premiere was at the Theater an der Wien, Vienna, Austria, on 5 January 1898. The most famous number from the operetta is the waltz duet "". The operetta remains in the repertoire of German-language opera companies, such as the Vienna Volksoper.

Roles
 Theophil Beaubuisson, retiree (bass)
 Palmyra Beaubuisson, his wife (alto)
 Henri, naval cadet, their nephew (tenor or mezzo-soprano)
 Paul Aubier (tenor)
 Angèle, wife of Paul and niece to Madame Beaubuisson (soprano)
 Georges Duménil (tenor, buffo role)
 Marguérite Duménil, wife of Georges (soprano)
 Hortense, chambermaid of the Duménils (soubrette)
 Féodora, a chansonette (soprano)
 Philippe, waiter in the opera entrance hall (tenor)
 Jean, Baptiste, Alfonse, waiters
 Germain, a servant

Synopsis
The setting is Paris during Carnival, towards the end of the 19th century.

Act I

Paul Aubier and his wife Angèle are guests of Georges and Marguérite Duménil.  Marguérite is sceptical of the fidelity of men in marriage, and she persuades Angèle to put their husbands to the test.  On their instructions, the chambermaid Hortense writes two identical letters which invite Paul and Georges to Stelldichein to an opera ball at the Paris Opera, where they will meet a lady with a pink domino as part of her dress. Secretly, Hortense writes a third such letter for Henri, because she wants to appear also with the pink domino.

Act II

The setting is the opera ball, where everyone is masked.  Beaubuisson and the singer Féodara are one couple.  Of the three ladies with the pink domino, Henri sees the pink domino on Hortense, Georges sees it on Angèle, and Paul on Marguérite.  Georges and Paul hope to meet the mysterious lady each in a chambre séparée.  However, Angèle and Marguérite have arranged for a bell signal, at whose sound the lovers are to meet outside the rooms.  In the confusion, Paul and Georges meet each other, and not the expected lady.  Furthermore, they each then see Hortense with the pink domino, not knowing who she is.  Each tries to engage the lady, but in the process, Hortense's pink domino is destroyed.  Marguérite and Angèle are both unaware of the presence of Hortense.

Act III

Back at his residence, Georges discovers the writing paper on which that the invitation to the opera ball was written, and tries to figure out the situation.  Things build to the point where Georges challenges Paul to a duel.  Finally, Marguérite and Angèle show their intact pink dominoes, which nominally proves the fidelity of their husbands.  The role of Hortense in the plot is revealed to all.

Film versions
Three films have been made of Der Opernball.
Opera Ball (dir. Géza von Bolváry, 1939), with Paul Hörbiger, Marte Harell, Hans Moser, Heli Finkenzeller, Theo Lingen, Fita Benkhoff, Will Dohm
Opera Ball (dir. Ernst Marischka, 1956), with Johannes Heesters, Hertha Feiler, Josef Meinrad, Sonja Ziemann, Adrian Hoven, Fita Benkhoff, Theo Lingen (reprising the role of Germain, the servant)
Der Opernball (dir. Eugen York, 1971, for ZDF), with Harald Serafin, Helen Mané, Maurice Besançon, Maria Tiboldi, Uwe Friedrichsen, Christiane Schröder

Recordings

See also
The Pink Dominos (1877 play)
To-Night's the Night (1914 musical)

References

External links
Libretto, Bosworth, Leipzig 1899

German-language operettas
1898 operas
Operas based on plays
Operas
Operas set in Paris

Der Opernball


Aequitas (genitive aequitatis) is the Latin concept of justice, equality, conformity, symmetry, or fairness. It is the origin of the English word "equity". In ancient Rome, it could refer to either the legal concept of equity, or fairness between individuals.

Cicero defined aequitas as "tripartite": the first, he said, pertained to the gods above (ad superos deos) and is equivalent to pietas, religious obligation; the second, to the Manes, the underworld spirits or spirits of the dead, and was sanctitas, that which is sacred; and the third pertaining to human beings (homines) was iustitia, "justice".

During the Roman Empire, Aequitas as a divine personification was part of the religious propaganda of the  emperor, under the name Aequitas Augusti, which also appeared on coins. She is depicted on coins holding a cornucopia and a balance scale (libra), which was more often a symbol of "honest measure" to the Romans than of justice.

References

Roman goddesses
Commerce goddesses
Equity (law)
 Personifications in Roman mythology

Aequitas


His Kind of Woman is a 1951 American crime movie directed by John Farrow and Richard Fleischer and starring Robert Mitchum, Jane Russell, Vincent Price, Tim Holt, Charles McGraw, Raymond Burr, Marjorie Reynolds, Leslie Banning. It was distributed by RKO Radio Pictures.

Other websites

1951 crime movies
American crime movies
Movies directed by John Farrow
Movies directed by Richard Fleischer

His Kind of Woman


American Chinese cuisine is a cuisine derived from Chinese cuisine that was developed by Chinese Americans. The dishes served in many North American Chinese restaurants are adapted to American tastes and often differ significantly from those found in China.

History

Chinese immigrants arrived in the United States seeking employment as miners and railroad workers. As larger groups arrived, laws were put in place preventing them from owning land. They mostly lived together in ghettos, individually referred to as "Chinatown". Here the immigrants started their small businesses, including restaurants and laundry services.

By the 19th century, the Chinese community in San Francisco operated sophisticated and sometimes luxurious restaurants patronized mainly by Chinese. The restaurants in smaller towns (mostly owned by Chinese immigrants) served food based on what their customers requested, anything ranging from pork chop sandwiches and apple pie, to beans and eggs. Many of these small-town restaurant owners were self-taught family cooks who improvised on different cooking methods using whatever ingredients were available.

These smaller restaurants were responsible for developing American Chinese cuisine, where the food was modified to suit a more American palate. First catering to miners and railroad workers, they established new eateries in towns where Chinese food was completely unknown, adapting local ingredients and catering to their customers' tastes. Even though the new flavors and dishes meant they were not strictly Chinese cuisine, these Chinese restaurants have been cultural ambassadors to Americans.

Chinese restaurants in the United States began during the California Gold Rush (1848–1855), which brought 20,000–30,000 immigrants across from the Canton (Guangdong) region of China. The first Chinese restaurant in America is debated. Some say it was Macau and Woosung, while others cite Canton Restaurant. Both unphotographed establishments were founded in 1849 in San Francisco. Either way, these and other such restaurants were central features in the daily lives of immigrants. They provided a connection to home, particularly for the many bachelors who did not have the resources or knowledge to cook for themselves. In 1852, the ratio of male to female Chinese immigrants was a 18:1. These restaurants served as gathering places and cultural centers for the Chinese community. By 1850, there were five Chinese  restaurants in San Francisco. Soon after, significant amounts of food were being imported from China to America's west coast.

The trend spread steadily eastward with the growth of the American railways, particularly to New York City.  The Chinese Exclusion Act allowed merchants to enter the country, and in 1915, restaurant owners became eligible for merchant visas. This fueled the opening of Chinese restaurants as an immigration vehicle. Pekin Noodle Parlor, established in 1911, is the oldest operating Chinese restaurant in the country. , the United States had 46,700 Chinese restaurants.

Along the way, cooks adapted southern Chinese dishes and developed a style of Chinese food not found in China, such as chop suey. Restaurants (along with Chinese laundries) provided an ethnic niche for small businesses at a time when Chinese people were excluded from most jobs in the wage economy by ethnic discrimination or lack of language fluency. By the 1920s, this cuisine, particularly chop suey, became popular among middle-class Americans. However, after World War II it began to be dismissed for not being "authentic", though it continued to be popular.

In 1955, the Republic of China (having itself retreated to Taiwan) evacuated the Dachen Islands in the face of the encroaching Communists. Many who evacuated to Taiwan later moved to the United States as they lacked strong social networks and access to opportunity in Taiwan. Chefs from the Dachen Islands had a strong influence on American Chinese food.

Beginning in the 1950s, Taiwanese immigrants replaced Cantonese immigrants as the primary labor force in American Chinese restaurants. These immigrants expanded American-Chinese cuisine beyond Cantonese cuisine to encompass dishes from many different regions of China as well as Japanese-inspired dishes.

Chinese-American restaurants played a key role in ushering in the era of take-out and delivery food in the United States. In New York City, delivery was pioneered in the 1970s by Empire Szechuan Gourmet Franchise, which hired Taiwanese students studying at Columbia University to do the work. Chinese American restaurants were among the first restaurants to use picture menus in the US.

Taiwanese immigration largely ended in the 1990s due to an economic boom and democratization in Taiwan. From the 1990s onward, immigrants from China once again made up the majority of cooks in American Chinese restaurants. There has been a consequential component of Chinese emigration of illegal origin, most notably Fuzhou people from Fujian Province and Wenzhounese from Zhejiang Province in Mainland China, specifically destined to work in Chinese restaurants in New York City, beginning in the 1980s.

Adapting Chinese cooking techniques to local produce and tastes has led to the development of American Chinese cuisine. Many of the Chinese restaurant menus in the US are printed in Chinatown, Manhattan,which has a strong Chinese-American demographic.

Late 20th-century tastes have been more accommodating. By this time, it had become evident that Chinese restaurants no longer catered mainly to Chinese customers.

In 2011, the Smithsonian National Museum of American History displayed some of the historical background and cultural artifacts of American Chinese cuisine in its exhibit entitled, Sweet & Sour: A Look at the History of Chinese Food in the United States.

Differences from other regional cuisines in China
American Chinese food builds from styles and food habits brought from the southern province of Guangdong, often from the Toisan district of Toisan, the origin of most Chinese immigration before the closure of immigration from China in 1924. These Chinese families developed new styles and used readily available ingredients, especially in California. The type of Chinese-American cooking served in restaurants was different from the foods eaten in Chinese-American homes.  Of the various regional cuisines in China, Cantonese cuisine has been the most influential in the development of American Chinese food.

American Chinese food typically features different types and greater quantities of meat than traditional Chinese cuisine. Another major difference between Chinese and American-Chinese cuisine is in the use of vegetables. Salads containing raw or uncooked ingredients are rare in traditional Chinese cuisine. An increasing number of American Chinese restaurants, including some upscale establishments, have started to offer these items in response to customer demand. While cuisine in China makes frequent use of Asian leaf vegetables like bok choy and gai-lan, American Chinese cuisine makes use of some ingredients not native to and very rarely used in China, for example, Western broccoli () instead of Chinese broccoli (gai-lan, ). (Occasionally, Western broccoli is also referred to as  in Cantonese () in order to distinguish the two.)

Chinese ingredients considered "exotic" in North America have become more available over time, including fresh fruits and vegetables which previously had been rare. For example, edible snow pea pods have become widely available, while the less-known dau miu (also called "pea sprouts", "pea pod stems", or "pea shoots") are also appearing on menus, and even in supermarkets in North America.

American-Chinese food also has had a reputation for high levels of MSG to enhance flavor. In recent years, market forces and customer demand have encouraged many restaurants to offer "MSG Free" or "No MSG" menus, or to omit this ingredient on request.

Egg fried rice in American Chinese cuisine is also prepared differently, with more soy sauce added for more flavor whereas the traditional egg fried rice uses less soy sauce. Some food styles, such as dim sum, were also modified to fit American palates, such as added batter for fried dishes and extra soy sauce.

Both Chinese and American-Chinese cooking utilize similar methods of preparation, such as stir frying, pan frying, and deep frying, which are all easily done using a wok.

Ming Tsai, the owner of the Blue Ginger restaurant in Wellesley, Massachusetts, and host of PBS culinary show Simply Ming, said that American Chinese restaurants typically try to have food representing 3-5 regions of China at one time, have chop suey, or have "fried vegetables and some protein in a thick sauce", "eight different sweet and sour dishes", or "a whole page of 20 different chow meins or fried rice dishes". Tsai said "Chinese-American cuisine is 'dumbed-down' Chinese food. It's adapted... to be blander, thicker and sweeter for the American public".

Most American Chinese establishments cater to non-Chinese customers with menus written in English or containing pictures. If separate Chinese-language menus are available, they typically feature items such as liver, chicken feet, or other meat dishes that might deter American customers (such as offal).  In Chinatown, Manhattan, some restaurants are known for having a "phantom" menu with food preferred by ethnic Chinese, but believed to be disliked by non-Chinese Americans.

Dishes

Menu items not found in China
Dishes that often appear on American Chinese restaurant menus include:
 Almond chicken — chicken breaded in batter containing ground almonds, fried and served with almonds and onions.
 Beef and broccoli — flank steak cut into small pieces, stir fried with broccoli, and covered in a dark sauce made with soy sauce and oyster sauce and thickened with cornstarch.
 Chicken and broccoli — similar to beef and broccoli, but with chicken instead of beef.
 Chinese chicken salad — usually containing sliced or shredded chicken, uncooked leafy greens, carrots, cucumbers, crispy noodles (or fried wonton skins) and sesame dressing. Some restaurants serve the salad with mandarin oranges.
 Chop suey — connotes "assorted pieces" in Chinese. It is usually a mix of vegetables and meat in a brown sauce but can also be served in a white sauce.
 Crab rangoon — fried wonton skins stuffed with (usually) artificial crab meat (surimi) and cream cheese.
 Fortune cookie — invented in California as a Westernized version of the Japanese omikuji senbei, fortune cookies have become sweetened and found their way to many American Chinese restaurants.
 Fried wontons — somewhat similar to crab rangoon, a filling, (most often pork), is wrapped in a wonton skin and deep fried.
 General Tso's chicken — chunks of chicken that are dipped in batter, deep fried, and seasoned with ginger, garlic, sesame oil, scallions, and hot chili peppers. Believed to be named after Qing dynasty statesman and military leader Zuo Zongtang, often referred to as General Tso.
 Mongolian beef — fried beef with scallions or white onions in a spicy and often sweet brown sauce.
 Pepper steak — sliced steak, green bell peppers, tomatoes, and white or green onions stir fried with salt, sugar, and soy sauce. Bean sprouts are a less common addition.
 Royal beef—deep-fried sliced beef, doused in a wine sauce and often served with steamed broccoli.
 Sesame chicken — boned, marinated, battered, and deep-fried chicken which is then dressed with a translucent red or orange, sweet and mildly spicy sauce, made from soy sauce, corn starch, vinegar, chicken broth, and sugar.

 Sushi — despite being served in the Japanese and American styles, some American Chinese restaurants serve various types of sushi, usually on buffets.
 Sweet roll — yeast rolls, typically fried, covered in granulated sugar or powdered sugar. Some variants are stuffed with cream cheese or icing.
 Wonton strips — these deep-fried strips of dough are commonly offered as complimentary appetizers, along with duck sauce and hot mustard, or with soup when ordering take-out.

Other American Chinese dishes
Dau miu  is a Chinese vegetable that has become popular since the early 1990s, and now not only appears on English-language menus, usually as "pea shoots", but is often served by upscale non-Asian restaurants as well. Originally it was only available during a few months of the year, but it is now grown in greenhouses and is available year-round.

Versions of dishes also found in China

 Beijing beef — in China, this dish uses gai lan (Chinese broccoli) rather than American broccoli.
 Cashew chicken — stir-fried tender chicken pieces with cashew nuts.
 Chow mein — literally means "stir-fried noodles". Chow mein consists of fried crispy noodles with bits of meat and vegetables. It can come with chicken, pork, shrimp or beef.
 Egg foo young — Chinese-style omelet with vegetables and meat, usually served with a brown gravy. While some restaurants in North America deep fry the omelet, versions found in Asia are more likely to fry in the wok.
 Egg roll — while spring rolls have a thin, light beige crispy skin that flakes apart, and is filled with mushrooms, bamboo, and other vegetables inside, the American-style egg roll has a thicker, chewier, dark brown bubbly skin stuffed with cabbage and usually bits of meat or seafood (such as pork or shrimp), but no egg. In some regions, a filling of shredded and dried celery replaces cabbage, resulting in a more greenish tinge to the filling.
 Fried rice — fried-rice dishes are popular offerings in American Chinese food due to the speed and ease of preparation and their appeal to American tastes.
Fried rice is generally prepared with rice cooled overnight, allowing restaurants to put leftover rice to good use (freshly cooked rice is actually less suitable for fried rice).
The Chinese-American version of this dish typically uses more soy sauce than the versions found in China.
Fried rice is offered with different combinations of meat (pork, chicken and shrimp are the most popular) and vegetables.
 Ginger beef () — tender beef cut in chunks, mixed with ginger and Chinese mixed vegetables.
 Ginger fried beef () — tender beef cut in strings, battered, deep fried, then re-fried in a wok mixed with a sweet sauce, a variation of a popular Northern Chinese dish.
 Hulatang — a traditional Chinese soup with hot spices, often called "spicy soup" on menus.
 Hot and sour soup — the North American soups tend to have starch added as a thickener.
 Kung Pao chicken — a spicy Sichuan dish that is served with peanuts, scallions, and Sichuan peppers. Some versions in North America may include zucchini and bell peppers.
 Lo mein ("stirred noodles") — frequently made with eggs and flour, making them chewier than a recipe simply using water. Thick, spaghetti-shaped noodles are pan fried with vegetables (mainly bok choy and Chinese cabbage or napa) and meat. Sometimes this dish is referred to as chow mein (which literally means "stir-fried noodles" in Cantonese).
 Mei Fun — noodles usually simmered in broth with other ingredients such as fish balls, beef balls, and/or slices of fishcake.
 Moo shu pork — the original version uses more typically Chinese ingredients (including wood ear fungi and daylily buds) and thin flour pancakes, while the American version often uses vegetables more familiar to Americans, and thicker pancakes. This dish is quite popular in Chinese restaurants in the United States, but not as popular in China.
 Orange chicken — chopped, battered, fried chicken with a sweet orange flavored chili sauce that is thickened and glazed. The traditional version consists of stir-fried chicken in a light, slightly sweet soy sauce flavored with dried orange peels.
 Wonton soup — In most American Chinese restaurants, only wonton dumplings in broth are served, while versions found in China may come with noodles. (In Canton, it can be a full meal in itself, consisting of thin egg noodles and several pork and prawn wontons in a pork or chicken soup broth or noodle broth). Especially in takeout restaurants, wonton are often made with thicker dough skins, to withstand the rigors of delivery.

Regional variations

New York City
The New York metropolitan area is home to the largest Chinese population outside of Asia, which also constitutes the largest metropolitan Asian-American group in the United States and the largest Asian-national metropolitan diaspora in the Western Hemisphere. The Chinese-American population of the New York City metropolitan area was an estimated 893,697 as of 2017.

Given the New York metropolitan area's continuing status as by far the leading gateway for Chinese immigrants to the United States, all popular styles of every Chinese regional cuisine have commensurately become ubiquitously accessible in New York City, including Hakka, Taiwanese, Shanghainese, Hunanese, Szechuan, Cantonese, Fujianese, Xinjiang, Zhejiang, and Korean Chinese cuisine. Even the relatively obscure Dongbei style of cuisine indigenous to Northeast China is now available in Flushing, Queens, as well as Mongolian cuisine and Uyghur cuisine.

Kosher preparation

Kosher preparation of Chinese food is also widely available in New York City, given the metropolitan area's large Jewish and particularly Orthodox Jewish populations.

The perception that American Jews eat at Chinese restaurants on Christmas Day is documented in media. The tradition may have arisen from the lack of other open restaurants on Christmas Day, the close proximity of Jewish and Chinese immigrants to each other in New York City, and the absence of dairy foods combined with meat.

Kosher Chinese food is usually prepared in New York City, as well as in other large cities with Orthodox Jewish neighborhoods, under strict rabbinical supervision as a prerequisite for Kosher certification.

Los Angeles County
Chinese populations in Los Angeles represent at least 21 of the 34 provincial-level administrative units of China, along with the largest population of Taiwanese-born immigrants outside of Taiwan, making greater Los Angeles home to a diverse population of Chinese people in the United States.

Chinese-American cuisine in the Greater Los Angeles area is concentrated in Chinese ethnoburbs rather than traditional Chinatowns. The oldest Chinese ethnoburb is Monterey Park, considered to be the nation's first suburban Chinatown.

Although Chinatown in Los Angeles is still a significant commercial center for Chinese immigrants, the majority are centered in the San Gabriel Valley which is the one of the largest concentration of Asian-Americans in the country, stretching from Monterey Park into the cities of Alhambra, San Gabriel, Rosemead, San Marino, South Pasadena, West Covina, Walnut, City of Industry, Diamond Bar, Arcadia, and Temple City.

The Valley Boulevard corridor is the main artery of Chinese restaurants in the San Gabriel Valley. Another hub with a significant Chinese population is Irvine (Orange County). More than 200,000 Chinese Americans live in the San Gabriel Valley alone, with over 67% being foreign born. The valley has become a brand-name tourist destination in China, although droughts in California are creating a difficult impact upon its water security and existential viability. Of the ten cities in the United States with the highest proportions of Chinese Americans, the top eight are located in the San Gabriel Valley, making it one of the largest concentrated hubs for Chinese Americans in North America.

Some regional styles of Chinese cuisine include Beijing, Chengdu, Chonqing, Dalian, Hangzhou, Hong Kong, Hunan, Mongolian hot pot, Nanjing, Shanghai, Shanxi, Shenyang, Wuxi, Xinjiang, Yunnan, and Wuhan.

San Francisco Bay Area
Since the early 1990s, many American Chinese restaurants influenced by California cuisine have opened in the San Francisco Bay Area. The trademark dishes of American Chinese cuisine remain on the menu, but there is more emphasis on fresh vegetables, and the selection is vegetarian-friendly.

This new cuisine has exotic ingredients like mangos and portobello mushrooms. Brown rice is often offered as an alternative to white rice.

Some restaurants substitute grilled wheat flour tortillas for the rice pancakes in mushu dishes. This occurs even in some restaurants that would not otherwise be identified as California Chinese, both the more Westernized places and the more authentic places. There is a Mexican bakery that supplies some restaurants with thinner tortillas made for use with mushu. Mushu purists do not always react positively to this trend.

In addition, many restaurants serving more native-style Chinese cuisines exist, due to the high numbers and proportion of ethnic Chinese in the San Francisco Bay Area.

Restaurants specializing in Cantonese, Sichuanese, Hunanese, Northern Chinese, Shanghainese, Taiwanese, and Hong Kong traditions are widely available, as are more specialized restaurants such as seafood restaurants, Hong Kong-style diners and cafes, also known as Cha chaan teng (), dim sum teahouses, and hot pot restaurants. Many Chinatown areas also feature Chinese bakeries, boba milk tea shops, roasted meat, vegetarian cuisine, and specialized dessert shops.

Chop suey is not widely available in San Francisco, and the area's chow mein is different from Midwestern chow mein.

Boston
Chinese cuisine in Boston results from a combination of economic and regional factors, in association with the wide Chinese academic scene. The growing Boston Chinatown accommodates Chinese-owned bus lines shuttling an increasing number of passengers to and from the numerous Chinatowns in New York City, and this has led to some exchange between Boston Chinese cuisine and that in New York.

A large immigrant Fujianese immigrant population has made a home in Boston, leading to Fuzhou cuisine being readily available there. An increasing Vietnamese population has also had an influence on Chinese cuisine in Greater Boston.

In addition, innovative dishes incorporating chow mein and chop suey as well as locally farmed produce and regionally procured seafood are found in Chinese as well as non-Chinese food in and around Boston. The selection of Chinese bakery products has increased markedly in the 21st century, although the range of choices in New York City remains supreme.

Joyce Chen introduced northern Chinese (Mandarin) and Shanghainese dishes to Boston in the 1950s, including Peking duck, moo shu pork, hot and sour soup, and potstickers, which she called "Peking Ravioli" or "Ravs". Her restaurants would be frequented by early pioneers of the ARPANET, as well as celebrities such as John Kenneth Galbraith, James Beard, Julia Child, Henry Kissinger, Beverly Sills, and Danny Kaye. A former Harvard University president called her eating establishment "not merely a restaurant, but a cultural exchange center". In addition, her single-season PBS national television series Joyce Chen Cooks popularized some dishes which could be made at home, and she often encouraged using substitute ingredients when necessary.

Philadelphia
The evolving American Chinese cuisine scene in Philadelphia has similarities with the situation in both New York City and Boston. As with Boston, Philadelphia is experiencing significant Chinese immigration from New York City,  to the north, and from China, the top country of birth by a significant margin for a new arrivals there .

There is a growing Fujianese community in Philadelphia as well, and Fuzhou cuisine is readily available in the Philadelphia Chinatown. Also, emerging Vietnamese cuisine in Philadelphia is contributing to evolution in local Chinese cuisine, with some Chinese-American restaurants adopting Vietnamese influences or recipes.

Washington, D.C.
Although Washington, D.C.'s Chinese community has not achieved as high of a local profile as that in other major cities along the Mid-Atlantic United States, it is now growing, and rapidly so, due to the gentrification of DC's Chinatown and the status of Washington, D.C., as the capital of the United States. The growing Chinese community in DC. and its suburbs has revitalized the influence of Chinese cuisine in the area.

Washington, D.C.'s population is 1% Chinese, making them the largest single Asian ancestry in the city. However, the Chinese community in the DC area is no longer solely concentrated in the Chinatown, which is about 15% Chinese and 25% Asian, but is mostly concentrated throughout various towns in suburban Maryland and Northern Virginia. The largest concentration of Chinese and Taiwanese in the DC area is in Rockville, Maryland, in Montgomery County.

A popular dish localized in Chinese American carryouts across the DMV region consists of whole fried chicken wings served with mumbo sauce; a sweet, tangy ketchup-based condiment.

In DC proper, there are Chinese-owned restaurants specializing in both Chinese American and authentic Chinese cuisine. Regional variations of Chinese cuisine that restaurants in DC specialize in include Shanghainese cuisine, Cantonese cuisine, Uyghur cuisine, Mongolian cuisine, and Sichuan cuisine. In the suburbs of DC in Maryland and Virginia, many of which have a much higher Chinese population than DC, regional variations present aside from the ones previously mentioned include Hong Kong cuisine, Hunan cuisine, Shaanxi cuisine, Taiwanese cuisine, and Yunnan cuisine.

Puerto Rico

Hawaii
Hawaiian-Chinese food developed somewhat differently from Chinese cuisine in the continental United States.

Owing to the diversity of Pacific ethnicities in Hawaii and the history of the Chinese influence in Hawaii, resident Chinese cuisine forms a component of the cuisine of Hawaii, which is a fusion of different culinary traditions. Some Chinese dishes are typically served as part of plate lunches in Hawaii.

The names of foods are different as well, such as Manapua, from the Hawaiian contraction of "Mea ono pua'a" or "delicious pork item" from the dim sum bao, though the meat is not necessarily pork.

Other regions
 Chow mein sandwich — sandwich of chow mein and gravy (Southeastern Massachusetts and Rhode Island)
 Chop suey sandwich — sandwich of chicken chop suey on a hamburger bun (North Shore of Massachusetts)
 St. Paul sandwich — egg foo young patty in plain white sandwich bread (St. Louis, Missouri)
 Springfield-style cashew chicken — a style of cashew chicken that combines breaded deep-fried chicken, cashew nuts, and oyster sauce (Springfield, Missouri)
 War/wor sue gai (boneless almond chicken) — bite-sized Southern-style fried chicken with yellow sauce (Columbus, Ohio)
 Yaka mein — Chinese-Creole food found in New Orleans that evolved from beef noodle soup

Chain restaurants

 China Coast — closed in 1995; owned by General Mills Corporation, formerly 52 locations throughout the United States
 Leeann Chin — Minnesota and North Dakota; owned at one time by General Mills Corp.
 Manchu Wok — throughout the United States and Canada, as well as Guam, Korea and Japan
 Panda Express — throughout North America (including Canada and Mexico), plus locations in Asia and the Middle East
 Pei Wei Asian Diner — throughout the United States; formerly a subsidiary of P.F. Chang's
 P. F. Chang's China Bistro — throughout the United States; featuring California-Chinese fusion cuisine
 Pick Up Stix — California, Arizona, and Nevada
 Stir Crazy — Illinois, Missouri, Wisconsin, Minnesota, New York, Florida, Indiana, Texas, and Ohio

Popular culture
Many American films (for example: The Godfather; Ghostbusters; The Lost Boys; The Naked Gun; Crossing Delancey; Paid in Full; and Inside Out) involve scenes where Chinese take-out food is eaten from oyster pails. A consistent choice of cuisine in all these cases, however, might just be an indicator of its popularity. A running gag in Dallas is Cliff Barnes' fondness for inexpensive Chinese take-out food, as opposed to his nemesis J. R. Ewing frequenting fine restaurants.

Among the numerous American television series and films that feature Chinese restaurants as a setting include  A Christmas Story, Seinfeld (particularly the episode "The Chinese Restaurant"), Sex and the City, Big Trouble in Little China, South Park, Year of the Dragon, Lethal Weapon 4, Mickey Blue Eyes, Booty Call, Rush Hour 2, and Men in Black 3. In most cases, it is not an actual restaurant but a movie set that typifies the stereotypical American Chinese eatery, featuring "paper lanterns and intricate woodwork", with "numerous fish tanks and detailed [red] wallpaper [with gold designs]" and "golden dragons", plus "hanging ducks in the window".

Cultural impact

Impact on United States
In 2023, there are more Chinese restaurants in the United States than all American fast food restaurants combined. Chinese American cuisine provides an option for Americans to taste Chinese food, which is adapted to both Chinese and American flavors. It allows people in America to learn more about Chinese traditional culture and customs. In this process, Chinese Americans have developed a new cuisine which is different from "traditional Chinese food," and contribute to the food diversity in America. Through running their own restaurants or eateries, first-generation Chinese immigrants eliminated discrimination against them and gained sufficient income to send the next generations to universities or colleges. For Chinese Americans, American Chinese cuisine has already become part of their childhood memories and life,which also would be a bridge between Chinese and American cultures. For example, Panda Express and P.F. Chang's, two of the most famous American Chinese restaurants in the United States that have become the symbol of American Chinese cuinsine and have gained appreciation from many Americans.

In addition, American Chinese cuisine brought some new ingredients and cooking methods to the United States, such as stir-frying and steaming. Thus, many restaurants in the United States started to combine existing dishes with Chinese cooking techniques and flavors, which promoted the development of fusion cuisine.Introduction of Chinese food also triggered people's curiosity about more Asian food, such as Japanese, Thai and Singaporean food, and led to a prevalence of Asian cuisine.

Impact on China
Although Chinese people will regard American Chinese food as inauthentic food and less likely to have it, or they will not recognize American Chinese cuisine, in recent years, some American Chinese food restaurants have opened in some cities of China, such as Beijing and Shanghai. P.F. Chang's, a restaurant chain specialized in American Chinese food, opened a new restaurant in Shanghai, China. The CEO of this chain Michael Osanloo revealed his positive attitude towards the future of opening more chain restaurants in China because he believed that Chinese people would like to try something new. Most owners of those American Chinese restaurants opened in China are Chinese Americans. Their primary target customers were people from foreign countries and students who have had study abroad experiences. However, many native Chinese people, especially younger generations have a greater willingness to try American Chinese food. Yinhao Xu, the owner of Americanized Chinese eatery-Bamboo Chinese Fast Food in Beijing, said that he was surprised that some younger generations without overseas experiences have a higher level of acceptance of American-style Chinese cuisine. The reason for that is cultural impact; many American Chinese cuisines appear in many American shows or movies, such as Friends and The Big Bang Theory, which leads young people in China to want to try American Chinese food.

Impact to other countries

South Korea
Woktionary, an American Chinese restaurant opened in Seoul, South Korea, provides authentic American Chinese food, such as Chow mein and Mongolian beef. Meanwhile, the head chef Kim also added new flavors to some of the dishes.

At the same time, Panda Express also opened a restaurant in Seoul, South Korea. The CEO of the company indicated that many Korean customers were already expecting for their opening.

Japan
The first Panda Express in Japan was opened in November 2016 in Kawasaki. It is dedicated to providing the original taste of American Chinese food to Americans in Japan. It offers similar menus in Japan compared to Panda Express restaurants in the United States, such as Orange Chicken, Beijing Beef, and Fortune cookies. Nevertheless, the restaurant also tries to implement localization by offering a limited dish only in Japan: Sweet and Pungent Shrimp.

See also

 Fusion cuisine
 Canadian Chinese cuisine
 Australian Chinese cuisine
 Chinese bakery products
 Chinese cuisine
 American cuisine
 British Chinese cuisine
 New Zealand Chinese cuisine
 Indian Chinese cuisine
 Fortune Cookie
 List of Chinese restaurants
 Oyster pail

Citations

References and further reading

Studies

  Free download:

Cookbooks
 Sara Bosse, Onoto Watanna, with an Introduction by Jacqueline M. Newman. Chinese-Japanese Cook Book. (1914; reprinted, Bedford, MA: Applewood Books,  2006).  . .

 Eileen Yin-Fei Lo and Alexandra Grablewski. The Chinese Kitchen: Recipes, Techniques and Ingredients, History, and Memories from America's Leading Authority on Chinese Cooking. (New York: William Morrow, 1999).  .

External links

 "Chinese food in America History" (The Food Timeline) The Food Timeline: history notes--restaurants, chefs & foodservice
 Imogen Lim Restaurant Menu Collection: American menus. Vancouver Island University Library.
 Harley J. Spiller Collection of Chinese Restaurant Menus University of Toronto, Scarborough Library

Cuisine
Cuisine
Chinese cuisine
Hawaiian cuisine

American Chinese cuisine


James Edgar Miller (1899–1993) was an American designer, painter, craftsman, master woodcarver and one of the nation's foremost stained-glass designers. He could sculpt and draw, and he was considered a pioneer in the use of graphic art in advertising. In the 1920s, he was called "the blond boy Michelangelo"; in the 1930s, "a new luminary" by Architecture Magazine; in the 1940s, "one of the most versatile artists in America." By the 1950s, he was the go-to guy for some of the nation's most successful industrial designers.

Early life

Miller's father, James Edgar Miller, was born in 1857 in Michigan's lumber country. He was related to Joaquin Miller (1837–1913), the well-known essayist, poet and Pony Express rider. He moved to what is now Idaho Falls, Idaho (then called Eagle Rock) in 1878 to open a small jewelry store after he became interested in watchmaking and engraving. Later on in his life he studied optometry and eventually became a beekeeper. His mother, Hester Elizabeth Gibson Martin, was born in 1864 in Missouri. She was a school teacher who taught the Choctaw Indians/People/Native Americans in the Oklahoma Territory; she eventually moved to Idaho to search for work with her brothers and sisters. One of Edgar's fond memories of her is when Hester took her kids alone to visit the Alaska-Yukon-Pacific Exposition, the World's Fair of 1909. Hester and James married in 1895 in Idaho Falls; they had five children: Lucille in 1897, (James) Edgar in 1899, Frank in 1900, Hester in 1903 and Fauntleroy in 1906 (known as Buddy or Eugene).

Edgar Miller loved the Great American West. Idaho Falls, a western frontier town of little more than one thousand people, served as a central inspiration for many of Edgar's motifs and ideas in his art – history, science, and nature. He displayed a strong artistic talent and imagination very early on. Around the age of four, after he saw a painting of Custer's last stand at the Battle of the Little Big Horn, he decided to fully pursue art: "I could imagine no other existence but to be an artist." Also, his cousin, Ladd Wright, whom he adored, was a famous rodeo star; later on Edgar named his own son Ladd. When Miller was seven, his father gave him a bay pony. Horses, and animals in general, are prominent and frequently presented in Edgar's art and designs: "The affection for her became a definite part of me." In a much later interview, Miller said, "Animals are representations of life and vitality." At 9 years old he created complete illustrations of his favorite poems, Tennyson's "Lady of Shalott" and Longfellow's "Skeleton in Armor." Couple years later he became an apprentice at an architectural company as a watercolorist: "My greatest enthusiasm as a boy was for the wildflower." Jo He (real name Orzo French Eastman 1828–1916) lived at the edge of Idaho Falls around the turn of the Century. He was a bearded patriarch "who looked very much like Walt Whitman in his old age." Miller wrote often about his visits to see Jo He. The older man taught Edgar about art and also showed him a home which he built and designed – "he carved stone, built his own home, was a tanner, taxidermist, imaginative gardener, inventor, mural painter, saddle-maker and sheet metal worker." Miller was enthralled with this "handmade home", and with the two-story workroom within, built above his living quarters. Here, Jo He executed taxidermy, worked on saddles, braided whips and rope et al. Edgar recalled that Jo He told him "'If you want to do anything, go ahead and do it', all I had to do was try." In 1913 Edgar, with his father and brother Frank, moved to Australia to help James run his apiary. It was a happy and adventurous time which brought him to a deeper understanding of nature, and the essence of existence. They took the S.S. Tahiti, a twin-screw freighter, for a 28-day voyage across the Pacific. After 12 days they reached Papeete, capital of Tahiti (which was then French Polynesia). Then to New Zealand, Sydney Australia, Melbourne and eventually Maldon. Life raising bees in Australia became difficult after a year or two, and they made their way back to Idaho a few months later.

Education and apprenticeship

Edgar Miller arrived in Chicago in January 1917, enrolled at the Art Institute and took a room in the Jane Addams Hullhouse (the nation's first settlement house). He took classes with Louis W. Wilson, whose theories about sound and color interested him. Also, he met George Bellows at the SAIC around 1919. Bellows showed Miller some of his ideas on symmetry and space regarding painting and pictures, which made an important impression on him. Already doubtful of academia, Miller wrote, "It was never revealed that the circular pupil of the eye gives us a circular field of vision. This pattern antedates the conventional rectangular forms that surround us when architecture became an established part of human life." At school he also met Sol Kogen, his future partner for the Carl Street Studios and the Kogen-Miller Studios. In 1919 he won the Frank G. Logan Medal from the Art Institute for his batiks. The same year he was hired as an apprentice in the design studio of Alfonso Iannelli; spent five years working on advertising, design, packaging, ink drawings, mural posters, stained glass and cut stone. Through Iannelli, Miller met important studio clients like Marshall Field & Company and Holabird & Root, and developed a network of future employers.

First successes as a designer and working artist

In his 20s Edgar was already an active and established artist in Chicago's creative world, designing illustrations for books and ads for Marshall Field's Fashions of the Hour magazine, amongst many other commissions and projects. He also busily promoted other arts and artists; for example, he introduced musical works by composers Stravinsky, Ravel, DeBussy and Prokofiev at his short-lived gallery space, The House at the End of the Street. He ran it for a few years, and afterwards helped run a gallery on the top floor of the Dil Pickle Club, a bohemian hangout in the neighborhood of Tower Town. It was frequented by people like Ben Reitman "The Hobo Doctor", Dorothy Day, Ben Hecht, Clarence Darrow, Sherwood Anderson and Carl Sandburg. In 1921, he married artist and musician Dorothy Ann Wood. They had three children: Iris Ann in 1921, Gisela in 1923, and David in 1925. Their marriage was a challenge, and according to his brother Frank: "When two people are as implacably incompatible, nothing short of separation can help." Edgar left his wife and the children in 1929, but Dorothy refused his requests for divorce. He began seriously experimenting with stained-glass during the 1920s as well. In 1923, he won his second Logan Medal, this time for his stained-glass work; Howard Van Doren Shaw was one of the judges of the competition. They became professional contacts afterwards, and Miller designed stained-glass windows for three Shaw buildings. The two were set to collaborate on two Shaw commissioned World War I naval monuments, but unfortunately Shaw passed away in 1926. "In 1927, an opportunity presented itself," he wrote; "it was to create an environment that could include all the 'lesser arts.' Through enjoyment and curiosity, I had gathered most of the ingredients of my idea of an 'environment.' I had done work at the terra cotta factory; over-glaze I had done in the school years. Stained-glass and textiles I had investigated. I had a Logan Medal for both stained glass and batiks by 1923. A long apprenticeship had given me experience in sculpture, casting, stone cutting and wood carving, as well as mural painting. All I needed was a project." Around 1927 Sol Kogen, his friend from the Art Institute, brought his idea – of finding and rehabilitating old houses in an artistic manner – to Miller. It became their greatest project, and also came to define the Old Town neighborhood of Chicago. They began the Carl Street Studios, a multi-unit remodeling of a double-lot Victorian house built in 1874. Miller, as the artistic director and designer, went room by room creating new living spaces; and Kogen, more the contractor than a creative partner, went and found parts, tools and assistants. Both of them embraced salvaging and repurposing discarded building materials for their construction needs. Andrew Rebori, notable architect and future Miller cohort, served as the consulting architect, but he said he was rarely asked for advice. A 1943 article in the New York Times by Paul A. Hochman says about the Carl Street Studios, "In this one structure, there's a touch of Moderne, Deco, Prairie, Tudor, Mission, a little English Country House, and Arts and Crafts. The whole thing is a poem, but it's free verse." Talented and ambitious Mexican artisan Jesus Torres was Miller's main assistant on the Carl Street project. Kogen and Miller begin their second multi-unit, artists' residence remodeling project in 1928, the Kogen-Miller complex on Wells Street. It would eventually yield nine units. The rear building was leased to Rudolph W. Glasner, businessman and patron of the Art Institute, who commissioned Edgar to design and execute "a party house" for him. Here Miller attempted his first major woodcarvings, his stained-glass ideas are fresh and original, and in general his work across many mediums is regarded as some of his best ever. This handmade home, which is known as the Glasner Studio, is his masterwork "total environment." Of this Wells Street complex, the Kogen-Miller Studios, Alice McKinstry wrote in the August 1930 issue of Woman Athletic: "homes that you have no right to live in unless you understand, and like, DeBussy's music, and Roerich's paintings, and Dudley Poore's poetry, and Anton Bruehl's photographs, and the dynamic folly of Adolf Bolm's ju-ju dance." Bolm had a studio at Carl Street.

1930s – "a new luminary"

During the 1930s Miller was one of Chicago's most prominent artists. In '31, there was a large exhibit at the Art Institute's Summer Show of a wide variety of his work, including carved chairs, benches, glazed pottery, mosaics and terracotta columns. It was universally applauded. The art critic C.J. Bulliet wrote of it, "In fact, an old Florentine master come to life in this machine age."  Also in 1931, he completed cut lead windows for the executive offices of the Palmolive Building. For the 1933 World's Fair, A Century of Progress, Edgar (with the help of Andrew Rebori) helped design and execute the Streets of Paris exhibit, and ran the concessions with other artists. The nudity of female performers at some of the concessions almost led to a scandal when a petition was issued to shut down the exhibit for being "lewd and lascivious." In court, the judge struck (down) the charge: "it is not the business of this court." For the Animal Court project at Jane Addams Homes in 1935, Miller was hired by the federal government to design a series of stone animal sculptures ranging from 700lbs to several tons each. In the same year, his mural Love Through the Ages, made its debut. In 1936 Edgar joins Andrew Rebori to design Frank Fisher Apartments. Fisher was a Marshall Field's & Company executive. It was Miller's final handmade home, and the only one he built from scratch. "Miller and Rebori broke the mold when they designed that building", wrote artist Larry Zgoda. They called it "an opportunity to work toward a conception of human organic modern architecture that can achieve compact, livable, light house-keeping units in minimum workable space, with added factors of comfort and beauty." This complex was also the first air-conditioned apartment house in Chicago. Also in 1935, Miller completed the plaster plaques at Punch and Judy Theatre, as well as the ornate lead cut grill of various laborers for the Trustees System Service Building.

1940s – "one of the most versatile artists in America"

Miller finally received a divorce from Dorothy in 1940. He promptly married Dale Holcomb, a textile designer whom he met while she was working at the Streets of Paris exhibit in the 1933 World's Fair. Their first son, Norman, was born in 1941, and their second son, Ladd, in 1943. The 1940s meant bigger jobs for Edgar. For example, in 1941 Miller created bas-relief sculptures for Northwestern University's Technological Institute and he again worked with Andrew Rebori on the Dr. Philip Weintraub House. He made a history of brewing beer, in fresco, on the walls of the Pabst Brewing Company's taproom, the Sternewirt, in 1943. Around this time he created the Tower Court Collection of wallpaper designs for Bassett and Vollum. In the middle 1940s he was commissioned to create a history of eating mural for New York's Pierre Hotel. In Washington, D.C., he designed murals and bas-relief sculptures for the Statler Hotel, now the Capital Hilton.

A fulfilling family life and a darling of the design world

The early 1950s finds Miller and his family living in an 18-room mansion overlooking Lake Michigan on Chicago's north side: "That's where the family of Edgar Miller lives and works in a crazy quilt pattern incomprehensible to ordinary mortals. They are artists, the whole family of them. Edgar and his wife and their two sons and his mother-in-law and their teacher of Chinese. Yes, they all study Chinese together. And Malayan and Bengalese. While the boys hook rugs and the elders print textiles." - George Murray, in the Chicago American, 1957. Norman Miller, known as Skippy, was a natural artist like his father, and Edgar held exhibits of his art. Jean Sibelius, the Finnish composer, was an admirer of Skippy's work and once wrote him a fan letter. Around that time, Edgar mostly focused on ecclesiastical work, creating many new stained-glass windows for churches, temples and hospitals. In 1950, he was hired by the Container Corporation of America to design a poster for its Great Ideas of Western Man series. Then a series of new commissions: murals depicting Chicago history for the Chicago Title and Trust Company, barbecue scenes for a Fred Harvey restaurant, foyer and bar murals for the Palmer House hotel, a company history of the Hudson Pulp and Paper Corporation, and several sculptural projects for Jo Mead Designs. Notably, in 1954 he was commissioned by the Standard Club to design two sets of glass doors and four murals. The murals were carved onto large black linoleum panels. In 1959, Miller was hired to produce murals for the Marco Polo Club in the Waldorf-Astoria in New York City. Back in Chicago, he designed sculptures for the new United States Gypsum Building. The second Love Through the Ages mural was painted at the Tavern Club in 1961; the first one was taken down and cut up into about eighty paintings which were sold to raise money for the club.

End of an era

At the age of 67, in 1967, Miller and his wife Dale sold their mansion on North Sheridan road and moved to Florida. They purchased several pieces of real estate, one being a motel. Edgar became an innkeeper, but still made art. "It was a long time before I knew Edgar Miller as more than the proprietor of the Roxy Motel," wrote Pamela Peters in a 1975 St. Petersburg Times article. Miller also told Peters about a book he was writing on a structural and proportional organization of art. It connected to the early meeting and discussions with George Bellows at the Art Institute in 1919. Those conversations about perspective and line value lead him, years later, to experiment with the proportions of classic paintings by graphing circles and lines over reproductions. He was convinced he would eventually introduce a universal theory about extending every line found in a painting. "An artist falls in love with a particular pattern of the universe making harmony of it. Love. That's the basis of it. There's a kind of love for the work one is doing that one never outgrows. Age doesn't dim this enthusiasm." His wife, Dale, died in 1977. In 1978, he traveled back to Chicago for a short spell. He met the new owner of the Glasner Studio, Lucy Montgomery, who was a wealthy civil rights activist and philanthropist. She used Miller's handmade home as a meeting ground and safe house for radicals like Fred Hampton, Angela Davis and Eldridge Cleaver, and for groups like the Black Panthers. Montgomery also commissioned Miller to create more stained-glass windows for her home. Three Chicago admirers, Jannine Aldinger, Mark Mamolen and Fleming Wilson, flew to San Francisco in 1986 to see Edgar and potentially bring him back to Chicago. Although living in questionable circumstances in the Bay Area, and seemingly on the decline, Miller revitalized when he returned to Chicago and began to actively produce art. In 1987 he was declared one of the founders of Old Town when he received an award from two Old Town organizations. And in 1990, Mayor Richard M. Daley inducted Edgar into the Chicago Senior Citizens Hall of Fame.

Death and legacy

Sometime around 1991, Miller took a fall down some stairs at his Carl Street studio. This accident ruined his depth perception and apparently made him blind in one eye. "Really stopped him in his tracks," Frank Miller wrote. James Edgar Miller died June 1, 1993, from a massive stroke. He was 93 years old.

References

American stained glass artists and manufacturers
1899 births
1993 deaths
People from Idaho Falls, Idaho
School of the Art Institute of Chicago alumni

Edgar Miller (artist)


Fethi Paşa Korusu (Fethi Pasha Grove) is a large park in Istanbul, Turkey, on the hillside coming right down to the Bosphorus shore in the area called Paşalimanı. It is located between Kuzguncuk and Sultantepe neighborhoods in district Üsküdar on the
Asian side of Istanbul. It is named after Ottoman governor, ambassador and minister Fethi Ahmet Pasha. After long years of neglect, it has been recently renovated and opened to public for recreation. It has a scenic view of Bosphorus Bridge and the European side of Istanbul.

References

External links
 Satellite View of Fethi Paşa Korusu

Parks in Istanbul
Bosphorus
Üsküdar

Fethi Paşa Korusu