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265_7 | Near Chadbourn, US 74 overlaps with US 76, which continue mostly together till Wrightsville Beach, where US 74 dead-ends north and US 76 dead-ends south. The highway connects the cities and towns of Whiteville, Lake Waccamaw, and Wilmington. The road through the Cape Fear region is flat, surrounded by parts of the Green Swamp.
ADHS corridors
US 74 overlaps with two corridors that are part of the Appalachian Development Highway System (ADHS), which is part of Appalachian Regional Commission (ARC). Passed in 1965, the purpose of ADHS is to generate economic development in previously isolated areas, supplement the interstate system, connect Appalachia to the interstate system, and provide access to areas within the Region as well as to markets in the rest of the nation. |
265_8 | Corridor A – From I-285, in Sandy Springs, Georgia to I-40, near Clyde, North Carolina. US 74 overlap from US 23, in Dillsboro, to I-40, near Clyde; it is also completed with divided four-lane limited-access and controlled-access sections. This corridor is signed as "Appalachian Highway," in white text on blue background.
Corridor K – From I-75, in Cleveland, Tennessee, to US 23, in Dillsboro, North Carolina. The entire section of US 74 is authorized for ADHS funding. The majority of the route is a four-lane limited-access road, with a section that is controlled-access between Bryson City and Cherokee. Current two-lane sections that are impending improvements are: Ocoee River to Ducktown and the Nantahala Gorge. In North Carolina, this corridor is signed as "Appalachian Highway," in white text on blue background. |
265_9 | Scenic byways
The Ocoee Scenic Byway is a National Forest Scenic Byway that traverses through the Cherokee National Forest, in East Tennessee. 19 miles of the Byway are concurrent with US 74 (in addition to U.S. Route 64). Features include the Ocoee Whitewater Center and scenic bluffs along Ocoee River and Gorge.
Nantahala Byway is a byway from Marble to Whittier; it is known for its scenic views of the Nantahala Gorge, The Great Smoky Mountains Railroad, and whitewater rafting on the Nantahala River. US 74 overlaps of the byway from Marble to Bryson City. The byway also overlaps with US 19 and US 129.
Dedicated and memorial names
US 74 features several dedicated bridges and stretches of highway throughout its route. |
265_10 | American Indian Highway – this name was authored by Tuscarora Indian Robert M. Chavis, he launched a campaign to obtain support from all the city councils and the Robeson county Commissioners, they all signed onto the partition Mr. Chavis sent to the NCDOT and it was approved by the state DOT, official North Carolina name of the section of US 74/I-74 in Robeson County (mile marker 191-213). It is named to honor the large American Indian population in Robeson County (approved: November 8, 2001).
Andrew Jackson Highway – Official North Carolina name of US 74 throughout the state, except in Robeson County (it is still named along the old sections of US 74 now called US 74 Business and Alternate). It was established to honor of the seventh President of the United States, Andrew Jackson (approved: April 4, 1963). Signage is found primarily east of Charlotte, overlapping other official North Carolina dedicated sections. |
265_11 | C. Heide Trask Bridge – Official North Carolina name of bridge over the Inland Waterway, in Wrightsville Beach (approved: June 9, 1958).
Cameron Morrison Bridge – Was an official North Carolina name of the first bridge and later westbound US 74 bridge, over the Pee Dee River. It was named in honor of Governor Morrison, who was a Richmond County native. The bridge, built in 1925, was dedicated to Morrison originally at an unknown date; in 1983, after the bridge was reconstructed to modern standards, it was rededicated to R.W. Goodman.
Dean Arledge Memorial Highway – Official North Carolina name of US 74 between I-26 and NC 9, in Polk County (approved: March 3, 2000).
G R Kindley Freeway – Official North Carolina name of US 74/I-74 along the Rockingham-Hamlet bypass. It is named in honor of the former mayor of Rockingham (approved: September 8, 2000). |
265_12 | Herman H. West Bridge – Official North Carolina name of bridge over the Valley River, in Cherokee County. It was dedicated in honor of the former state Senator and Representative (approved: September 8, 2000).
Hezekiah Pridgen, Sr. Bridge – Official North Carolina name of bridge over US 701, in Columbus County (approved: August 4, 1995).
James Archibald Hardison Bridge – Official North Carolina name of the eastbound US 74 bridge, over the Pee Dee River. It is named in honor of the former Highway Commissioner and member of the Highway Commission under three governors, from 1933-1937 and 1953-1961 (approved: December 30, 1958).
J. Ollie Harris Highway – Official North Carolina name of US 74 Bypass at Kings Mountain (approved: October 3, 1997).
James Arthur Callahan Freeway – Official North Carolina name of a section of US 74/I-26 in Rutherford County (approved: May 10, 1992). |
265_13 | John Belk Freeway – Official North Carolina name of US 74/I-277, from I-77/US 21 to Independence Boulevard, in Uptown Charlotte. It is named in honor of John M. Belk, who was mayor of Charlotte from 1969-1977 (approved: September 11, 1981).
R.W. Goodman Bridge – Official North Carolina name of the westbound US 74 bridge, over the Pee Dee River. It is named in honor of the former Richmond County sheriff R. W. Goodman (approved: March 11, 1983).
Senator Jesse Helms Freeway – Official North Carolina name of US 74 between US 601 to the Anson-Union County line (approved: January 8, 1993). Named in honor of the late five-term U.S. senator who was born in Union County in 1921.
Solon David Smart Memorial Highway – Official North Carolina name of highway from NC 120 to US 221A, in Rutherford County (approved: December 1, 2000).
W Cliff Martin Highway – Official North Carolina name of US 74 from Union County line to Wadesboro, in Anson County (approved: May 2, 1997). |
265_14 | History
Established as an original U.S. Route in late 1926, US 74 traversed from Asheville to Chadbourn, in North Carolina. It was extended eastward in late 1934 to Wilmington, replacing an old alignment of US 17.
In 1936, US 74 was extended eastward again from Wilmington, via Market Street, to Wrightsville Beach, then going north on Lumina Avenue to its current eastern terminus. US 74 also spawned two alternate routes the same year, the first and shortest () in Leland, and a second in Shelby; which eventually replaced all of US 74 through the downtown area by 1949 (later renamed US 74 Business in 1960).
In 1937, US 74 was rerouted through Kings Mountain, replacing part of NC 7. Its old alignment became an alternate route, but was replaced a year later by both NC 161 and NC 274. |
265_15 | By 1949, US 74 was on its first bypass around Rutherfordton, via Ruth; its former route becoming an alternate route (later renamed US 74 Business in 1960). In 1952, the first Monroe Bypass was completed, leaving a short-lived alternate route going through the downtown area. By 1953, the first bypass around Rockingham was completed, leaving a short lived alternate route through the downtown area.
In 1970, US 74 was placed on new freeway alignment bypassing Spindale, Forest City, Ellenboro, and Mooresboro; the old route was replaced by an extension of US 74 Business. In 1973, US 74 was realigned onto new road south of Lumberton. In 1975, US 74/US 76 was rerouted onto new freeway bypass south of Leland and then east of Belville, its old alignment becoming secondary roads. In 1976, US 74/US 76 was bypassed north of Chadbourn and Whiteville, leaving behind US 74 Bus./US 76 Bus. |
265_16 | In 1984, Maxton was bypassed, replaced by an extension of US 74 Bus. In 1985, US 74 was rerouted north of Kings Mountain onto new freeway bypass; its old alignment becoming US 74 Bus. In 1986, Hallsboro and Lake Waccamaw were bypassed; its old alignment replaced by NC 214. |
265_17 | Also in 1986, US 74 was extended west, from Asheville to Chattanooga, Tennessee. The routing extension started at its former western terminus with US 70, going northerly, in concurrency with US 70, to I-240, where it overlapped briefly before joining US 19/US 23. From Asheville, in concurrency with US 19/US 23, it went through Canton and Lake Junaluska. From Lake Junaluska, in concurrency with US 23, it went through Waynesville. Near Dillsboro it switches US 23 for US 441 and continues till it splits north within the Qualla Boundary. West of Bryson City, it overlaps with NC 28. In Topton, it joins with US 129 and continues southwesterly till at Murphy, where it joins with US 64 and separates from US 19/US 129. Heading west, in concurrency with US 64, it enters Tennessee; traversing through Ducktown, it reaches Cleveland, where it then follows the US 64 Bypass to I-75. Continuing southeasterly, as a hidden concurrency with I-75, it connects with Chattanooga, ending at its new |
265_18 | terminus at I-24. |
265_19 | In 1988, US 74 was extended east to its current eastern terminus in Wrightsville Beach. In 1990, US 74 was rerouted onto I-277 (John Belk Freeway), this left a section of Independence Boulevard that was still overlapped with NC 27. In 1992-1993, Bolton was bypassed to the north, with its old alignment becoming an extension of NC 214.
In 1994, US 74 was rerouted onto I-40 for , in Asheville, and then onto I-26, from Asheville to Columbus. East of Columbus, it traverses along new freeway to Forest City, where it meets back with its old alignment. The former routing between Asheville and Forest City becomes US 74A. In 1996, US 74 was rerouted through Wilmington. In late 1997, US 74 was rerouted onto I-40, between Clyde and Asheville. |
265_20 | In 2002, US 74 was placed on its second bypass around both Rockingham and Hamlet, its old alignment becoming US 74 Business. In 2005, US 74 was rerouted north of downtown Wilmington. In 2007, US 74 was placed on new freeway, in concurrency with I-74 from Maxton to just east of I-95; its old alignment becoming US 74 Alternate.
In 2018, US 74's new toll bypass around Monroe was completed.
Independence Boulevard
Independence Boulevard and Independence Expressway are two major interconnected roads in Mecklenburg County, North Carolina that carry US 74. Originally constructed in the 1940s and early 1950s, Independence Boulevard was the city of Charlotte's first expressway. The road has undergone numerous realignments, extensions, upgrades, truncations, and renamings since the mid-20th century. |
265_21 | Ben Douglas, former mayor of Charlotte and member of the North Carolina State Highway Commission, helped lead the push for the urban highway project in the 1940s that would become Independence Boulevard. In 1946, Charlotte voters passed a referendum in favor of a $200,000 bond issue to fund the project; this was coupled with over $2 million in federal funding. The expressway was to be named after Independence Park that was largely demolished to make way for the road; the name suggestion was coined by City Clerk Lillian Hoffman on May 4, 1949 after a previous suggestion naming it after the current mayor, Herbert Baxter, was rejected. Construction commenced in the late 1940s and the new expressway which traversed east–west along the southern part of the city opened in two parts; the first opened to traffic in 1949 and the other opened in 1950. US 74 and NC 27 were subsequently shifted from their central business district alignments to the new expressway. |
265_22 | Major changes to Independence Boulevard occurred in the 1980s. A portion of West Independence Boulevard was converted from expressway to limited-access freeway and made a part of the John Belk Freeway and Interstate 277. The portion west of Interstate 77 was renamed Wilkinson Boulevard. A new intersection with I-277 was constructed and the connecting freeway along with the updated portion of East Independence Boulevard was given the name Independence Freeway; US 74 was shifted to this new alignment. After the massive transportation revamp, a few disconnected segments of the original Independence Boulevard remained. These segments were later reorganized and given the names Carson Boulevard, Stonewall Street, and South Independence Boulevard; the latter was downgraded to a surface street and renamed Charlottetown Avenue in 2007 to prevent confusion with the unconnected East Independence Boulevard. |
265_23 | The freeway and bus lanes of Independence Freeway were extended to Albemarle Road in 2005. The limited-access road extension has caused numerous businesses along the corridor to leave the area and vacate their commercial real estate, resulting in brownfield land. |
265_24 | "American Indian Highway" controversy |
265_25 | In Robeson County, the highway is designated "American Indian Highway," a name that was the brain child of Robert M. Chavis, the Wolfclan chief of the NC Tuscarora; Cherokee Indians of Robeson County, and Nottoway Nation, who authored the name in the late 1990s. American Indian people of Robeson County, NC had attempted to remove Andrew Jackson's name from the highway for some sixty years. Knowing that the new US 74 was to come, Chavis started a campaign to change the name to American Indian Highway. Chavis did this in honor of all the Indian people that had lost their lives along the Trail of Tears during the Indian Removal Act of the 1830s authored by Andrew Jackson. Chavis was cited in many newspapers across North Carolina stating that the name should be changed, because that name on this section of road was tantamount to having a major road named Adolf Hitler that ran across a Jewish state or county. Chavis, with the help of the Tuscarora East of the Mountains, obtained the |
265_26 | information on how to attempt the name change from Rep. Ronnie Sutton and the NCDOT. Then Chavis presented the reasons for the name change to all the cities of Robeson county and the Robeson County Commissioners. Once he obtained support from these entities he presented the proposal to the NC-DOT. Rep. Sutton supported the name change at the state level and the name change was approved by the NC-DOT. The new signs of American Indian Highway were placed on the new sections of I-74 once the highway construction was completed. |
265_27 | Future
In Graham County, NCDOT has proposed to relocate US 74 onto a new divided four-lane highway from Robbinsville to Stecoah. This new routing will feature controlled at-grade intersections, viaduct and tunnel (at Stecoah Gap). At a cost of $383 million, right-of-way acquisition is scheduled to begin in 2014 and construction to begin in 2016; however, this is subject to reprioritization. The project is part of an overall project to bypass the current routing through the Nantahala Gorge, where bottlenecks are common along the two-lane highway through protected valley area within the Nantahala National Forest. The overall project, from Andrews to Almond, would complete a four-lane expressway from Cherokee County to Asheville. |
265_28 | The US 74 Bypass, in Cleveland County, is a controlled-access highway bypassing north of Shelby. When completed, it will improve vehicle capacity along the US 74 corridor, reduce future traffic congestion, increase safety and improve roadway continuity between I-26 and I-85. Being built in six sections, the cost is estimated at $295.9 million; currently, three of the six sections are fully funded with construction starting in 2014, ending in 2017.
The Independence Widening project, in Mecklenburg County, is to enhance and improve traffic flow and safety along US 74 in east Charlotte, by converting the corridor into an expressway grade highway from Center City to Matthews. Current construction is being done on three new interchanges at Sharon-Amity Road, Idlewild Road and Conference Drive. The cost of this section is at $101.2 million, with construction completed by October 15, 2016. |
265_29 | In Union and Anson counties, the US 74 freeway upgrade and Wadesboro Bypass is an estimated $741 million project. Plans include linking with future Monroe Bypass to existing Rockingham Bypass with upgrading to existing facilities to freeway standards and bypass the cities of both Marshville (to the south) and Wadesboro (to the north). The project is currently unfunded.
Junction list
See also
Special routes of U.S. Route 74
North Carolina Bicycle Route 2
North Carolina Bicycle Route 5
References
External links
NCRoads.com: US 74
NCRoads.com: US 74-A
NCRoads.com: US 74 Business
Endpoints of U.S. Highway 74 |
265_30 | 74
74
74
Transportation in Hamilton County, Tennessee
Transportation in Bradley County, Tennessee
Transportation in Polk County, Tennessee
Transportation in Cherokee County, North Carolina
Transportation in Graham County, North Carolina
Transportation in Swain County, North Carolina
Transportation in Jackson County, North Carolina
Transportation in Haywood County, North Carolina
Transportation in Buncombe County, North Carolina
Transportation in Polk County, North Carolina
Transportation in Rutherford County, North Carolina
Transportation in Cleveland County, North Carolina
Transportation in Gaston County, North Carolina
Transportation in Mecklenburg County, North Carolina
Transportation in Union County, North Carolina
Transportation in Anson County, North Carolina
Transportation in Richmond County, North Carolina
Transportation in Scotland County, North Carolina
Transportation in Robeson County, North Carolina
Transportation in Columbus County, North Carolina |
265_31 | Transportation in Brunswick County, North Carolina
Transportation in New Hanover County, North Carolina
Transportation in Charlotte, North Carolina
Transportation in Chattanooga, Tennessee |
266_0 | Michael Laub (born 1953, in Belgium) is an avant-garde stage director and contemporary dance choreographer. His work has notably been shown at the Venice Biennale of 1984, the Festival d'Avignon of 2005, the Burgtheater in 2011, and several times at ImPulsTanz Vienna International Dance Festival and Hebbel am Ufer (HAU) Berlin. He has often been described as a minimalist and "one of the founding fathers of anti-illusionist theater".
Career |
266_1 | Laub's career began in the mid-1970s when based in Stockholm, founding and co-directing Maniac Productions with Edmundo Za. Their work was referred to as innovative; mixing Performance art and Video installation. Genevieve van Cauwenberge observed that the performances "are in fact polyvalent and difficult to classify. They make use of everything at once, combining their specific language, stage direction, plastic arts (Minimal Art), musical composition (repetitive sampling) body language (Body Art), Happening (intervention of hazard) and of course the electronic video image." |
266_2 | With the founding of Remote Control Productions in 1981, Michael Laub proceeded to take his work somewhat closer to theater. Influenced by various forms, ranging from soap operas to classic literature and dance, his output as director of Remote Control Productions currently stands at over thirty plays. In what is perhaps something of an oversimplification of his extensive body of work, one can divide the material by three thematic approaches; the musical (Rough, Solo, Daniel and the Dancers, Total Masala Slammer); classic literature (Frank Wedekind's Lulu, Frankula, The Hans Christian Andersen Project); and portrait work (Portraits 360 Seconds, Out of Sorts, Alone/Gregoire, and The Biography Remix with Marina Abramović). One constant, since Rewind Song in 1989, has been the collaboration between Remote Control Productions and musician Larry Steinbachek, formerly of the band Bronski Beat. |
266_3 | Many theater critics have noted the conventions-challenging nature of Laub's work. When reviewing Daniel and the Dancers one writer commented that "the theatrical illusion has been destroyed, and what is happening on stage is simply a new reality." Deconstructing theater, finding novel ways in which to reconfigure the elements of a performance, is what fascinates and distinguishes this artist. A review pertaining to the same piece in the Danish newspaper Politiken attributes a certain violence to this theatrical approach. "This is masterful comedy," writes Monna Dithmer, "-served by the Laub diva Charlotte Engelkes-and a masterclass in the Laub technique, the aim of which is to smash the whole theatre process into bits and pieces and display them in all their naked glory." |
266_4 | It was only in the mid nineties, and in particular with the success of the play Rough, that Michael Laub/Remote Control Productions garnered international recognition. As a result, the ensuing works became more elaborate in scope and far-reaching in audience. An example of this was Laub's play Total Masala Slammer/Heartbreak No. 5 (2001), in which six months of research in India brought his fascination with Bollywood, Kathak dance and music into a synthesis with Goethe and Western contemporary live art forms. The H.C. Andersen Project (2003) was another ambitious project that used a multitude of biographical and literary interpretations in exploring Laub's take on the famous Danish subject. The Austrian daily Der Standard lauded the resulting mash-up, stating the play's "masterful blend of condensed fairytales, biographical notes, and exquisitely transfigured personae from Andersen’s universe is achieved through clarity of dramatic structure, the lightness of the 'show' form, the |
266_5 | outstanding dancers and performers, and the subtle music of Larry Steinbachek". |
266_6 | Between the large-scale productions of Total Masala Slammer and The H.C. Andersen Project, Laub directed Portraits 360 Sek at Hamburg's Deutsches Schauspielhaus in 2002 which was commissioned by Tom Stromberg. This was an undertaking which would spur his long-standing fascination with the applications of portraiture in theater to evolve. Having experienced success with solo portraits (Solo with Charlotte Engelkes, and Out of Sorts with Richard Crane), Laub began, with Portraits 360 Sek to extend the idea to a collective performance, and in time, a serialized concept. |
266_7 | For the Laub portrait of the performance artist Marina Abramović in The Biography Remix (2004-'05), content called for a multi-layered format; "One moment you are watching the young Abramović on video, the next Abramović played by one of her young students, then Abramović in the flesh", but the object remained grounded in a very direct approach. While one critic noted that "above all one remembers authentic emotion, which culminated in the final glimpse of a smile from the artist. It is beautiful, very beautiful; terribly intimate; and perfectly universal." Libération concluded that "The Remix is generally as disturbing as it is moving". A quality one would anticipate, even aspire to, in a performance chronicling the life and work of an artist who has spent decades pushing the boundaries of physical and emotional endurance. |
266_8 | 360 Sek and the ensuing Portrait Series projects (there have been five to date) eschew almost all theatrics and strip the performer's role down to often uncomfortably intimate biographical details. "By linking the unstructured with the well-calculated, the director subtly conveys to the audience some idea of those elements of which theatre is composed: exuberance and effort, yearning and application, happiness and fear. Yet because the individual portraits are so direct, as an exercise in vanity this self-portraiture remains modest. The quietly non-intentional gets the same six short minutes as the noisily exhibitionist, and that is why, in the final resort, the theatre emerges victorious as a powerhouse of the imagination as opposed to a factory of personalities." The focus is on realism and authenticity. This is made all the more evident with Laub often favoring non-professionals for these projects, as their untrained stage personae are all the more vulnerable and raw. |
266_9 | The Portrait Series have proven popular, in part due to the concept's adaptability. From a theoretical point of view, The Portrait Series is an endeavor wherein he tests theater's global vocabulary. The idea being that virtually any entity comprising interesting characters can be formatted by Laub for a Portrait Series show.
He opened 2010 with the highly personal, original composition Death, Dance and some Talk in Berlin (February), followed by Portrait Series Istanbul (April–May), Portrait Series Rotterdam (September), and commencing work on the Burgporträts at the Burgtheater, Vienna. |
266_10 | After opening the Burgporträts (March) in 2011, Michael Laub's attentions shifted to the emerging arts scene in Cambodia. For the past five years he has embarked on a series of projects exploring traditional and contemporary Cambodian artistic expression. The Portrait Series Battambang began in 2012 in conjunction with Phare Ponleu Selpak, and culminated in the Galaxy Khmer tour collaboration with the rock band Cambodian Space Project, bringing these distinct voices to Europe two years later.
2016 began with the opening of the solo performance Asutorito Endoruwaito (January) in Berlin's Hebbel am Ufer, which was followed by Dance Portraits - Cambodia opening at ImPulsTanz Vienna International Dance Festival and the Weltmuseum Wien (February). |
266_11 | In 2017, the world premier of Fassbinder, Faust and the Animists was shown at Hebbel am Ufer (HAU) Berlin and opened the ImPulsTanz Festival in Vienna the same year. In the piece „Laub slaves away at Fassbinder’s cult film Beware of a Holy Whore with his sensational 17-strong ensemble on an empty white video-wall stage. But also at Goethe’s Faust, at animism – that is the idea that nature is ensouled – at the Madison dance so popular in the 1950s and 60s. The result is a virtuosic and impressive interconnection of film, theatre, dance, literature, comic, manga, yoga and an excessive display of costumes.“
With his latest work Rolling Laub continued the disposition of intertwining film and theater on stage and conceived a play that was entirely composed out of over 200 film excerpts staged in a roughly two-hour piece. Im 2019, it premiered at Hebbel am Ufer (HAU) Berlin and toured ImPulsTanz Festival in Vienna the same year. |
266_12 | Michael Laub is founder and artistic director of the artist in residency programme The Umbrellas of Phnom Penh (TUOPP). From 2017-18 TUOPP was a unique structure in Phnom Penh that accommodated residencies for international artists and local creatives from different fields of practice including visual artists, video/film makers, dancers, choreographers, sound artists and designers.
In addition to his stage-work, Laub has held several guest professorships (at the University of Giessen, the Free University Berlin, the Norwegian Theatre Academy), as well as a residency at HfG Karlsruhe in 2011. In 2020 he held the Valeska Gert Guestprofessorship at Free University Berlin’s MA Dance Sciences for a second time after teaching there in 2006/07.
Works |
266_13 | Maniac Productions
1975Maniac Productions, Narren Teater, Stockholm
1976Enfantillage, Fylkingen Center for Intermedia, StockholmParalysed Infancy in Repetitive Structure, De Appel, Amsterdam
Avant Tehran, De Appel, Amsterdam
1977Mouse in Repetitive Structure, Avant Tehran Mickery Theatre, AmsterdamLily is going to have a baby, Fylkingen Center for Intermedia, StockholmInfection/Love Tape I, Video Festival, Fylkingen, Stockholm
1978Tragico Intervallo, Kunstakademie, DüsseldorfTragico Intervallo II, Arteferia Post Avant-Garde Theater Festival, BolognaManiac Productions II, Mickery, AmsterdamI closed the window and I went out for dinner, Folkwang Museum, Essen/Galerie Neu, AachenHotel Life (a 12-hour live video exhibition in 12 hotel rooms), Museumzicht Hotel, AmsterdamUntitled Video Performance, International Performance Festival, Beursschouwburg, Brussels |
266_14 | 1979 Dinner Somewhere and then Back to my room RTBF Television, Kolnischer Kunstverein, Cologne/Theatre Populaire de Wallonie, LiegChap Tapes I, Internationaal Cultureel Centrum, Antwerp
1980Chap Tapes II, Mickery, Amsterdam |
266_15 | Remote Control Productions
1981Snapping, Computing and PerformingKulturhuset, Stockholm
1982White OutModerna Museet, Stockholm
1984Return of SensationXXXII Biennale di Venezia Kulturhuset, StockholmInternational Theatre Festival, Copenhagen, June 1985
1987PressureKulturhuset, Stockholm
1989Rewind SongModerna Museet, Stockholm, February6th Bergen International Theatre Festival, Norway
1991Fast Forward/ Bad Air und so...Dansens Hus, Stockholm, FebruaryTheater am Turm, Frankfurt, FebruaryBergen International Theatre, AprilTouch Time Festival, Mickery, Amsterdam, MayKaaitheater, Brussels, JuneWiener Festwochen, Vienna, June
1992Jack's Travelogue/La Prison des FemmesBlack Box Theatre, Oslo, MayTeatro Central, Seville Expo '92, JuneDansens Hus, Stockholm, AugustTheater am Turm, Frankfurt, OctoberKaaitheater/Theatre 140, Brussels, November |
266_16 | 1994RoughKulturhuset, Stockholm, JanuaryTeatergarasjen, Bergen, JanuarySpringdance, Utrecht, AprilTheater am Turm, Frankfurt, AprilSzene, Salzburg, JulyInternationales Sommer Theater Festival, Hamburg, JulyTheatre 140/ Charleroi Danse, Brussels, NovemberNordisk Scenekunst Festival, Arhus, AprilEuropaisches Festival Schlossfestspiele, Schwerin, JuneLudwigsburg Schlossfestspiele, JulyHebbel Theater, Berlin, August
1994-'96Daniel and the DancersFrascati, Amsterdam, October, 1994Monty, Antwerpen, January, 1995Lantaren, Rotterdam, January, 1995Schouwburg, Tilburg, January, 1995Dansens Hus, Stockholm, February, 1995Theater am Turm, Frankfurt, February, 1996Hebbel Theater, Berlin, March 1996Kanon Hallen, Copenhagen, March 1996
1995-'96Solo with Charlotte EngelkesSpielart, Munich, October 1995Theater am Turm, Frankfurt, February 1996Hebbel Theater, Berlin, May 1996Szene, Salzburg, July 1996Monty, Antwerp, October 1996Schouwburg, Tilburg, October 1996Kulturhuset Arhus, November 1996 |
266_17 | 1997-'98Planet LuluKulturhus Arhus, March 1997Springdance, Utrecht, April 1997Theater am Turm, Frankfurt, May 1997Hebbel Theater, Berlin, May 1997Szene, Salzburg, July 1997Zürcher Theater Spektakel, Zurich, September 1997Kampnagel, Hamburg, September 1997Grand Theater, Groningen, September 1997De Brakke Grond, Amsterdam, October 1997Schouwburg, Tilburg, October 1997Pusterviksteatern, Gotheborg, October 1998Dansens Hus, Stockholm, October 1998
1998-'99FrankulaGrand Theatre, Groningen, August 1998TANZtheaterInternational, Hanover, September 1998Frascati, Amsterdam, September 1998Schouwburg, Tilburg, February 1999Hebbel Theater, February/March 1999Szene, Salzburg, July 1999
1999-2000Out of SortsDe Brakke Grond, Amsterdam, April 1999Grand Theatre, Groningen, April 1999Szene, Salzburg, July 1999Expo, Hanover, September 1999Schouwburg, Tilburg, October 1999Mousonturm, Frankfurt, February 2000 |
266_18 | 2000-'03Pigg in HellTanz im August, Berlin, 2000Podewil, Berlin, 2001Mousonturm, Frankfurt, 2001off limits Festival, Dortmund, 2001Rotterdamse Schouwburg, 2001euro-scene, Leipzig, 2001Tramway, Glasgow, 2002Impulstanz, Vienna, 2002Tanzwerkstatt, Munich, 2002Zürcher Theater Spektakel, Zurich, 2002Four Days in Motion, 6th International Theater Festival, Prague, 2002cutting edge, Staatstheater Darmstadt, 2003
2001-'02Total Masala Slammer/Heartbreak No. 5Tanz im August, Hebbel-Theater, Berlin, 2001Archa Theater, Prague, 2001Zürcher Theater Spektakel, Zurich, 2001Rotterdamse Schouwburg, 2001Szene, Salzburg, 2002Impulstanz, Vienna, 2002Melbourne Festival, 2002
2002Portraits 360 SekDeutsches Schauspielhaus(German) Hamburg, 2002 |
266_19 | 2003The H.C. Andersen Project- Tales and CostumesZürcher Theater Spektakel, Zurich, 2003Hebbel Theater, Berlin, 2003Rotterdamse Schouwburg, 2003Exodus Festival, Cankargev Dom, Ljubljana, 2004Dance, Munich, 2004Mousonturm, Frankfurt, 2005Rencontre Choreographique de Seine St. Denis, 2005
2004-'05The Biography Remix with Marina AbramovićRomaeuropa, Rome, 2004Festival d'Avignon, 2005
2004AloneZürcher Theater Spektakel, Zurich
2004-'09Portrait Series: Alone/Gregoire Deutsches Schauspielhaus(German) Hamburg, 2004De Internationale Keuze van de Rotterdamse Schouwburg, Rotterdam, 2004Tanz im August, Internationales Tanzfest Berlin, 2005Tanzquartier, Vienna, 2005Mousonturm, Frankfurt, 2006Rencontre Choreographique de Seine St. Denis, 2006Festival d'Otono, Madrid, 2007Sommer Szene, Salzburg, 8–9 July 2009 |
266_20 | 2007–presentPortrait Series Berlin. Professional and Non-Professional Dancers/Marching Series (work in progress)Tanz im August, Internationales Tanzfest Berlin, 2007Zürcher Theater Spektakel, Zurich, 2007Rotterdamse Schouwburg, 2007
2008Bruce and MoreHeli Meklin & Michael Laub Moving in November Festival, Kiasma Museum, Helsinki, November
2010Death, Dance and Some TalkSophiensaele, Berlin, 23–27 February
Portrait Series Istanbul: Aspiring Actresses, and Actresses.Garajistanbul, 28–30 April, 6 –8 MayKulturhauptstadt Europas RUHR.Favoriten, Essen, 26–28 November
Portrait Series RotterdamLantern/Venster (Schouwburg Internationale Keuze Festival), 15–19 September
2011Portrait Series/Burgportäts Burgtheater, Vienna
2012Portrait Series BattambangPhare Ponleu Selpak, Battambang, Cambodia.
2014Galaxy Khmer / Portrait Series Battambang16-18 January HAU Hebbel am Ufer, Berlin23-24 January
BIT Teatergarasjen, Bergen
2016Asturito EndoruwaitoHAU Hebbel am Ufer, Berlin |
266_21 | Dance Portraits - CambodiaImPulsTanz Festival ViennaWeltmuseum Wien
2017Fassbinder, Faust and the AnimistsHAU Hebbel am Ufer BerlinImPulsTanz Festival Vienna
2019RollingHAU Hebbel am Ufer BerlinImPulsTanz Festival Vienna |
266_22 | References
External links
Website of Michael Laub's Remote Control Productions (http://www.michael-laub.com)
Video of Total Masala Slammer/Heartbreak No. 5 (http://www.impulstanz.com/gallery/videos/rmf9/
Vimeo Page http://vimeo.com/michaellaub
1953 births
Living people
Belgian choreographers
Belgian theatre directors |
267_0 | Harry Lloyd Hopkins (August 17, 1890 – January 29, 1946) was an American statesman, public administrator, and presidential advisor. A trusted deputy to President Franklin Delano Roosevelt, Hopkins directed New Deal relief programs before serving as the 8th United States Secretary of Commerce from 1938 to 1940 and as Roosevelt's chief foreign policy advisor and liaison to Allied leaders during World War II. During his career, Hopkins supervised the New York Temporary Emergency Relief Administration, the Federal Emergency Relief Administration, the Civil Works Administration, and the Works Progress Administration, which he built into the largest employer in the United States. He later oversaw the $50 billion Lend-Lease program of military aid to the Allies and, as Roosevelt's personal envoy, played a pivotal role in shaping the alliance between the United States and the United Kingdom. |
267_1 | Born in Iowa, Hopkins settled in New York City after he graduated from Grinnell College. He accepted a position in New York City's Bureau of Child Welfare and worked for various social work and public health organizations. He was elected president of the National Association of Social Workers in 1923. In 1931, New York Temporary Emergency Relief Administration chairman Jesse I. Straus hired Hopkins as the agency's executive director. His successful leadership of the program earned the attention of then-New York Governor Roosevelt, who brought Hopkins into his federal administration after he won the 1932 presidential election. Hopkins enjoyed close relationships with President Roosevelt and First Lady Eleanor Roosevelt, and was considered a potential successor to the president until the late 1930s, when his health began to decline due to a long-running battle with stomach cancer. |
267_2 | As Roosevelt's closest confidante, Hopkins assumed a leading foreign policy role after the outset of World War II. From 1940 until 1943, Hopkins lived in the White House and assisted the president in the management of American foreign policy, particularly toward the United Kingdom and the Soviet Union. He traveled frequently to the United Kingdom, whose prime minister, Winston Churchill, recalled Hopkins in his memoirs as a "natural leader of men" with "a flaming soul." Hopkins attended the major conferences of the Allied powers, including the Cairo Conference (November 1943), the Tehran Conference (November–December 1943), the Casablanca Conference (January 1943), and the Yalta Conference (February 1945). His health continued to decline, and he died in 1946 at the age of 55. |
267_3 | Early life
Hopkins was born at 512 Tenth Street in Sioux City, Iowa, the fourth child of four sons and one daughter of David Aldona and Anna (née Pickett) Hopkins. His father, born in Bangor, Maine, ran a harness shop (after an erratic career as a salesman, prospector, storekeeper, and bowling-alley operator), but his real passion was bowling, and he eventually returned to it as a business. Anna Hopkins, born in Hamilton, Ontario, had moved at an early age to Vermillion, South Dakota, where she married David. She was deeply religious and active in the affairs of the Methodist church. Shortly after Harry was born, the family moved successively to Council Bluffs, Iowa, and Kearney and Hastings, Nebraska. They spent two years in Chicago and finally settled in Grinnell, Iowa. |
267_4 | Hopkins attended Grinnell College and soon after his graduation in 1912 took a job with Christodora House, a social settlement house in New York City's Lower East Side ghetto. In the spring of 1913, he accepted a position from John A. Kingsbury of the New York Association for Improving the Condition of the Poor (AICP) as a "friendly visitor" and superintendent of the Employment Bureau within the AICP's Department of Family Welfare. During the 1915 recession, Hopkins and the AICP's William Matthews, with $5,000 from Elizabeth Milbank Anderson's Milbank Memorial Fund, organized the Bronx Park Employment program, which was one of the first public employment programs in the US.
Social and public health work
In 1915, New York City Mayor John Purroy Mitchel appointed Hopkins executive secretary of the Bureau of Child Welfare which administered pensions to mothers with dependent children. |
267_5 | Hopkins at first opposed America's entrance into World War I, but, when war was declared in 1917, he supported it enthusiastically. He was rejected for the draft because of a bad eye. Hopkins moved to New Orleans where he worked for the American Red Cross as director of Civilian Relief, Gulf Division. Eventually, the Gulf Division of the Red Cross merged with the Southwestern Division and Hopkins, headquartered now in Atlanta, was appointed general manager in 1921. Hopkins helped draft a charter for the American Association of Social Workers (AASW) and was elected its president in 1923. |
267_6 | In 1922, Hopkins returned to New York City, where the AICP was involved with the Milbank Memorial Fund and the State Charities Aid Association in running three health demonstrations in New York State. Hopkins became manager of the Bellevue-Yorkville health project and assistant director of the AICP. In mid-1924 he became executive director of the New York Tuberculosis Association. During his tenure, the agency grew enormously and absorbed the New York Heart Association. |
267_7 | In 1931, New York Governor Franklin D. Roosevelt named R. H. Macy's department store president Jesse Straus as president of the Temporary Emergency Relief Administration (TERA). Straus named Hopkins, then unknown to Roosevelt, as TERA's executive director. His efficient administration of the initial $20 million outlay to the agency gained Roosevelt's attention, and in 1932, he promoted Hopkins to the presidency of the agency. Hopkins and Eleanor Roosevelt began a long friendship, which strengthened his role in relief programs. |
267_8 | New Deal
In March 1933, Roosevelt summoned Hopkins to Washington as federal relief administrator. Convinced that paid work was psychologically more valuable than cash handouts, Hopkins sought to continue and expand New York State's work relief programs, the Temporary Emergency Relief Administration. He supervised the Federal Emergency Relief Administration (FERA), the Civil Works Administration (CWA), and the Works Progress Administration (WPA). Over 90% of the people employed by the Hopkins programs were unemployed or on relief. He feuded with Harold Ickes, who ran a rival program, the Public Works Administration, which also created jobs but did not require applicants to be unemployed or on relief. |
267_9 | FERA, the largest program from 1933 to 1935, involved giving money to localities to operate work relief projects to employ those on direct relief. CWA was similar but did not require workers to be on relief to receive a government-sponsored job. In less than four months, the CWA hired four million people, and during its five months of operation, the CWA built and repaired 200 swimming pools, 3,700 playgrounds, 40,000 schools, of road, and 12 million feet of sewer pipe. |
267_10 | The WPA, which followed the CWA, employed 8.5 million people in its seven-year history, working on 1.4 million projects, including the building or repair of 103 golf courses, 1,000 airports, 2,500 hospitals, 2,500 sports stadiums, 3,900 schools, 8,192 parks, 12,800 playgrounds, 124,031 bridges, 125,110 public buildings, and of highways and roads. The WPA operated on its own on selected projects in co-operation with local and state governments, but always with its own staff and budget. Hopkins started programs for youth (National Youth Administration) and for artists and writers (Federal One Programs). Hopkins and Eleanor Roosevelt worked together to publicize and defend New Deal relief programs. He was concerned with rural areas but increasingly focused on cities in the Great Depression. |
267_11 | Before Hopkins began to decline from his struggle with stomach cancer in the late 1930s, Roosevelt appeared to be training him as a possible successor. With the advent of World War II in Europe, however, Roosevelt ran again in 1940 and won an unprecedented third term.
World War II
On May 10, 1940, after a long night and day spent discussing the German invasion of the Netherlands, Belgium, and Luxembourg that had ended the so-called "Phoney War," Roosevelt urged a tired Hopkins to stay for dinner and then the night in a second-floor White House bedroom. Hopkins would live out of the bedroom for the next three-and-a-half years. |
267_12 | On December 7, 1941, at 1:40 pm, Hopkins was in the Oval Study, in the White House, having lunch with President Roosevelt, when Roosevelt received the first report that Pearl Harbor had been attacked via phone from Secretary of the Navy Frank Knox. Initially, Hopkins was skeptical of the news until Chief of Naval Operations Adm. Harold Rainsford Stark called a few minutes later to confirm Pearl Harbor had in fact been attacked. |
267_13 | During the war years, Hopkins acted as Roosevelt's chief emissary to British Prime Minister Winston Churchill. In January 1941, Roosevelt dispatched Hopkins to assess Britain's determination and situation. Churchill escorted the important visitor all over the United Kingdom. Before he returned, at a small dinner party in the North British Hotel, Glasgow, Hopkins rose to propose a toast: "I suppose you wish to know what I am going to say to President Roosevelt on my return. Well I am going to quote to you one verse from the Book of Ruth ... 'Whither thou goest, I will go and where thou lodgest I will lodge, thy people shall be my people, and thy God my God.'" Hopkins became the administrator of the Lend-Lease program, under which the United States gave to Britain and Soviet Union, China, and other Allied nations food, oil, and materiel including warships, warplanes and weaponry. Repayment was primarily in the form of Allied military action against the enemy, as well as leases on army |
267_14 | and naval bases in Allied territory used by American forces. |
267_15 | Hopkins had a major voice in policy for the vast $50 billion Lend-Lease program, especially regarding supplies, first for Britain and then, upon the German invasion, the Soviets. He went to Moscow in July 1941 to make personal contact with Joseph Stalin. Hopkins recommended and Roosevelt accepted the inclusion of the Soviets in Lend Lease. Hopkins made Lend Lease decisions in terms of Roosevelt's broad foreign policy goals. He accompanied Churchill to the Atlantic Conference. Hopkins promoted an aggressive war against Germany and successfully urged Roosevelt to use the Navy to protect convoys headed for Britain before the US had entered the war in December 1941. Roosevelt brought him along as advisor to his meetings with Churchill and Stalin at Cairo, Tehran, Casablanca in 1942-43, and Yalta in 1945. He was a firm supporter of China, which received Lend-Lease aid for its military and air force. Hopkins wielded more diplomatic power than the entire State Department. Hopkins helped |
267_16 | identify and sponsor numerous potential leaders, including Dwight D. Eisenhower. He continued to live in the White House and saw the President more often than any other advisor. |
267_17 | In mid-1943, Hopkins faced a barrage of criticism from Republicans and the press that he had abused his position for personal profit. One Representative asserted that British media tycoon Lord Beaverbrook had given Hopkins's wife, Louise, $500,000 worth of emeralds, which Louise denied. Newspapers ran stories detailing sumptuous dinners that Hopkins attended while he was making public calls for sacrifice. Hopkins briefly considered suing the Chicago Tribune for libel after a story that compared him to Grigory Rasputin, the famous courtier of Tsar Nicholas II of Russia, but he was dissuaded by Roosevelt.
Although Hopkins's health was steadily declining, Roosevelt sent him on additional trips to Europe in 1945. Hopkins attended the Yalta Conference in February 1945. He tried to resign after Roosevelt died, but President Harry S. Truman sent Hopkins on one more mission to Moscow. |
267_18 | Hopkins had three sons who served in the armed forces during the war: Robert, David and Stephen. Stephen was killed in action while he was serving in the Marine Corps. |
267_19 | Relations with Soviet Union |
267_20 | Hopkins was the top American official assigned to dealing with Soviet officials during World War II. He liaised with Soviet officials from the middle ranks to the very highest, including Stalin. Anastas Mikoyan was Hopkins' counterpart with responsibility for Lend-Lease. He often explained Roosevelt's plans to Stalin and other top Soviet officials to enlist Soviet support for American objectives, an endeavor that met with limited success. A particularly striking example of bad faith was Moscow's refusal to allow American naval experts to see the German experimental U-boat station at Gdynia captured on March 28, 1945 and thus to help the protection of the very convoys that carried Lend-Lease aid. In turn, Hopkins passed on Stalin's stated goals and needs to Roosevelt. As the top American decision maker in Lend-Lease, he gave priority to supplying the Soviet Union, despite repeated objections from Republicans. As Soviet soldiers were bearing the brunt of the war, Hopkins felt that |
267_21 | American aid to the Soviets would hasten the war's conclusion. |
267_22 | Hopkins continued to be a target of attacks even after his death. George Racey Jordan testified to the House Un-American Activities Committee in December 1949 that Hopkins passed nuclear secrets to the Soviets. Historians do not cite Jordan as credible since at the time Jordan claimed to have met with Hopkins in Washington regarding uranium shipments, Hopkins was in intensive care at the Mayo Clinic in Minnesota. In 1963, the FBI concluded that Jordan "either lied for publicity and profit or was delusional."
Many US lend-lease records, including the correspondence of Hopkins and Edward Stettinius and the minutes of the Soviet protocol committee, were only declassified in the 1970s, long after opinions about Soviet espionage had hardened into dogma. These files are now open, and they confirm the veracity of nearly all of Jordan's claims, except for his allegation that Hopkin's actions were illegal. |
267_23 | It is likely that any Soviets who spoke to Hopkins would have been routinely required to report the contact to the NKVD, the Soviet national security agency. Eduard Mark (1998) says that some Soviets, such as spymaster Iskhak Akhmerov, thought that Hopkins was pro-Soviet, but others thought that he was not. Verne W. Newton, the author of FDR and the Holocaust, said that no writer discussing Hopkins has identified any secrets disclosed or any decision in which he distorted American priorities to help communism. As Mark demonstrated, Hopkins was not pro-Soviet in his recommendations to Roosevelt; he was anti-German and pro-American. Any "secrets" disclosed were authorized. Mark says that at the time, any actions were taken specifically to help the American war effort and to prevent the Soviets from making a deal with Hitler. |
267_24 | It is currently considered likely that Laurence Duggan was the titular agent "19." Hopkins may simply have been naïve in his estimation of Soviet intentions. The historian Robert Conquest wrote that "Hopkins seems just to have accepted an absurdly fallacious stereotype of Soviet motivation, without making any attempt whatever to think, or to study the readily available evidence, or to seek the judgement of the knowledgeable. He conducted policy vis-a-vis Stalin with mere dogmatic confidence in his own (and his circle's) unshakeable sentiments." |
267_25 | Personal life
In 1913, Hopkins married Ethel Gross (1886–1976), a Hungarian-Jewish immigrant active in New York City's Progressive movement. They had three sons: David, Robert, and Stephen, (they had lost an infant daughter to whooping cough) and though Gross divorced Hopkins in 1930 shortly before Hopkins became a public figure, the two kept up an intimate correspondence until 1945. In 1931, Hopkins married Barbara Duncan, who died of cancer six years later. They had one daughter, Diana (1932-2020). In 1942, Hopkins married Louise Gill Macy (1906–1963) in the Yellow Oval Room at the White House. Macy was a divorced, gregarious former editor for Harper's Bazaar. The two continued to live at the White House at Roosevelt's request, though Louise eventually demanded a home of their own. Hopkins ended his long White House stay on December 21, 1943, moving with his wife to a Georgetown townhouse. |
267_26 | Cancer and death
In mid-1939, Hopkins was told that he had stomach cancer, and doctors performed an extensive operation that removed 75% of his stomach. What remained of Hopkins's stomach struggled to digest proteins and fat, and a few months after the operation, doctors stated that he had only four weeks to live. At this point, Roosevelt brought in experts, who transfused Hopkins with blood plasma that halted his deterioration. When the "Phony War" phase of World War II ended in May 1940, the situation galvanised Hopkins; as Doris Kearns Goodwin wrote, "the curative impact of Hopkins' increasingly crucial role in the war effort was to postpone the sentence of death the doctors had given him for five more years". |
267_27 | Though his death has been attributed to his stomach cancer, some historians have suggested that it was the cumulative malnutrition related to his post-cancer digestive problems. Another claim is that Hopkins died from liver failure due to hepatitis or cirrhosis, but Robert Sherwood authoritatively reported that Hopkins' postmortem examination showed the cause of death was hemosiderosis due to hepatic iron accumulation from his many blood transfusions and iron supplements.
Hopkins died in New York City on January 29, 1946, at the age of 55. His body was cremated and his ashes interred in his former college town at the Hazelwood Cemetery in Grinnell, Iowa. There is a house on the Grinnell College campus named after him.
References
West, Diana. "American Betrayal" =(2014)
Further reading |
267_28 | Adams, Henry Hitch. Harry Hopkins: A Biography (1977)
Bremer, William W. "Along the 'American Way': The New Deal's Work Relief Programs for the Unemployed," Journal of American History Vol. 62, No. 3 (Dec., 1975), pp. 636–652 in JSTOR
Hopkins, June. "The road not taken: Harry Hopkins and New Deal Work Relief." Presidential Studies Quarterly 29, 2(306-316). online edition |
267_29 | Howard, Donald S. The WPA and Federal Relief Policy (1943) online edition
Klehr, Harvey; Haynes, John Earl. "Harry Hopkins and Soviet Espionage" Intelligence & National Security (Nov 2014) 29#6 pp 864–879.
Kurzman, Paul A. Harry Hopkins and the New Deal, R. E. Burdick Publishers (1974)
Meacham, Jon. Franklin and Winston: An Intimate Portrait of an Epic Friendship Random House (2003).
McJimsey, George. "Hopkins, Harry Lloyd" in American National Biography Online (2000)
McJimsey George T. Harry Hopkins: Ally of the Poor and Defender of Democracy (1987), biography.
Meriam, Lewis. Relief and Social Security. The Brookings Institution. (1946). Highly detailed analysis and statistical summary of all New Deal relief programs; 900 pages online edition
Sherwood, Robert E. Roosevelt and Hopkins (1948), memoir by senior FDR aide; Pulitzer Prize; published in England as The White House Papers Of Harry L. Hopkins Vol. I (1948) to Jan 1942; online vol 1 to Jan 1942 |
267_30 | Singleton, Jeff. The American Dole: Unemployment Relief and the Welfare State in the Great Depression (2000) online edition
Smith, Jason Scott. Building New Deal Liberalism: The Political Economy of Public Works, 1933-1956 (2005)
Smith, Jean Edward. FDR, Random House (2007) scholarly biography
Williams, Edward Ainsworth. Federal Aid for Relief (1939) online edition
"Harry Lloyd Hopkins". Dictionary of American Biography, Supplement 4: 1946-1950. American Council of Learned Societies, 1974.
World War II
Allen, R.G.D. "Mutual Aid between the U.S. and the British Empire, 1941–5", in Journal of the Royal Statistical Society no. 109 #3, 1946. pp 243–77 in JSTOR detailed statistical data on Lend Lease
Clarke, Sir Richard. Anglo-American Economic Collaboration in War and Peace, 1942-1949. (1982), British perspective
Dallek, Robert. Franklin D. Roosevelt and American Foreign Policy, 1932–1945 (2nd ed. 1995) standard scholarly survey online |
267_31 | Dawson, Raymond H. The Decision to Aid Russia, 1941: Foreign Policy and Domestic Politics (1959)
Dobson, Alan P. U.S. Wartime Aid to Britain, 1940-1946 London, 1986. |
267_32 | Herring Jr. George C. Aid to Russia, 1941-1946: Strategy, Diplomacy, the Origins of the Cold War (1973) online edition
Kimball, Warren F. The Most Unsordid Act: Lend-Lease, 1939-1941 (1969).
Kimball, Warren F. "Franklin D. Roosevelt and World War II," Presidential Studies Quarterly Vol. 34#1 (2004) pp 83+.
Louis, William Roger. Imperialism at Bay: The United States and the Decolonization of the British Empire, 1941-1945. 1977.
MacManus, James. Sleep in Peace Tonight, (Thomas Dunne Books, New York 2014), , A novel about Hopkins in London in 1941
O'Sullivan, Christopher. Harry Hopkins: FDR's Envoy to Churchill and Stalin. (Rowman and Littlefield 2014)
Reynolds, David. The Creation of the Anglo-American Alliance 1937-1941: A Study on Competitive Cooperation (1981)
Roll, David. The Hopkins Touch: Harry Hopkins and the Forging of the Alliance to Defeat Hitler (2012) excerpt and text search and author webcast presentation |
267_33 | Sherwood, Robert E. Roosevelt and Hopkins (1948), memoir by senior FDR aide; Pulitzer Prize. online complete edition
Tuttle, Dwight William. Harry L. Hopkins and Anglo-American-Soviet Relations, 1941-1945 (1983)
Woods, Randall Bennett. A Changing of the Guard: Anglo-American Relations, 1941-1946 (1990) |
267_34 | External links
Svetlana Chervonnaya, "Hopkins, Harry Lloyd (1890-1946)," Documents Talk: A Non-Definitive History, www.documentstalk.com/
Harry Hopkins Index at the Franklin D. Roosevelt Presidential Library and Museum
United States Secretaries of Commerce
+
People of the New Deal arts projects
Works Progress Administration administrators
Franklin D. Roosevelt administration cabinet members
20th-century American politicians
1890 births
1946 deaths
Deaths from stomach cancer
Deaths from cancer in New York (state)
Politicians from Sioux City, Iowa
American diplomats
Grinnell College alumni
Recipients of the Distinguished Service Medal (US Army)
New York (state) Democrats
People in public health
People from Georgetown (Washington, D.C.)
Civilian recipients of the Distinguished Service Medal (United States) |
268_0 | This article lists the discography of the late American Blues and Soul bassist, Donald "Duck" Dunn. Dunn was an influential bassist notable for his recordings in the 1960s in the house band for Stax Records, Booker T. & the M.G.'s and thereafter as a session bassist.
with the Mar-Keys
Mar-Keys (Great Memphis Sound, 1966)
The Mar-Keys/Booker T & The MGs (Back to Back, 1967) |
268_1 | with Booker T & the MGs
Booker T & The MGs (Soul Dressing, 1965)
Booker T & The MGs (In the Christmas Spirit, 1966)
Booker T & The MGs (And Now... Booker T & The MGs, 1966)
Booker T & The MGs (Hip Hug-Her, 1967)
Booker T & The MGs (Uptight, 1968)
Booker T & The MGs (Best of Booker T & The MGs, 1968)
Booker T & The MGs (Doin' Our Thing, 1968)
Booker T & The MGs (Soul Limbo, 1968)
Booker T & The MGs (The Booker T. Set, 1969)
Booker T & The MGs (Mclemore Avenue, 1970)
Booker T & The MGs (Melting Pot, 1971)
MGs (The MGs, 1973)
Booker T & The MGs (Best of Booker T & The MGs, 1986)
Booker T & The MGs (Hip Hug-Her, 1992)
Booker T & The MGs (And Now... Booker T & The MGs, 1992)
Booker T & The MGs (Doin' Our Thing, 1992)
Booker T & The MGs (The Very Best of Booker T & The MGs, 1994)
Booker T & The MGs (That's the Way It Should Be, 1994)
Booker T & The MGs (Time Is Tight, 1998)
Booker T & The MGs (Soul Men, 2003) |
268_2 | with Rance Allen
Rance Allen (A Soulful Experience, 1975)
Rance Allen (The Best of The Rance Allen Group, 1988)
Rance Allen (Up Above My Head, 1995)
Rance Allen (Let the Music Get Down in Your Soul, 1997)
Rance Allen (The Soulful Truth of The Rance Allen Group, 2001)
Rance Allen (Stax Profiles, 2005)
with Duane Allman
Duane Allman (Anthology vol. 2, 1974)
with Joan Baez
Joan Baez (Gulf Winds, 1976)
Joan Baez (Blowin' Away, 1977)
Joan Baez (Complete A&M Recordings, 2003)
with William Bell
William Bell (Soul of a Bell, 1967)
William Bell (William Bell, 1974)
William Bell (Little Something Extra, 1992)
William Bell (Bound to Happen, 1997)
William Bell (Soul of a Bell, 2002) |
268_3 | with The Blues Brothers
Blues Brothers (Briefcase Full of Blues, 1978)
Blues Brothers (The Blues Brothers, 1980)
Blues Brothers (Made In America, 1981)
Blues Brothers (Best of the Blues Brothers, 1982)
Blues Brothers (Dancin' wid da Blues Brothers, 1985)
Blues Brothers (Everybody Needs Blues Brothers, 1986)
Blues Brothers (Live in Montreaux, 1987)
Blues Brothers (Red White and Blues, 1988)
Blues Brothers (The Definitive Collection, 1992)
Blues Brothers (Blues Brothers & Friends: Live from Chicago's House of Blues, 1997)
Blues Brothers (Blues Brothers 2000, 1999)
Blues Brothers (The Blues Brothers Complete, 2000)
with Shirley Brown
Shirley Brown (Woman to Woman, 1974)
Shirley Brown (Shirley Brown, 1977)
with Roy Buchanan
Roy Buchanan (Loading Zone, 1977)
Roy Buchanan (Sweet Dreams: The Anthology, 1992)
Roy Buchanan (Guitar on Fire, 1993)
with Jimmy Buffett
Jimmy Buffett (Hot Water, 1988)
with Ray Charles
Ray Charles (Genius & Soul: The 50th Anniversary Collection, 1997) |
268_4 | with Keith Christmas
Keith Christmas (Stories from the Human Zoo, 1976)
with Eric Clapton
Eric Clapton (Money and Cigarettes, 1983)
Eric Clapton (Behind the Sun, 1985)
Eric Clapton (Crossroads, 1988)
Eric Clapton (Clapton Chronicles: Best of 1981-1999, 1999)
Eric Clapton (Money & Cigarettes, 2000)
Eric Clapton (Best Of Eric Clapton [Import Bonus Tracks], 2000)
Eric Clapton (Unplugged/Clapton Chronicles, 2001)
with Doug Clifford
Doug Clifford (Cosmo, 1972)
with Rita Coolidge
Rita Coolidge (Rita Coolidge, 1971)
with Don Covay
Don Covay (Mercy, Mercy/Seesaw, 2000)
with Crosby Stills Nash & Young
Crosby Stills Nash & Young (Looking Forward, 1999)
with Steve Cropper
Steve Cropper (Playing my Thang, 1980)
with Delaney & Bonnie
Delaney & Bonnie (Home, 1969)
with Bob Dylan
Bob Dylan (Shot of Love, 1981)
Bob Dylan (Bob Dylan 30th Anniversary Concert, 1993)
with Jesse Ed Davis
Jesse Ed Davis (Ululu, 1972)
with Willie Dixon
Willie Dixon (The Chess Box, 1990) |
268_5 | with Tinsley Ellis
Tinsley Ellis (Fire It Up, 1997)
with The Emotions
The Emotions (Sunshine, 1978)
The Emotions (So I Can Love You, 1970)
with Yvonne Elliman
Yvonne Elliman (Best Of Yvonne Elliman, 1997)
with Eddie Floyd
Eddie Floyd (Knock on Wood, 1967)
Eddie Floyd (Rare Stamps, 1969)
Eddie Floyd (Soul Street, 1974)
with Peter Frampton
Peter Frampton (Where I Should Be, 1979)
with John Fogerty
John Fogerty (Blue Moon Swamp, 1997)
John Fogerty (Blue Moon Swamp, 2004)
with Carol Grimes
Carol Grimes (Carol Grimes, 1976)
with Isaac Hayes
Isaac Hayes (Presenting Isaac Hayes, 1967)
with Ronnie Hawkins
Ronnie Hawkins (The Hawk, 1971)
with Ruby Johnson
Ruby Johnson (I'll Run Your Heart Away, 1993) |
268_6 | with Albert King
Albert King (Born Under a Bad Sign, 1967)
Albert King (Years Gone By, 1969)
Albert King (King of the Blues Guitar, 1969)
Albert King (Blues for Elvis - King Does the King's Things, 1970)
Albert King (Lovejoy, 1971)
Albert King (The Pinch or The Blues Don't Change, 1977)
Albert King (Best of Albert King Vol 1, 1986)
Albert King (The Best of Albert King, Vol 1, 1991)
Albert King (The Ultimate Collection, 1993)
Albert King (The Blues Don't Change, 1996)
Albert King (The Very Best of Albert King, 1999)
Albert King (Born Under a Bad Sign, 2002)
with Freddie King
Freddie King (Getting Ready, 1971)
Freddie King (Texas Cannonball, 1972)
Freddy King (Hide Away: The Best of Freddy King)
Freddie King (Getting Ready, 1996)
Freddie King (Ultimate Collection, 2001)
Freddie King (Texas Cannonball, 2002)
with Richie Havens
Richie Havens (End of the Beginning, 1976)
Richie Havens (Dreaming As One: The A&M Years, 2004) |
268_7 | with Levon Helm
Levon Helm (Levon Helm & The RCO All Stars, 1977)
Levon Helm (Levon Helm & The RCO All-Stars, 1996)
with Herbie Mann
Herbie Mann (Push Push, 1971)
with Chris Hillman
Chris Hillman (Slippin' Away, 1976)
with Jerry Lee Lewis
Jerry Lee Lewis (All Killer, No Filler: The Anthology, 1993)
Jerry Lee Lewis (Mercury Smashes... and Rockin' Sessions, 2000)
Jerry Lee Lewis (Southern Roots: Boogie Woogie Country Man, 2004)
with The Manhattan Transfer
The Manhattan Transfer (Pastiche, 1976)
The Manhattan Transfer (Pastiche, 1978)
The Manhattan Transfer (Pastiche, 1994)
with Mel & Tim
Mel & Tim (Starting All Over Again, 1972)
with Stevie Nicks
Stevie Nicks (Bella Donna, 1981)
Stevie Nicks (Timespace: The Best of Stevie Nicks, 1991)
Stevie Nicks (Enchanted: The Works of Stevie Nicks, 1998)
with Don Nix
Don Nix (Living by the Days, 1971) |
268_8 | with Tom Petty & The Heartbreakers
Tom Petty & The Heartbreakers (Damn the Torpedoes, 1979)
Tom Petty & The Heartbreakers (Hard Promises, 1981)
Tom Petty & The Heartbreakers (Playback, 1995)
Tom Petty & The Heartbreakers (Anthology: Through the Years, 2000)
with Wilson Pickett
Wilson Pickett (In the Midnight Hour, 1965)
Wilson Pickett (The Exciting Wilson Pickett, 1966)
Wilson Pickett (Wilson Pickett's Greatest Hits, 1985)
Wilson Pickett (A Man and a Half: The Best of Wilson Pickett, 1992)
Wilson Pickett (In the Midnight Hour, 1993)
with David Porter
David Porter (Victim of the Joke?: An Opera, 1971)
David Porter (Victim of the Joke?, 1995)
with Elvis Presley
Elvis Presley (Raised On Rock/For Ol' Times Sake, 1973)
with John Prine
John Prine (Common Sense, 1975)
John Prine (Prime Prine, 1976)
John Prine (Great Days: The John Prine Anthology, 1993) |
268_9 | with Otis Redding
Otis Redding (Pain In My Heart, 1964)
Otis Redding (The Great Otis Redding Sings Soul Ballads, 1965)
Otis Redding (Otis Blue/Otis Redding Sings Soul, 1966)
Otis Redding (The Soul Album, 1966)
Otis Redding (Live in Europe, 1967)
Otis Redding & Carla Thomas (King & Queen, 1967)
Otis Redding (Dock of the Bay, 1968)
Otis Redding (The Immortal Otis Redding, 1968)
Otis Redding (Love Man, 1969)
Otis Redding (Tell the Truth, 1970)
Otis Redding (Otis! The Definitive Otis Redding, 1993)
Otis Redding (Otis Redding Sings Soul, 1993)
Otis Redding (Dreams to Remember: The Otis Redding Anthology, 1998)
with Bruce Roberts
Bruce Roberts (Bruce Roberts, 1978)
with Leon Russell
Leon Russell (Will o' The Wisp, 1975)
Leon Russell (Best Of Leon Russell, 1976)
Leon Russell (Retrospective, 1997)
with Mitch Ryder
Mitch Ryder (The Detroit Memphis Experiment, 1969)
with Sam & Dave
Sam & Dave (Back at 'Cha!, 1976)
Sam & Dave (The Very Best Of Same & Dave, 1995) |
268_10 | with Leo Sayer
Leo Sayer (Here, 1979)
Leo Sayer (Here, 2003)
with Boz Scaggs
Boz Scaggs (My Time: The Anthology 1969–1997, 1997)
with Mavis Staples
Mavis Staples (Mavis Staples, 1969)
Mavis Staples (Only for the Lonely, 1970)
with The Staples Singers
The Staples Singers (Soul Folk in Action, 1968)
The Staple Singers (This Time Around, 1981)
with Rod Stewart
Rod Stewart (Atlantic Crossing, 1975)
Rod Stewart (A Night on the Town, 1976)
with The Soul Children
The Soul Children (Soul Children/Best Of Two Worlds, 1995)
The Soul Children (Genesis/Friction, 1999)
with Billy Swan
Billy Swan (You're OK, I'm OK, 1978)
with Tavares
Tavares (Best of Tavares, 1996)
with Johnnie Taylor
Johnnie Taylor (Who's Making Love, 1968)
Johnnie Taylor (The Johnnie Taylor Philosophy Continues, 1969)
Johnnie Taylor (Who's Making Love, 1991)
Johnnie Taylor (Lifetime, 2000) |
268_11 | with Carla Thomas
Carla Thomas (Hidden Gems, 1991)
Carla Thomas (Gee Whiz: The Best Of Carla Thomas, 1994)
Carla Thomas (Love Means Carla Thomas/Memphis Queen, 1997)
with Mickey Thomas
Mickey Thomas (As Long As You Love Me, 1976)
Mickey Thomas (As long as you love me, 1977)
with Rufus Thomas
Rufus Thomas (Can't Get Away From This Dog, 1992)
with Muddy Waters
Muddy Waters (Fathers and Sons, 1969)
Muddy Waters (Muddy & The Wolf, 1974)
Muddy Waters (Chess Box, 1990)
Muddy Waters (Goodbye Newport Blues, 1995)
with Tony Joe White
Tony Joe White (Lake Placid Blues, 1995)
with Bill Withers
Bill Withers (Just as I Am, 1971)
Bill Withers (The Best Of Bill Withers, 1994)
Bill Withers (Lean on Me: The Best of Bill Withers, 2000)
with Neil Young
Neil Young (Silver & Gold, 2000)
Neil Young (Road Rock Vol 1: Friends & Relatives, 2000)
Neil Young (Are You Passionate?, 2002) |
268_12 | Various artist compilations
Guitar Showdown at the Dusk 'Til Dawn Blues Festival, 1966
Various Artists (Monterrey International Pop Festival, 1967)
Various Artists (Soul Christmas, 1968)
Various Artists (Atlantic Blues, 1986)
Soundtrack (The Great Outdoors, 1988)
Soundtrack (Roadhouse, 1989)
Legends Of Guitar (Electric Blues Vol.1, 1990)
Various Artists (Atlantic Rhythm & Blues 1947-1974, 1991)
Various Artists (Blues Masters Vol 1: Urban Blues, 1992)
Various Artists (Stax/Volt Review, Vol 3: Live In Europe - Hit The Road Stax, 1992)
Blues Masters Sampler (1993)
Various Artists (The Complete Stax-Volt Soul Singles Vol 2: 1968-1971, 1993)
The Original Soul Christmas (1994)
Various Artists (Texas Music, Vol 1: Postwar Blues Combos, 1994)
Various Artists (Blues Masters Vol 1-5, 1995)
Various Artists (Jingle Bell Jam: Jazz Christmas Classics, 1995)
Various Artists (Original Soul Christmas, 1995)
Various Artists (Mean Old World: The Blues from 1940 to 1994, 1996) |
268_13 | Soundtrack (Vampires, 1998)
Soundtrack (Martin Scorsese Presents the Blues: A Musical Journey, 2003)
Various Artists (Soul Comes Home: Celebration of Stax Records, 2004) |
268_14 | References
Dunn, Donald |
269_0 | {{hatnote|1=Not to be confused with a stationary point where {{math|1=f(x) = 0}}, or with fixed-point arithmetic, a form of limited-precision arithmetic in computing.}}
In mathematics, a fixed point (sometimes shortened to fixpoint, also known as an invariant point) of a function is an element that is mapped to itself by the function. That is, is a fixed point of a function if belongs to both the domain and the codomain of , and .
For example, if is defined on the real numbers by
then 2 is a fixed point of , because .
Not all functions have fixed points: for example, , has no fixed points, since is never equal to for any real number. In graphical terms, a fixed point means the point is on the line , or in other words the graph of has a point in common with that line. |
269_1 | Points that come back to the same value after a finite number of iterations of the function are called periodic points. A fixed point is a periodic point with period equal to one. In projective geometry, a fixed point of a projectivity has been called a double point.G. B. Halsted (1906) Synthetic Projective Geometry, page 27
In Galois theory, the set of the fixed points of a set of field automorphisms is a field called the fixed field of the set of automorphisms.
Attracting fixed points
An attracting fixed point of a function f is a fixed point x0 of f such that for any value of x in the domain that is close enough to x0, the iterated function sequence
converges to x0. An expression of prerequisites and proof of the existence of such a solution is given by the Banach fixed-point theorem. |
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