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The Staurostichus flies were very fast on this day and this one stopped to rest on a Scholtzia involucrata flower. I guess it being 30+C helped speed them up. Any hotter than 32C and they don't fly.
Photo: Jean
~ 10mm
ID: Xuankun Li
The fruit, which looks like a plum, with a greenish tart pulp and a recognizable aroma - this is blackthorn. What is it good for and can it be dangerous to your health?
If we have never seen a blackthorn or tried its fruit, we are familiar with the plant from childhood. In "Uncle Remus Tales" by Joel Harris, Brother Rabbit shows us an example of reverse psychology and asks Brother Fox not to throw him into a blackthorn bush. He falls for the bait of the big-eared manipulator and throws him. That's what Rabbit needs - he hides among the sharp thorns and laughs mockingly. But today we will talk not about fairy tales or manipulators, but about the blackthorn itself. After all, it certainly deserves it.
So, blackthorn is a bush or a small tree with thorny branches, it blooms beautifully and is often used for decorative purposes. In autumn, it is covered with round fruits with a black-blue waxy coating on the skin and green pulp, in which the stone sits tightly. The taste is tart, sourish, and in order for the taste to “open up”, it is better to leave the fruits on the branches until frost. Blackthorn grows in Asia Minor, Western Europe, the Mediterranean, the European part of Russia, the Caucasus and Western Siberia.
Raw blackthorn is rarely eaten. But it is quite suitable for jams, compotes, liqueurs and pastilles. It can also be added to pie filling and used in sauces.
Blackthorn contains a lot of vitamins B, C, E, potassium, magnesium, sodium, phosphorus and calcium. The fruits also contain organic acids, tannins, fiber (including pectin), flavonoids, catechins and antioxidants.
First of all, blackthorn is famous for its benefits for the gastrointestinal tract - it stimulates digestion, improves intestinal peristalsis, fights constipation and helps reduce gas formation.
Also, due to the high content of vitamin C, blackthorn is useful for the immune system. In addition to supporting the body's defenses, vitamin C helps to better absorb iron, strengthen blood vessels and stimulate collagen production. B vitamins are necessary for many processes in the body, but they play the greatest role in the functioning of the nervous system. Potassium and magnesium contained in blackthorn have a beneficial effect on the functioning of the cardiovascular system, working to prevent atherosclerosis, heart attacks and strokes. Potassium also helps to remove excess fluid, relieve swelling and reduce blood pressure.
It has been proven that eating blackthorn helps to reduce cholesterol in the blood, normalize the functioning of the kidneys and liver, and blackthorn fruits also have an antibacterial effect. In folk medicine, not only the fruits are used, but also the leaves and even flowers of blackthorn. All benefits and no harm? Unfortunately, it's not that simple.
Blackthorn is contraindicated for people suffering from gastrointestinal diseases. If you have a stomach or duodenal ulcer, gastritis, pancreatitis, colitis, irritable bowel syndrome, or just a tendency to diarrhea, you shouldn't eat it. And a healthy person shouldn't get carried away either - due to the abundance of fiber, it will be very easy to get diarrhea.
Blackthorn fruits contain a lot of acids that can damage tooth enamel. Because of the acids, people with inflammatory gum diseases should not eat blackthorn either. In addition, blackthorn can cause allergic reactions. And also, when eating fresh blackthorn, do not try to eat the seeds - they contain the poisonous glycoside amygdalin. It can cause severe poisoning.
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Терн: чем полезен и кому нельзя.
Плоды, внешне напоминающие сливу, с зеленоватой терпкой мякотью и узнаваемым ароматом - это терн. Чем он полезен и может ли быть опасен для здоровья?
Если мы никогда не видели терновник и не пробовали плодов, с растением мы заочно знакомы с детства. В «Сказках дядюшки Римуса» Джоэля Харриса Братец Кролик показывает нам пример обратной психологии и просит Братца Лиса не бросать его в терновый куст. Тот попадается на удочку ушастого манипулятора и бросает. Кролику того и надо — прячется среди острых колючек и издевательски хохочет. Но речь сегодня пойдет не о сказках и не о манипуляторах, а о самом терне. Ведь он этого, бесспорно, достоин.
Итак, терн представляет собой кустарник или небольшое дерево с колючими ветками, цветет красиво и часто используется в декоративных целях. Осенью покрывается округлыми плодами с черно-синим восковым налетом на кожуре и зеленой мякотью, в которой плотно сидит косточка. Вкус терпкий, кисловатый, а чтобы вкус «раскрылся» плоды лучше оставить на ветках до заморозков. Растет терновник в Малой Азии, Западной Европе, Средиземноморье, европейской части России, на Кавказе и в Западной Сибири.
Сырым терн едят редко. А вот на варенья, компоты, настойки и пастилу он вполне годится. Также его можно добавлять в начинку для пирогов и использовать в соусах.
В терне много витаминов группы В, С, Е, калия, магния, натрия, фосфора и кальция. Также плоды содержат органические кислоты, дубильные вещества, клетчатку (в том числе пектин), флавоноиды, кахетины и антиоксиданты.
В первую очередь терн славится своей пользой для желудочно-кишечного тракта — он стимулирует пищеварение, улучшает перистальтику кишечника, борется с запорами и помогает снизить газообразование.
Также за счет высокого содержания витамина С терн полезен для иммунитета. Кроме поддержки защитных свойств организма, витамин С помогает лучшему усвоению железа, укреплению сосудов и стимуляции выработки коллагена. Витамины группы В необходимы для многих процессов в организме, но наибольшую роль они играют в работе нервной системы. Содержащиеся в терне калий и магний благотворно влияют на работу сердечно-сосудистой системы, работая на профилактику атеросклероза, инфарктов и инсультов. Калий также способствует выводу лишней жидкости, снятию отеков и снижению давления.
Доказано, что употребление терна помогает уменьшению холестерина в крови, нормализации работы почек и печени, а еще плоды терна обладают антибактериальным действием. В народной медицине используют не только плоды, но и листья и даже цветки терна. Сплошная польза и ноль вреда? К сожалению, все не так просто.
Терн противопоказан людям, страдающим заболеваниями ЖКТ. При язве желудка или двенадцатиперстной кишки, гастрите, панкреатите, колите, синдроме раздраженного кишечника и просто склонности к диарее есть его не стоит. Да и здоровому человеку не стоит увлекаться — из-за обилия клетчатки получить понос будет очень просто.
В плодах терна много кислот, которые могут повредить зубную эмаль. Из-за кислот не стоит есть терн и людям с воспалительными заболеваниями десен. Кроме того, терн может вызывать аллергические реакции. А еще, поедая свежий терн, не покушайтесь на косточки — в них содержится ядовитый гликозид амигдалин. Он способен вызвать тяжелое отравление.
(from - Wrigley's 1918 British Columbia directory) - ROBINS RANGE - a post office and settlement east of Kamloops, in Kamloops Provincial Electoral District, reached by stage from Ducks, distance 10 miles, which is the nearest C. P. Railway station. Nearest telegraph office is at Ducks. Has Anglican church. Population, about 100. Local resources: Farming.
Article from - BRITISH COLUMBIA P0STAL HISTORY RESEARCH GR0UP / Volume 16 - Number 3 - Whole number 63 - April 2007 - Another post office related to the Duck family was Robins Range that was established in 1915 and was located five miles west of the Duck Range post office. The Robbins and Duck families came from North Weymouth, Massachusetts and established ranches south-east of Kamloops. The Robins Range (later Robbins Range) post office was authorized under postal order # 914 dated 17 July, 1915 and the post office opened 26 August although official records show it as opening September 1, 1915. The original Robins Range hammer was proofed - JUL 26 / 1915 and the new Robbins Range hammer - MY 23 /1928. Robbins Range post office closed - July 5 1948. Link to the complete article - www.bnaps.org/hhl/newsletters/bcr/bcr-2007-09-v016n03-w06...
LINK to a list of the Postmasters who served at the ROBINS RANGE / ROBBINS RANGE Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
Richard C. Bennett was the Postmaster at the ROBINS RANGE / ROBBINS RANGE Post Office and served from - 4 September 1923 to - 16 June 1945.
Richard Cobden Bennett
(b. 20 May 1888 in Ireland - d. 16 December 1977 (aged 89) in
Kamloops, Thompson-Nicola Regional District, British Columbia, Canada) - Farmer & Postmaster at ROBBINS RANGE, B.C. - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/9a...
LINK to their 1921 census report (lines 12 to 15) - central.bac-lac.gc.ca/.item/?app=Census1921&op=img&am...
His wife - Elizabeth Olive (nee Stenning) Bennett
(b. 8 March 1882 in England - d. 20 May 1980 (aged 98) in
Kamloops, Thompson-Nicola Regional District, British Columbia, Canada) - LINK to her death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/d3...
His son - Gordon Bennett
(b. 7 April 1923 in Kamloops, Thompson-Nicola Regional District, British Columbia, Canada - d. 8 August 1940 (aged 17) in Kamloops, Thompson-Nicola Regional District, British Columbia, Canada) - born & died in Robbins Range, a rural area 43 Kilometers east of Kamloops, BC.
Clipped from - The Vancouver Sun newspaper - Vancouver, British Columbia, Canada - 9 August 1940 - KAMLOOPS, B. C. Gordon Bennett, 17, son of Richard C. Bennett, postmaster at nearby Robbins Range, was killed Thursday when his horse fell on him.
- sent from - / ROBINS RANGE / JUN 18 / 24 / B.C. / - split ring cancel - this split ring hammer (A1-1) was proofed - 26 July 1915 - (RF D).
- from 1908 "Lovell's Gazetteer of the Dominion of Canada" - MONTE CREEK (DUCKS), a ranching settlement in Yale District, B.C., on the South Thompson River, a station (Ducks), on the C.P.R., 8 miles east of Kamloops. It has 1 general store, post, express and telegraph offices. There is good hunting and fishing in the vicinity, and considerable farming and ranching. The population in 1908 was 100.
(from 1918 - Wrigley's British Columbia directory) - DUCKS - a station on C. P. R. main line, no agent, near Kamloops, in Kamloops Provincial Electoral District. Business centre is Kamloops, while Monte Creek, distant 1/8 mile is the post office.
(from 1918 - Wrigley's British Columbia directory) - MONTE CREEK - a post office and ranching settlement 1/8 mile from Ducks on the C. P. R. main line, 18 miles east of Kamloops, in Kamloops Provincial Electoral District, on Monte Creek, which runs into the South Thompson River at Ducks. Has Anglican services. Local resources: Ranching. Note - Monte Creek is the post office and Ducks the C. P. R. station name.
The Duck & Pringles post office was established on the Duck Ranch, owned by Jacob Duck - The Colonial post office opened there on June 13, 1870 - On September 1896, the name of the post office was changed to Monte Creek with William Plumm as postmaster. The Monte Creek post office became a Postal Outlet in 1991 and the Postal Outlet closed on January 30, 2004.
sent via - / MONTE • CREEK / JUN 18 / 24 / B. C / - split ring cancel - this split ring hammer is not listed in the proof book - it was most likely proofed c. 1896. A new split ring hammer was proofed - 9 September 1926.
- arrived at - / KAMLOOPS / JUN 18 / 1924 / B.C. / HELP / PREVENT / FOREST FIRES / - slogan cancel
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Water Card was addressed to: Division Engineer / Dominion Water Power Branch / Box 429 / Kamloops, B.C.
Water card observation card signed on the back by the observer William Tinney. He did water height observations on Robbins Creek, B.C..
William Tinney, of Robins Range, Ducks, B.C., rancher, intends to apply for permission to purchase the lands situate in the vicinity of the 150-Mile House - (Dated October 5th, 1922).
William Tinney
(b. 22 June 1891 in Saint Johnston, County Donegal, Ireland - d. 8 January 1966 (aged 74) in Calgary, Alberta, Canada)
William Tinney--January 8th, 1966, William aged 74 years beloved husband of Mrs. Sarah Tinney, 221 17th Ave. S.W. Born in Ireland he came to Canada in 1911 and lived in Salmon Arm and Vancouver before coming to Calgary fifteen years ago. He served in the Canadian Army in both World Wars and was a member of the Royal Canadian Legion No. 1 Branch, Calgary. LINK to his - Personnel Records from the First World War - www.bac-lac.gc.ca/eng/discover/military-heritage/first-wo...
His wife - Sarah (nee McLaughlin) Tinney
(b. 1892 in Coleraine, Northern Ireland - d. 23 April 1974 at age 83 in Calgary, Alberta)
Daughter - Kathleen Theresea "Kay" (nee Tinney) Van Bavel
(b. 1911 in Ireland - d. 1998 in Wheatland, Alberta) she married John Adrian Van Bavel (b. 1899 in Belgium - d. 1968 in Alberta) in 1930.
Daughter - Marie (nee Tinney) Parentau
Son - Hugh B. Tinney (b. 1920 - d. 2010)
I'm a history buff of the Civil War, so naturally when I visit D.C., one of the things on my list is to visit the statue of one of the Civil War's greatest commanders, General George Henry Thomas.
General Thomas did not lose, but he also did not market himself. Unlike Julius Caesar or Ulysses Grant, he did not write a book about his conquests. Thomas unfortunately thought to do so was cheapening himself and his accomplishments. Unlike Grant, this soldier and commander wanted to stay out of the mess of politics at the top echelons where military meets Washington to advocate what was needed. Someone had to do it, someone like his colleague Grant, but this soldier's soldier felt those skills were not his strengths.
He followed his heart despite his tribe telling him not to. Even though he was a slave owner before the war, he evolved. He fought for emancipation during the war. And as a result of leading black soldiers, who were former slaves, he changed yet again. He became a strong advocate of civil rights after the war.
It came at a hefty price. As a result of his support of the United States against the Confederacy, Thomas lost his Southern family and ties. They never spoke with him again.
One of the principal commanders in the Western Theater, Thomas had the rare background of having led three combat arms—infantry, cavalry, and artillery. That broad experience served him well during the Civil War. When he was in command, this once West Point star and educator was like an unmovable rock, who did not lose. Confederate generals just could not outwit the thorough general, despite following his playbook. Best buddies since college, General Sherman loved him. Yes, Grant and Sherman criticized Thomas for being slow and deliberate. But he was their go-to guy, their backbone, especially when in trouble, such as at the most critical junction of the war. Sherman and Grant would turn to Thomas. His stellar strategizing and operational control would end up annihilating his opponents in Franklin and Nashville, Tennessee in a complete rout on a scale that had not been seen before in the Civil War. His victory would be the end of all large-scale battles west of the Blue Ridge Mountains.
Despite his faded star in the 20th Century, Virginia's George Henry Thomas is arguably among the top three generals of the Civil War. Had native Virginian Thomas fought against fellow Virginian Robert E. Lee, I suspect Thomas would have emerged the victor. After becoming U.S. President, Ulysses Grant called Thomas, "one of the greatest heroes of our war.” Thomas also appeared on the $5 U.S. note around the end of the century.
There is a reason why he has faded away. Confederates hated and shunned him while Northerners were erroneously suspicious of this southerner's loyalty to the United States. Had his roots been from Ohio or New York, I suspect he would have been better venerated. After the war, as Southerners spun the Confederacy in a positive light, Thomas pointed out the nonsense of the lost cause myth. He said in 1868:
"[T]he greatest efforts made by the defeated insurgents since the close of the war have been to promulgate the idea that the cause of liberty, justice, humanity, equality, and all the calendar of the virtues of freedom, suffered violence and wrong when the effort for southern independence failed. This is, of course, intended as a species of political cant, whereby the crime of treason might be covered with a counterfeit varnish of patriotism, so that the precipitators of the rebellion might go down in history hand in hand with the defenders of the government, thus wiping out with their own hands their own stains; a species of self-forgiveness amazing in its effrontery, when it is considered that life and property—justly forfeited by the laws of the country, of war, and of nations, through the magnanimity of the government and people—was not exacted from them."
A statue of U.S. General George Henry Thomas on Thomas Circle at the center of Washington, D.C. helps us remember one of our greatest generals.
One historical link:
www.ferris.edu/news/jimcrow/links/chicken/
History: en.m.wikipedia.org/wiki/Coon_Chicken_Inn
Coon Chicken Inn was an American chain of four restaurants founded by Maxon Lester Graham and Adelaide Burt in 1925,[1] which prospered until the late 1950s. The restaurant chain was popular in their day. The restaurant's name (which uses an ethnic slur), trademarks, and entrances of the restaurants were designed to look like a smiling blackface caricature of an African-American porter. The smiling capped porter head also appeared on menus, dishes, and promotional items. Due to change in popular culture and the general consideration of being culturally and racially offensive, the chain has since been discontinued and is now defunct.
The first Coon Chicken Inn was opened in suburban Salt Lake City, Utah in 1925. In 1929, another restaurant was opened in then-suburban Lake City near Seattle, Washington,[2] and a third was opened in the Hollywood District of Portland, Oregon, in 1931. A fourth location was advertised but never opened in Spokane, Washington. Later, a cabaret, orchestra, and catering were added to the Seattle and Salt Lake restaurants.[3]
An advertisement for the restaurant is shown in the 2004 mockumentary C.S.A.: The Confederate States of America where it is depicted as being successful in a fictional timeline where the Confederacy defeats and annexes the United States in 1864 with the help of the United Kingdom and France.
A Coon Chicken Inn advertisement also appears in Ghost World, a 2001 American comedy-drama film directed by Terry Zwigoff.
Restaurant chain located in the Pacific Northwest from the late 1920s through the late 1940s. The chain was famous for its ubiquitous ‘Coon’ logo, a caricatured African-American male rooted in 19th century minstrel theatre and early 20th century advertising. The most prominent manifestation of the Coon caricature was the 12-foot high ‘Coon head’ that served as the entrance to each restaurant location.
Maxon Lester Graham and his wife Adelaide founded the Coon Chicken Inn in Salt Lake City, Utah in 1925. The early success of this location prompted the opening of two additional chains in Portland, Oregon and Seattle, Washington in the early 1930s. The patrons and employees of the Coon Chicken Inn chains were predominantly white, though African-Americans were hired to work in the kitchen of the Salt Lake City branch.
Graham adopted the Coon caricature and created the ‘Coon head’ as a gimmick to attract customers in the emerging age of roadside restaurants, novelty architecture, and automobile convenience. Graham additionally promoted the chain through the distribution of postcards, newspaper advertisements, matchboxes, children’s fans, spare tire covers, and delivery cars, all of which prominently featured the Coon Chicken Inn logo. The Coon logo saturated the restaurants’ interiors as well. Plates, forks, menus, and placemats featured the caricature, as did menu items such as the ‘Baby Coon Special’ and the ‘Coon Fried Steak.’
African Americans opposed this blatant display of racial hostility. In 1930, the Seattle branch of the National Association for the Advancement for Colored People (NAACP) and Seattle’s African American newspaper The Northwest Enterprise protested the opening of the local Coon Chicken Inn by threatening Graham with a lawsuit for libel and defamation of race. In response, Graham agreed to change the style of advertising by removing the word ‘Coon’ from the restaurant’s delivery car, repainting the ‘Coon head’ entrance to the restaurant, and canceling an order of 1,000 automobile tire covers. This small stride, however, was not enough to fully erase the image of the caricature from Seattle. Graham violated his agreement with the NAACP but managed to evade the lawsuit by changing the color of the Coon logo from black to blue.
Graham closed the Seattle and Portland locations in 1949. The Coon Chicken Inn restaurant in Salt Lake City, however, remained open until 1957. It is remembered today in films such as Ghost World and The Confederate States of America; relics of the Coon Chicken Inn are generally regarded as Black Memorabilia collectables.
Sources:
depts.washington.edu/civilr/coon_chicken.htm; www.ferris.edu/jimcrow/links/chicken/; Williams-Forson,Psyche A.Building Houses out of Chicken Legs: Black Women, Food, and Power (Chapel Hill: University of North Carolina Press, 2006)
- See more at: www.blackpast.org/aaw/coon-chicken-inn#sthash.QwiXVuo2.dpuf
In the early 1930s, Joseph Staton, an employee of The Northwest Enterprise, a prominent African-American newspaper in Seattle, was arrested and booked in jail for vandalizing an automobile parked on the corner of 3rd and Yesler in Pioneer Square. In court a few days later, the judge requested to see a section of a spare tire cover that Staton had removed. When the court attendants brought it out, the judge laughed and remarked, “Well, I’ll just fine you three dollars and you go on home.”[1]
The image that Staton removed from the spare tire cover featured the logo of the Coon Chicken Inn, a fried chicken restaurant chain in the Northwest whose logo featured a ‘Coon’, or a racist caricature of an African-American male popular in 19th century minstrel theatre and early 20th century advertising. The Coon Chicken Inn’s ‘Coon’ wore a Porter’s uniform; its face featured a winking left eye and enlarged red lips forever gaping to expose the words ‘Coon Chicken Inn’ etched on the top row of its shining white teeth.
To fully comprehend the significance of the CCI logo, it is important to step back and examine the history of the ‘Coon’ caricature itself. The term coon emerged in early America as a shortening of raccoon and, according to the Oxford English Dictionary, soon became synonymous with “a sly, knowing fellow,” and, subsequently, “a Negro.”[2] Though originally associated with white ‘backcountry folk’, the shift in the use of coon from an expression describing a country rube to a derogatory term for an African-American is connected to the introduction and instant success of the 19th century minstrel show character Zip Coon.[3]
Though not the first blackface character in the minstrel tradition, according to cultural critic John Strausbaugh, Zip Coon became the first popular minstrel personality to represent the “black urban dandy… a ‘negar’ who ‘acts white.”[4]. For whites who feared job competition once slavery ended, the Zip character served as a symbol of “the terror that lower-class whites had of being left at the bottom if ‘niggars’ like Zip got too uppity.”[5]. On stage, Zip Coon would act like a braggart and a fool, eliciting laughter and fascination while reinforcing white supremacy and hostility toward African-Americans.
In the late 19th century, the Coon caricature was revised to fit the predilections of post-Civil War whites who, according to historian Kenneth Goings, were not prepared to “handle the status of African-Americans as free and technically equal.”[6] The Coon caricature became a way for both northerners and southerners to relive a nostalgic memory of the Old South, one where black slaves were cared for by benevolent white masters and in which African-American males loved to sing, dance, and steal chickens. The origin of this chicken-thieving stereotype is unclear, but is likely rooted in 18th and 19th century narratives and images and in the fact that slaves often did steal chickens and livestock from masters as a form of protest or to augment their meager food rations.[7][8] After emancipation, the inclusion of such stereotypes and caricatures of African-Americans in collectibles and advertising became an effective way for whites to reinforce the myth of the Old South in the collective national memory.
The representation of blacks as servile dependents flourished in American advertising and in the ‘trinket market’ of the late 19th and early 20th centuries. Aunt Jemima, the character behind the ready-made pancake, was sold to a receptive American market in 1889 and with her came a proliferation of advertisements and collectables featuring the Mammy, the simple, ever-faithful slave woman who cooked, supervised other house slaves, watched the children, and completed countless additional tasks. ‘Uncle Tom’, originally a character in Harriet Beecher Stowe’s novel, Uncle Tom’s Cabin, became another popular stereotype who, like Mammy, submissively and contentedly served the ‘massa’. Sambo, Jim Crow, Pickaninny, and Jezebel are further examples of black stereotypes used to sell anything from soap to tobacco and who appeared as objects as diverse as rag dolls and salt and pepper shakers. And of course, the Coon remained an ever-popular stereotype prominent throughout the United States. Coon Cards, or minstrel-themed postcards, became an established form of communication with captions like “The Evolution of a Coon,” “Golly, see dem chickens fly! Dey know a nigger’s goin’ by” and “A Home Run with a Chicken in His Pants.”[9] Like the minstrel shows, these cards depicted blacks with “exaggerated and animal-like features … thick lips, kinky hair, flat noses, big ears, and big feet.”[10]
The fact that the Coon Chicken Inn opened its doors one hundred years after Zip Coon first danced across the stage to the delight of white working-class audiences serves not only as a testament to the power of the Coon image, but also to enduring racial tensions in the Pacific Northwest in the early 20th century. The restaurant was founded in Utah in 1925 by Maxon Lester Graham. According to a brief historical account written by Graham’s grandson and published on the website of Ferris State University’s Jim Crow Museum of Racist Memorabilia, Lester Graham and his wife Adelaide got into the fried chicken business after spending many Sundays driving to a small town south of Salt Lake City to eat at a restaurant that served “excellent chicken.” Deciding that fried chicken would do well in suburbia, they built a small restaurant in the Salt Lake suburb of Sugar House. The business immediately gained popularity. However, in July of 1927, the restaurant caught fire and burnt to the ground. In a large publicity stunt, Graham rebuilt the Coon Chicken Inn in 10 days. Four years later, two additional roadside Coon Chicken Inns opened in Portland and Seattle and a fourth branch would eventually open in Spokane, Washington.[11] The massive Coon head served as the entryway to all four of the restaurants. The chain flourished for nearly two decades until Graham closed the branches in the late 1940s. Though Graham never revealed what inspired him to use the Coon caricature as the gimmick for his fried chicken restaurant, the prevalent stereotype of African-Americans as chicken lovers proved to be identifiable and marketable enough to attract white consumers who saw the image as comedic, not cruel. The name connected African-Americans and their ‘favorite dish,’ implicitly signifying that the chicken was authentic and high quality, even for the ‘Coon’.
In Seattle, the twelve-foot grinning Coon head erected in plain view of the increasingly active Bothell Highway served as a reminder of racial segregation in the city and the surrounding area. The 20th century migration of blacks to the Northwest left many white Seattleites wary of the changing racial landscape of the city. Racial restrictive covenants – housing restrictions that prevented nonwhites from buying or renting homes in most Seattle neighborhoods – took root in the 1920s as a reaction to this black migration. For example, a Lake City covenant covering property near the Bothell Highway from 1930 reads:
“Said lot or lots shall not be sold, conveyed, or rented nor leased, in whole or in part, to any person not of the White race; nor shall any person not of the White race be permitted to occupy any portion of said lot or lots or of any building thereon, except a domestic servant actually employed by a White occupant of such building.”[12]
Consequently, by 1930 the majority of African-Americans were concentrated in the area later known as the Central District—located 8 miles from the Coon Chicken Inn.
Though Lake City remained outside of the Seattle city limits until 1954, the Old Bothell Highway played a role in setting Seattle’s racial landscape from the early 20th century. The area gained township status in 1949 after a flood of families flocked to the suburbs after World War II. Lake City’s development was always dependent on the automobile; in 1911, King County improved the Bothell Highway, an old logging road, by paving it with Warrenite. An unincorporated area of King County easily accessible by automobile, the Old Bothell Highway proved to be a prime location for roadside restaurants. As early as 1919, southern and minstrel-themed fried chicken restaurants were attracting Seattleites who, according to Hattie Graham Horrocks’ guide to Seattle restaurants, “wished to drive out-of-town for the occasional dinner.” My Southern Inn, renown for “frying chicken in the window in plain sight of passersby,” became one of the first, soon followed in 1921 by Bob’s Place and in 1923 by Mammy’s Shack.[13] Though historian John A. Jakle argues that most roadside restaurants facades were “quite utilitarian,” a few, like the CCI, embraced a more fanciful, programmatic architectural design. Like the landmark Brown Derby restaurant in Los Angeles or the Teapot Dome Service Station in Zillah, Washington, programmatic, or novelty architecture aimed to “arrest the attention of the speeding public” by erecting unconventional structures.
Once situated on the Old Bothell Highway, Lester Graham vigorously promoted the new restaurant. On August 31st, 1930, an advertisement for the CCI took up almost a full page in the Seattle Times.[15] Under the heading Coon Chicken Inn Opened in Seattle, the page featured the short columns, “Coon Chicken? Ask Anyone Who Came From South,” which defined ‘coon’ chicken as “the way the fowl is cooked by the real, old-fashioned Mammy;” “Highway Resort is One of Huge National Chain” (though at this time only the Salt Lake location existed); “Inn is Built From Local Materials;" “Utah Folk are Champions of Fried Chicken;” “Telephone Will Bring Chicken to Your Home;” and “Parking Space is Provided at Inn for 500 Autos.” The page also included a large advertisement for the CCI, complete with this description of the restaurant:
“The best fried chicken you ever tasted! That’s a mighty strong statement, but you’ll agree after visiting Seattle’s newest, most unique eating place that it’s a mighty true one. Coon Chicken Inn brings to Seattle and the Northwest a nationally-famous method of cookery, and provides a novel, pleasing restaurant at which you’ll enjoy eating. Good food served in a cheerful atmosphere! A service that will fit in with your every plan—party, after-theatre affair, or the wish for a splendid meal! Throughout America our splendid foods have pleased the most discriminating palates. Coon Chicken Inn is not ‘just another restaurant’—it is an innovation providing a pleasurable change from the ordinary café—a new eating place whose cuisine is considered in a class by itself, head and shoulders above the average.”
The advertisement makes no mention of African Americans, a conspicuous silence considering the restaurants logo and architecture and one that speaks to just how uncontroversial the Coon image was for most Seattleites. Of course, for African Americans, the imagery was enough to announce the North End’s hostility towards blacks and let all races know who was and who was not welcome. A photograph of the newly opened CCI building displayed the gaping-mouthed Coon-head entrance with its large red lips, winking eye, and porter’s hat sitting atop a bald, black head. On August 31st, The Seattle Times provided the publicity the restaurant needed to show off its “uniqueness” to all Seattle—black and white communities alike. Though the edifice of the CCI stood in North Seattle, the image of the Coon manifested itself in places beyond the restrictive covenant lines; it infiltrated areas of Seattle where the Coon image did not resonate with citizens.
Though the black population was predominantly restricted to the Central District area, the CCI paraded its logo on public and portable spaces, inundating African-Americans with the offensive Coon caricature. The Seattle Times ad was just one form of invasive advertising employed by the CCI. Another form manifested itself any time a customer ordered chicken for delivery. Orders were filled by a deliveryman driving the ‘Coon Car’, which brought “piping hot, crisp, delicious” chicken to “any part of the city—and right quickly too.” Plastered with the CCI logo, the ‘Coon Car’ allowed the racist imagery to infiltrate “any part of the city” from “10 o’clock in the morning till 2 o’clock the next.”[16]
But the most racially charged form of advertising lay in the spare tire cover. In the early years of the CCI, Graham ordered more than 1,000 automobile spare tire covers that prominently featured the restaurant’s Coon logo.[17] Consumers placed the covers over the spare tire on the back of their vehicles. In displaying these covers, the consumer advertised the CCI and implicitly claimed an affinity with the blatant racial hostility and fear that the image represented.
Though the CCI advertisements served up a continual reminder of the place of black people in Seattle’s racial landscape, African-Americans did not take this exhibition of racial hostility lying down. Like reactions to other “little nasties,” which historian Quintard Taylor identifies as the casually bigoted behavior that typified racism in Seattle, black Seattleites objected vigorously. During the early years of the CCI, African-Americans protested on both individual and community levels, employing remarkable vigilance and determination to fight back against the grossly offensive Coon image.[18]
Joseph Staton was among those who took individual action against the CCI on a small-scale. In an oral history interview recorded by Ester Mumford in 1975, Staton relayed the story of his arrest in the 1930s for slicing the Coon image out of a CCI spare tire cover. Staton and four friends created what Staton referred to as a “contest”: each friend put in 50 cents and whomever cut the most Coon faces out of tire covers after thirty days would win the pot. W. H. Wilson, the editor of the Northwest Enterprise and Staton’s employer, would lend Staton his automobile for work; one day while borrowing Wilson’s car and driving downtown with his friends, Staton watched one of his friends hop out of the car and cut out the Coon logo on a CCI tire cover as part of the contest. The automobile owner noted the license of Wilson’s car and the police traced the prank back to Joseph Staton, who was subsequently arrested, booked, and fined the three dollars.[19]
In an another act of protest, The NAACP and The Northwest Enterprise teamed up in a two-year battle with Lester Graham over the CCI’s Coon logo. The first sign of the battle appeared in a column posted in the Enterprise on September 18, 1930—not a month after Seattleites were greeted by the picture of the Coon in The Seattle Times. The article, headlined “Citizens Protest Against ‘Coon’ Chicken Inn,” informed the predominantly African-American readership that Clarence R. Anderson, a black attorney, William H. Wilson, the editor of the Northwest Enterprise and president of the Seattle NAACP, and Horace R. Cayton, an NAACP member and long-standing civil rights advocate, collectively filed a complaint against the CCI over its advertising. The three activists demanded that the company change its method of advertising “or be charged with libel and defamation of a race.”[20] Similar to a 1930 lawsuit filed by the Seattle NAACP against the local packaging plant, Fresh Products Inc., whose peanut product, ‘Three Little Niggers’, displayed “three colored children standing in a peanut shell,”[21] the NAACP/NW Enterprise protest against the CCI took shape in an impressive legal framework that boldly challenged the derogatory representation of blacks in advertising. A follow up column in the Enterprise on September 25th claimed victory on the side of the protesters. It stated that Graham agreed to change the style of advertising by removing the word ‘Coon’ from the ‘Coon Car’, repainting the front of the CCI, and canceling an order of the 1,000 automobile tire covers.[22]
It proved a somewhat hollow victory, however. In 1931 The NW Enterprise reported on a protest filed by W. H. Wilson against the CCI for violating its previous agreement to “discontinue the distribution of offensive tire covers.” Despite this, the column did note a success: the repainting of the CCI door logo from black to red.[23] This small stride, however, was not enough to fully erase the image of the Coon from Seattle. Not only did Graham claim the restaurant name to be copyrighted and therefore unchangeable, he managed to evade the lawsuit altogether by merely changing the color of the Coon logo. The final column in the NW Enterprise reads as follows:
“Chicken Inn Dodges Suit with Blue Paint: Threatened with prosecution by the Seattle NAACP who charged them with advertising defamatory to colored people the ‘CCI’ is avoiding the charge by changing the black background of their advertising to blue… Miss Codetis Thiel, assistant prosecutor held the owners of the chicken inn were subject to prosecution if they used a black face labeled ‘coon’ in their advertising. The Company has now dodged prosecution by using a blue color in their advertising and [removing] the word ‘coon’ from the teeth of the man’s mouth”[24]
Although their campaigns were unsuccessful, both Joseph Staton’s ‘contest’ and the NAACP/NW Enterprise’s joint protest against the CCI are impressive demonstrations of black agency in Seattle, and they garnered some support from white authorities. The African-American population, while still only .9 percent of Seattle’s population in 1930 and 1 percent in 1940, established itself as a fighting force for equality in the first half of the century.[25] Nevertheless, regardless of the battles waged by the black community, the racial hostility of whites in Seattle reigned throughout the 1930s, keeping the image of the Coon alive and the CCI in business.
It is interesting to note that the CCI opened its doors in the midst of the Great Depression, yet the restaurant not only endured throughout the Depression’s worst years—it thrived. Whites did not seem to find the Coon logo problematic in the least. Indeed, while overt hostility toward African-Americans was not uncommon, the dominant attitude of white Seattleites toward evidence of racism and campaigns for equality was simply apathy. In this way, the Coon Chicken Inn served as a beacon of white bigotry in the North End and tapped deep into the race and class-consciousness of Seattleites, bringing to light the reality of white and black relations of the day.
On the Old Bothell Highway, the Coon-head gimmick certainly managed to attract the attention of passersby, but the question arises of who actually frequented the restaurant. In looking back at the Seattle Times’ August 1930 advertisement for the recently opened CCI, one wonders whom Lester Graham envisioned as the typical clientele. Roadside-restaurants, according to Jakle, aimed to attract more “affluent customers motoring out for pleasure from cities and towns,” seeking “dining experiences removed from the ordinary.”[26] The Seattle Times advertisement did, as Jakle contends, cater to white middle and upper class customers with “discriminating palate[s]” and enough money to frequent the theatre, host parties (complete with fried chicken), and appreciate a cuisine “in a class by itself.” Its presence in the Seattle Times, a paper with citywide distribution, also suggests Graham was reaching out to many different white neighborhoods in Seattle.[27]
But while the CCI tried to paint itself as a restaurant “head and shoulders above the average,” the real composition of the clientele remains in question. Paul de Barros describes the CCI as a local college hangout where students went to hear live music at Club Cotton, a venue able to accommodate more than 250 people that opened in 1934, located around the corner and down the stairs from the CCI.[28] Hattie Horrock also mentions the CCI as being very popular, especially with young people.[29] At least one group of college students went there: a menu found in a college scrapbook that belonged to a woman who graduated from the University of Washington in 1945 has the words, “Barn Dances, Chicken Dinners, Fun” scribbled on its interior.[30]
Born in February 1930, just months before the CCI opened its doors, Seattle native Jean Stewart recalls growing up a mere three blocks south of the CCI. She describes the restaurant as a “lower class place” and one that would have been “racy” to go to.[31] Stewart grew up in a newly developed neighborhood, her house built in 1928 with her father being the original owner. The neighborhood was upper middle class, even through the Depression years, and Stewart adds that it was “extremely class conscious.” Drawing a very distinct line between Lake City and her own neighborhood, Stewart describes why her family never talked about eating at the CCI if they did go:
“You didn’t go up there. You went to the University District. Pretty racy to go there … we didn’t go there often because it was a lower class place. It was simply people who … you see, we were very class conscious … you never took a step down, particularly with my German grandfather. It was very tight, very uncomfortable living … the pressure of all these small things was just too much. You always had to be proper, trying harder … it was very structured.”[32]
Whether or not Stewart was merely ultra-sensitive to the social strata, her description of the CCI makes one thing abundantly clear: discussing the offensiveness of the Coon logo seemed a low priority when comparing it to white class issues.
This indifference to the racist nature of the CCI in favor of class concerns becomes even more evident when one considers a joint labor protest against the CCI by the Bartenders, Cooks, Waiters, and Waitresses Union (BCWW) and the Musicians Union that took place in March of 1937. The unions picketed the CCI for a week, protesting against the unfair treatment of organized labor and demanding that the CCI be completely unionized. On March 18th, E. B. Fish, the labor counsel for the Seattle Chamber of Commerce labor relations department; Jack Weinberger, the international representative of the BCWW; and Lester Graham signed the standard agreement of the unions.[33] The Times report of the agreement makes no mention of the bigoted logo. A photograph of the protest, published in the Seattle Post Intelligencer with the caption, “Big Crowd, Little Profit,” captures a large crowd of white males standing in front of the giant Coon head. The men are holding picketing signs with the word “Unfair” written in bold while the Coon-head winks in the background, as if covertly communicating that he understands the irony of this photograph.[34]
These demonstrations of apathy and indifference towards the racial dimension of the CCI leave the question of why it seemed to resonate with Seattleites for 20 years. The Coon image appeared on every dish, silverware, menu, matchbox (the image even appeared on the matchsticks), and children ‘fans’ produced for the restaurant. The giant Coon face greeted customers as they entered the restaurant, spat them out when they left, or just gaped with its giant red lips at motorists on the Old Bothell Highway. Inside the restaurant, patrons were welcome to consume the “Southern Fried Coon Chicken”, the “Baby Coon Special” (complete with crisp French fries, hot buttered Parkerhouse Rolls, an olive, and a pickle), or the “Coon Fried Steak.”[35] Down the road, one could visit the Associated Poultry Co., which proudly advertised its role in supplying the CCI (the poultry store was conveniently owned by Graham).[36] Or, one was welcome to frequent Club Cotton and dance next to a Coon cutout while listening to the all-white Johnny Maxon’s Orchestra.[37]
The abundance of Coon-related imagery—from drinking glasses to fried chicken specials to matchsticks—was but another manifestation of the racism that reinforced white supremacy in an increasingly diverse and modernizing city. Although surely the success of The CCI is attributable to more than just the memorable logo, the image was a blatantly visible declaration of bigotry in North Seattle—in its own inimitable way, it echoed the restrictive covenants and other discriminatory measures in the wink of its twinkling black eye. The historical Coon image was revived and, not surprisingly, adapted to fit the needs of the community it served: the Coon of the CCI was both the dandy and the chicken lover, but this particular Coon took on a new characteristic. He was well behaved and content to be servile. This Coon was not stealing chickens or merely lazing about, and although he dressed in nice clothing much like a dandy, the CCI Coon was a waiter through and through. Ironically, no blacks were ever employed at the CCI.[38] This representation of blacks being contented in their place in society reveals the deep-seated fear of upheaval and change that helped fuel the development and popularity of the CCI logo, which in turn reaffirmed the existing racial discrimination and bigotry.
Though the CCI does not appear in newspapers in the 1940s, the restaurant persisted on the Old Bothell Highway until late 1949, when Lester Graham removed the Coon head from public view and closed the restaurant’s doors. But neither Graham nor the CCI disappeared from Seattle completely. In December 1949, the Lake City Citizen featured an advertisement for the newly opened G.I. Joe’s New Country Store, giving its location as the old Coon Chicken Inn building (Lester Graham owned the Country Store).[39] This advertisement demonstrates that even after the CCI closed, the Coon-face remained a landmark for years to come. As there is no evidence that Graham closed the CCI due to protests or objections to the name, logo, or method of advertising, one can only speculate the reason the CCI’s days ended.
The coming of World War II in Seattle brought with it a surge of African-American migration, increasing the black population in Seattle from 3,789 to 15,666, or 413 percent between 1940 and 1950.[40] Finding limited employment opportunities at such companies as Boeing and experiencing blatant acts of discrimination, many African-Americans campaigned for equal employment and desegregation. In 1949, the Fair Employment Practices law was passed and in 1948, racial restrictive covenants were declared no longer enforceable by the United States Supreme Court. Perhaps this change in the racial landscape of Seattle and the nation made hostile images like the Coon increasingly unpopular. Another possibility is that the migration of young white families to Lake City after World War II affected the out-of-town dining experience that early CCI customers seem to have found appealing in the CCI. Perhaps it is a combination of these factors. As the city progressed and expanded, Graham may have found the G.I. Joe’s Country Store to be a more modern and profitable venture than the chicken-restaurant enterprise.
Today the original CCI building is gone. Ying’s Drive Inn, a Chinese restaurant near 18th NE and NE 85th Street, sits on the piece of land where the Coon-head once grinned, where the Baby Coon Special was served, and where the Johnny Maxon Orchestra once played to enthusiastic all-white audiences. Though it is gone, the Coon Chicken Inn should not be forgotten. It offers a window into understanding the racial climate of Seattle during the 1930s and 1940s; the popularity of its caricatured logo helps us make sense of the white hostility and oppression harbored against African-Americans as well as allows us to see how African-Americans reacted defiantly to that oppression. Furthermore, the Coon Chicken Inn is a way to measure the progress Seattle has made over the past sixty years in terms of racial equality—and to envision the progress yet to be made.
Copyright (c) Catherine Roth 2009
HSTAA 498 Fall 2008
[1]MacIntosh, Heather. "Staton, Joseph Isom: An Oral History." HistoryLink. 4 Nov. 2008
[2] Oxford English Dictionary
[3] Strausbaugh, John. Black Like You: Blackface, Whiteface, Insult & Imitation in American Popular Culture (New York: Penguin, 2006). An alternate explanation for the origin of the term “coon” comes out of the transatlantic slave trade. As captured Africans awaited loading onto the slave ships that carried them on the Middle Passage to Brazil, the Caribbean, and North America they were held in makeshift pens called “barracoons.”
[4] Ibid
[5] Ibid, 95
[6] Goings, Kenneth W. Mammy and Uncle Mose: Black Collectibles and American Stereotyping (Indianapolis: Indiana University Press, 1994).
[7] Williams-Forson, Psyche A. Building Houses out of Chicken Legs: Black Women, Food, and Power (Chapel Hill: University of North Carolina Press, 2006), 48
[8] Ibid
[9] “‘Coon Cards’: Racist Postcards Have Become Collectors’ Items,” The Journal of Blacks in Higher Education, No. 25 (Autumn 1999), 72.
[10] Ibid.
[11] "Coon Chicken Inn Opened in Seattle," The Seattle Times, 31 Aug. 1930: 13.
[12] “Restrictive Covenant Database.” The Seattle Civil Rights and Labor History Project. Last accessed 7 Dec. 2008 depts.washington.edu/civilr/database.htm
[13] Horrocks, Mrs. Hattie Graham, Restaurants of Seattle, 1853-1960
[14] Soda Fountain Magazine, as quoted in John A. Jakle, Fast Food: Roadside Restaurants in the Automobile Age (Baltimore: John Hopkins University Press, 2002), 44.
[15] "Coon Chicken Inn Opened in Seattle," The Seattle Times 31 Aug. 1930: 13.
[16] Ibid.
[17] Davidson English, Arline, "Coon Chicken Inn to Change Advertising," Northwest Enterprise 25 Sep. 1930: 8.
[18] Taylor, Quintard, The Forging of a Black Community: Seattle's Central District from 1870 through the Civil Rights Era (Seattle: University of Washington Press, 1994), 81
[19] Staton Interview.
[20] Davidson English, Arline, "Citizens Protest Against 'Coon' Chicken Inn," Northwest Enterprise 18 Sep. 1930: 8.
[21] Taylor, Forging, 80; NW Enterprise December 11, 1930
[22] The NW Enterprise, Sep. 25, 1930
[23] McIver, Sadie, “Files Protest Against ‘Coon Chicken’ Advertisement,” Northwest Enterprise July 16, 1931: 8.
[24] Black, Candace, "Chicken Inn Dodges Suit with Blue Paint," Northwest Enterprise 17 Mar. 1932: 6.
[25] Taylor, Forging, Appendix.
[26] Jakle, Fast Food, 49.
[27] Advertisement, The Seattle Times, August 1930.
[28] Club Cotton Advertisement in possession of the Shoreline Historical Museum.
[29] Horrocks, 50
[30] Menu in possession of the Seattle Civil Rights and Labor History Project
[31] Personal Interview with Jean Stewart, Nov. 8, 2008.
[32] Stewart Interview.
[33] "C. of C. Helps to End Dispute," The Seattle Times 18 Mar. 1937.
[34] "Big Crowd - Little Profit!" Seattle Post-Intelligencer 8 Mar. 1937.
[35] Menu in possession of the Seattle Civil Rights and Labor History Project.
[36] Photograph of the Associated Poultry Co. in possession of the Shoreline Historical Museum.
[37] De Barros, Paul. Jackson Street After Hours: The Roots of Jazz in Seattle (Seattle: Sasquatch Books, 1993).
[38] Stewart Interview; "Big Crowd - Little Profit!"
[39] “Joe’s Country Store,” Lake City Citizen, December 8, 1949
[40] Taylor, Forging, 136.
A small colourful metal advertising sign promoting the Coon Chicken Inn in Seattle, Washington USA.
One historical link:
www.ferris.edu/news/jimcrow/links/chicken/
History: en.m.wikipedia.org/wiki/Coon_Chicken_Inn
Coon Chicken Inn was an American chain of four restaurants founded by Maxon Lester Graham and Adelaide Burt in 1925,[1] which prospered until the late 1950s. The restaurant chain was popular in their day. The restaurant's name (which uses an ethnic slur), trademarks, and entrances of the restaurants were designed to look like a smiling blackface caricature of an African-American porter. The smiling capped porter head also appeared on menus, dishes, and promotional items. Due to change in popular culture and the general consideration of being culturally and racially offensive, the chain has since been discontinued and is now defunct.
The first Coon Chicken Inn was opened in suburban Salt Lake City, Utah in 1925. In 1929, another restaurant was opened in then-suburban Lake City near Seattle, Washington,[2] and a third was opened in the Hollywood District of Portland, Oregon, in 1931. A fourth location was advertised but never opened in Spokane, Washington. Later, a cabaret, orchestra, and catering were added to the Seattle and Salt Lake restaurants.[3]
An advertisement for the restaurant is shown in the 2004 mockumentary C.S.A.: The Confederate States of America where it is depicted as being successful in a fictional timeline where the Confederacy defeats and annexes the United States in 1864 with the help of the United Kingdom and France.
A Coon Chicken Inn advertisement also appears in Ghost World, a 2001 American comedy-drama film directed by Terry Zwigoff.
Restaurant chain located in the Pacific Northwest from the late 1920s through the late 1940s. The chain was famous for its ubiquitous ‘Coon’ logo, a caricatured African-American male rooted in 19th century minstrel theatre and early 20th century advertising. The most prominent manifestation of the Coon caricature was the 12-foot high ‘Coon head’ that served as the entrance to each restaurant location.
Maxon Lester Graham and his wife Adelaide founded the Coon Chicken Inn in Salt Lake City, Utah in 1925. The early success of this location prompted the opening of two additional chains in Portland, Oregon and Seattle, Washington in the early 1930s. The patrons and employees of the Coon Chicken Inn chains were predominantly white, though African-Americans were hired to work in the kitchen of the Salt Lake City branch.
Graham adopted the Coon caricature and created the ‘Coon head’ as a gimmick to attract customers in the emerging age of roadside restaurants, novelty architecture, and automobile convenience. Graham additionally promoted the chain through the distribution of postcards, newspaper advertisements, matchboxes, children’s fans, spare tire covers, and delivery cars, all of which prominently featured the Coon Chicken Inn logo. The Coon logo saturated the restaurants’ interiors as well. Plates, forks, menus, and placemats featured the caricature, as did menu items such as the ‘Baby Coon Special’ and the ‘Coon Fried Steak.’
African Americans opposed this blatant display of racial hostility. In 1930, the Seattle branch of the National Association for the Advancement for Colored People (NAACP) and Seattle’s African American newspaper The Northwest Enterprise protested the opening of the local Coon Chicken Inn by threatening Graham with a lawsuit for libel and defamation of race. In response, Graham agreed to change the style of advertising by removing the word ‘Coon’ from the restaurant’s delivery car, repainting the ‘Coon head’ entrance to the restaurant, and canceling an order of 1,000 automobile tire covers. This small stride, however, was not enough to fully erase the image of the caricature from Seattle. Graham violated his agreement with the NAACP but managed to evade the lawsuit by changing the color of the Coon logo from black to blue.
Graham closed the Seattle and Portland locations in 1949. The Coon Chicken Inn restaurant in Salt Lake City, however, remained open until 1957. It is remembered today in films such as Ghost World and The Confederate States of America; relics of the Coon Chicken Inn are generally regarded as Black Memorabilia collectables.
Sources:
depts.washington.edu/civilr/coon_chicken.htm; www.ferris.edu/jimcrow/links/chicken/; Williams-Forson,Psyche A.Building Houses out of Chicken Legs: Black Women, Food, and Power (Chapel Hill: University of North Carolina Press, 2006)
- See more at: www.blackpast.org/aaw/coon-chicken-inn#sthash.QwiXVuo2.dpuf
In the early 1930s, Joseph Staton, an employee of The Northwest Enterprise, a prominent African-American newspaper in Seattle, was arrested and booked in jail for vandalizing an automobile parked on the corner of 3rd and Yesler in Pioneer Square. In court a few days later, the judge requested to see a section of a spare tire cover that Staton had removed. When the court attendants brought it out, the judge laughed and remarked, “Well, I’ll just fine you three dollars and you go on home.”[1]
The image that Staton removed from the spare tire cover featured the logo of the Coon Chicken Inn, a fried chicken restaurant chain in the Northwest whose logo featured a ‘Coon’, or a racist caricature of an African-American male popular in 19th century minstrel theatre and early 20th century advertising. The Coon Chicken Inn’s ‘Coon’ wore a Porter’s uniform; its face featured a winking left eye and enlarged red lips forever gaping to expose the words ‘Coon Chicken Inn’ etched on the top row of its shining white teeth.
To fully comprehend the significance of the CCI logo, it is important to step back and examine the history of the ‘Coon’ caricature itself. The term coon emerged in early America as a shortening of raccoon and, according to the Oxford English Dictionary, soon became synonymous with “a sly, knowing fellow,” and, subsequently, “a Negro.”[2] Though originally associated with white ‘backcountry folk’, the shift in the use of coon from an expression describing a country rube to a derogatory term for an African-American is connected to the introduction and instant success of the 19th century minstrel show character Zip Coon.[3]
Though not the first blackface character in the minstrel tradition, according to cultural critic John Strausbaugh, Zip Coon became the first popular minstrel personality to represent the “black urban dandy… a ‘negar’ who ‘acts white.”[4]. For whites who feared job competition once slavery ended, the Zip character served as a symbol of “the terror that lower-class whites had of being left at the bottom if ‘niggars’ like Zip got too uppity.”[5]. On stage, Zip Coon would act like a braggart and a fool, eliciting laughter and fascination while reinforcing white supremacy and hostility toward African-Americans.
In the late 19th century, the Coon caricature was revised to fit the predilections of post-Civil War whites who, according to historian Kenneth Goings, were not prepared to “handle the status of African-Americans as free and technically equal.”[6] The Coon caricature became a way for both northerners and southerners to relive a nostalgic memory of the Old South, one where black slaves were cared for by benevolent white masters and in which African-American males loved to sing, dance, and steal chickens. The origin of this chicken-thieving stereotype is unclear, but is likely rooted in 18th and 19th century narratives and images and in the fact that slaves often did steal chickens and livestock from masters as a form of protest or to augment their meager food rations.[7][8] After emancipation, the inclusion of such stereotypes and caricatures of African-Americans in collectibles and advertising became an effective way for whites to reinforce the myth of the Old South in the collective national memory.
The representation of blacks as servile dependents flourished in American advertising and in the ‘trinket market’ of the late 19th and early 20th centuries. Aunt Jemima, the character behind the ready-made pancake, was sold to a receptive American market in 1889 and with her came a proliferation of advertisements and collectables featuring the Mammy, the simple, ever-faithful slave woman who cooked, supervised other house slaves, watched the children, and completed countless additional tasks. ‘Uncle Tom’, originally a character in Harriet Beecher Stowe’s novel, Uncle Tom’s Cabin, became another popular stereotype who, like Mammy, submissively and contentedly served the ‘massa’. Sambo, Jim Crow, Pickaninny, and Jezebel are further examples of black stereotypes used to sell anything from soap to tobacco and who appeared as objects as diverse as rag dolls and salt and pepper shakers. And of course, the Coon remained an ever-popular stereotype prominent throughout the United States. Coon Cards, or minstrel-themed postcards, became an established form of communication with captions like “The Evolution of a Coon,” “Golly, see dem chickens fly! Dey know a nigger’s goin’ by” and “A Home Run with a Chicken in His Pants.”[9] Like the minstrel shows, these cards depicted blacks with “exaggerated and animal-like features … thick lips, kinky hair, flat noses, big ears, and big feet.”[10]
The fact that the Coon Chicken Inn opened its doors one hundred years after Zip Coon first danced across the stage to the delight of white working-class audiences serves not only as a testament to the power of the Coon image, but also to enduring racial tensions in the Pacific Northwest in the early 20th century. The restaurant was founded in Utah in 1925 by Maxon Lester Graham. According to a brief historical account written by Graham’s grandson and published on the website of Ferris State University’s Jim Crow Museum of Racist Memorabilia, Lester Graham and his wife Adelaide got into the fried chicken business after spending many Sundays driving to a small town south of Salt Lake City to eat at a restaurant that served “excellent chicken.” Deciding that fried chicken would do well in suburbia, they built a small restaurant in the Salt Lake suburb of Sugar House. The business immediately gained popularity. However, in July of 1927, the restaurant caught fire and burnt to the ground. In a large publicity stunt, Graham rebuilt the Coon Chicken Inn in 10 days. Four years later, two additional roadside Coon Chicken Inns opened in Portland and Seattle and a fourth branch would eventually open in Spokane, Washington.[11] The massive Coon head served as the entryway to all four of the restaurants. The chain flourished for nearly two decades until Graham closed the branches in the late 1940s. Though Graham never revealed what inspired him to use the Coon caricature as the gimmick for his fried chicken restaurant, the prevalent stereotype of African-Americans as chicken lovers proved to be identifiable and marketable enough to attract white consumers who saw the image as comedic, not cruel. The name connected African-Americans and their ‘favorite dish,’ implicitly signifying that the chicken was authentic and high quality, even for the ‘Coon’.
In Seattle, the twelve-foot grinning Coon head erected in plain view of the increasingly active Bothell Highway served as a reminder of racial segregation in the city and the surrounding area. The 20th century migration of blacks to the Northwest left many white Seattleites wary of the changing racial landscape of the city. Racial restrictive covenants – housing restrictions that prevented nonwhites from buying or renting homes in most Seattle neighborhoods – took root in the 1920s as a reaction to this black migration. For example, a Lake City covenant covering property near the Bothell Highway from 1930 reads:
“Said lot or lots shall not be sold, conveyed, or rented nor leased, in whole or in part, to any person not of the White race; nor shall any person not of the White race be permitted to occupy any portion of said lot or lots or of any building thereon, except a domestic servant actually employed by a White occupant of such building.”[12]
Consequently, by 1930 the majority of African-Americans were concentrated in the area later known as the Central District—located 8 miles from the Coon Chicken Inn.
Though Lake City remained outside of the Seattle city limits until 1954, the Old Bothell Highway played a role in setting Seattle’s racial landscape from the early 20th century. The area gained township status in 1949 after a flood of families flocked to the suburbs after World War II. Lake City’s development was always dependent on the automobile; in 1911, King County improved the Bothell Highway, an old logging road, by paving it with Warrenite. An unincorporated area of King County easily accessible by automobile, the Old Bothell Highway proved to be a prime location for roadside restaurants. As early as 1919, southern and minstrel-themed fried chicken restaurants were attracting Seattleites who, according to Hattie Graham Horrocks’ guide to Seattle restaurants, “wished to drive out-of-town for the occasional dinner.” My Southern Inn, renown for “frying chicken in the window in plain sight of passersby,” became one of the first, soon followed in 1921 by Bob’s Place and in 1923 by Mammy’s Shack.[13] Though historian John A. Jakle argues that most roadside restaurants facades were “quite utilitarian,” a few, like the CCI, embraced a more fanciful, programmatic architectural design. Like the landmark Brown Derby restaurant in Los Angeles or the Teapot Dome Service Station in Zillah, Washington, programmatic, or novelty architecture aimed to “arrest the attention of the speeding public” by erecting unconventional structures.
Once situated on the Old Bothell Highway, Lester Graham vigorously promoted the new restaurant. On August 31st, 1930, an advertisement for the CCI took up almost a full page in the Seattle Times.[15] Under the heading Coon Chicken Inn Opened in Seattle, the page featured the short columns, “Coon Chicken? Ask Anyone Who Came From South,” which defined ‘coon’ chicken as “the way the fowl is cooked by the real, old-fashioned Mammy;” “Highway Resort is One of Huge National Chain” (though at this time only the Salt Lake location existed); “Inn is Built From Local Materials;" “Utah Folk are Champions of Fried Chicken;” “Telephone Will Bring Chicken to Your Home;” and “Parking Space is Provided at Inn for 500 Autos.” The page also included a large advertisement for the CCI, complete with this description of the restaurant:
“The best fried chicken you ever tasted! That’s a mighty strong statement, but you’ll agree after visiting Seattle’s newest, most unique eating place that it’s a mighty true one. Coon Chicken Inn brings to Seattle and the Northwest a nationally-famous method of cookery, and provides a novel, pleasing restaurant at which you’ll enjoy eating. Good food served in a cheerful atmosphere! A service that will fit in with your every plan—party, after-theatre affair, or the wish for a splendid meal! Throughout America our splendid foods have pleased the most discriminating palates. Coon Chicken Inn is not ‘just another restaurant’—it is an innovation providing a pleasurable change from the ordinary café—a new eating place whose cuisine is considered in a class by itself, head and shoulders above the average.”
The advertisement makes no mention of African Americans, a conspicuous silence considering the restaurants logo and architecture and one that speaks to just how uncontroversial the Coon image was for most Seattleites. Of course, for African Americans, the imagery was enough to announce the North End’s hostility towards blacks and let all races know who was and who was not welcome. A photograph of the newly opened CCI building displayed the gaping-mouthed Coon-head entrance with its large red lips, winking eye, and porter’s hat sitting atop a bald, black head. On August 31st, The Seattle Times provided the publicity the restaurant needed to show off its “uniqueness” to all Seattle—black and white communities alike. Though the edifice of the CCI stood in North Seattle, the image of the Coon manifested itself in places beyond the restrictive covenant lines; it infiltrated areas of Seattle where the Coon image did not resonate with citizens.
Though the black population was predominantly restricted to the Central District area, the CCI paraded its logo on public and portable spaces, inundating African-Americans with the offensive Coon caricature. The Seattle Times ad was just one form of invasive advertising employed by the CCI. Another form manifested itself any time a customer ordered chicken for delivery. Orders were filled by a deliveryman driving the ‘Coon Car’, which brought “piping hot, crisp, delicious” chicken to “any part of the city—and right quickly too.” Plastered with the CCI logo, the ‘Coon Car’ allowed the racist imagery to infiltrate “any part of the city” from “10 o’clock in the morning till 2 o’clock the next.”[16]
But the most racially charged form of advertising lay in the spare tire cover. In the early years of the CCI, Graham ordered more than 1,000 automobile spare tire covers that prominently featured the restaurant’s Coon logo.[17] Consumers placed the covers over the spare tire on the back of their vehicles. In displaying these covers, the consumer advertised the CCI and implicitly claimed an affinity with the blatant racial hostility and fear that the image represented.
Though the CCI advertisements served up a continual reminder of the place of black people in Seattle’s racial landscape, African-Americans did not take this exhibition of racial hostility lying down. Like reactions to other “little nasties,” which historian Quintard Taylor identifies as the casually bigoted behavior that typified racism in Seattle, black Seattleites objected vigorously. During the early years of the CCI, African-Americans protested on both individual and community levels, employing remarkable vigilance and determination to fight back against the grossly offensive Coon image.[18]
Joseph Staton was among those who took individual action against the CCI on a small-scale. In an oral history interview recorded by Ester Mumford in 1975, Staton relayed the story of his arrest in the 1930s for slicing the Coon image out of a CCI spare tire cover. Staton and four friends created what Staton referred to as a “contest”: each friend put in 50 cents and whomever cut the most Coon faces out of tire covers after thirty days would win the pot. W. H. Wilson, the editor of the Northwest Enterprise and Staton’s employer, would lend Staton his automobile for work; one day while borrowing Wilson’s car and driving downtown with his friends, Staton watched one of his friends hop out of the car and cut out the Coon logo on a CCI tire cover as part of the contest. The automobile owner noted the license of Wilson’s car and the police traced the prank back to Joseph Staton, who was subsequently arrested, booked, and fined the three dollars.[19]
In an another act of protest, The NAACP and The Northwest Enterprise teamed up in a two-year battle with Lester Graham over the CCI’s Coon logo. The first sign of the battle appeared in a column posted in the Enterprise on September 18, 1930—not a month after Seattleites were greeted by the picture of the Coon in The Seattle Times. The article, headlined “Citizens Protest Against ‘Coon’ Chicken Inn,” informed the predominantly African-American readership that Clarence R. Anderson, a black attorney, William H. Wilson, the editor of the Northwest Enterprise and president of the Seattle NAACP, and Horace R. Cayton, an NAACP member and long-standing civil rights advocate, collectively filed a complaint against the CCI over its advertising. The three activists demanded that the company change its method of advertising “or be charged with libel and defamation of a race.”[20] Similar to a 1930 lawsuit filed by the Seattle NAACP against the local packaging plant, Fresh Products Inc., whose peanut product, ‘Three Little Niggers’, displayed “three colored children standing in a peanut shell,”[21] the NAACP/NW Enterprise protest against the CCI took shape in an impressive legal framework that boldly challenged the derogatory representation of blacks in advertising. A follow up column in the Enterprise on September 25th claimed victory on the side of the protesters. It stated that Graham agreed to change the style of advertising by removing the word ‘Coon’ from the ‘Coon Car’, repainting the front of the CCI, and canceling an order of the 1,000 automobile tire covers.[22]
It proved a somewhat hollow victory, however. In 1931 The NW Enterprise reported on a protest filed by W. H. Wilson against the CCI for violating its previous agreement to “discontinue the distribution of offensive tire covers.” Despite this, the column did note a success: the repainting of the CCI door logo from black to red.[23] This small stride, however, was not enough to fully erase the image of the Coon from Seattle. Not only did Graham claim the restaurant name to be copyrighted and therefore unchangeable, he managed to evade the lawsuit altogether by merely changing the color of the Coon logo. The final column in the NW Enterprise reads as follows:
“Chicken Inn Dodges Suit with Blue Paint: Threatened with prosecution by the Seattle NAACP who charged them with advertising defamatory to colored people the ‘CCI’ is avoiding the charge by changing the black background of their advertising to blue… Miss Codetis Thiel, assistant prosecutor held the owners of the chicken inn were subject to prosecution if they used a black face labeled ‘coon’ in their advertising. The Company has now dodged prosecution by using a blue color in their advertising and [removing] the word ‘coon’ from the teeth of the man’s mouth”[24]
Although their campaigns were unsuccessful, both Joseph Staton’s ‘contest’ and the NAACP/NW Enterprise’s joint protest against the CCI are impressive demonstrations of black agency in Seattle, and they garnered some support from white authorities. The African-American population, while still only .9 percent of Seattle’s population in 1930 and 1 percent in 1940, established itself as a fighting force for equality in the first half of the century.[25] Nevertheless, regardless of the battles waged by the black community, the racial hostility of whites in Seattle reigned throughout the 1930s, keeping the image of the Coon alive and the CCI in business.
It is interesting to note that the CCI opened its doors in the midst of the Great Depression, yet the restaurant not only endured throughout the Depression’s worst years—it thrived. Whites did not seem to find the Coon logo problematic in the least. Indeed, while overt hostility toward African-Americans was not uncommon, the dominant attitude of white Seattleites toward evidence of racism and campaigns for equality was simply apathy. In this way, the Coon Chicken Inn served as a beacon of white bigotry in the North End and tapped deep into the race and class-consciousness of Seattleites, bringing to light the reality of white and black relations of the day.
On the Old Bothell Highway, the Coon-head gimmick certainly managed to attract the attention of passersby, but the question arises of who actually frequented the restaurant. In looking back at the Seattle Times’ August 1930 advertisement for the recently opened CCI, one wonders whom Lester Graham envisioned as the typical clientele. Roadside-restaurants, according to Jakle, aimed to attract more “affluent customers motoring out for pleasure from cities and towns,” seeking “dining experiences removed from the ordinary.”[26] The Seattle Times advertisement did, as Jakle contends, cater to white middle and upper class customers with “discriminating palate[s]” and enough money to frequent the theatre, host parties (complete with fried chicken), and appreciate a cuisine “in a class by itself.” Its presence in the Seattle Times, a paper with citywide distribution, also suggests Graham was reaching out to many different white neighborhoods in Seattle.[27]
But while the CCI tried to paint itself as a restaurant “head and shoulders above the average,” the real composition of the clientele remains in question. Paul de Barros describes the CCI as a local college hangout where students went to hear live music at Club Cotton, a venue able to accommodate more than 250 people that opened in 1934, located around the corner and down the stairs from the CCI.[28] Hattie Horrock also mentions the CCI as being very popular, especially with young people.[29] At least one group of college students went there: a menu found in a college scrapbook that belonged to a woman who graduated from the University of Washington in 1945 has the words, “Barn Dances, Chicken Dinners, Fun” scribbled on its interior.[30]
Born in February 1930, just months before the CCI opened its doors, Seattle native Jean Stewart recalls growing up a mere three blocks south of the CCI. She describes the restaurant as a “lower class place” and one that would have been “racy” to go to.[31] Stewart grew up in a newly developed neighborhood, her house built in 1928 with her father being the original owner. The neighborhood was upper middle class, even through the Depression years, and Stewart adds that it was “extremely class conscious.” Drawing a very distinct line between Lake City and her own neighborhood, Stewart describes why her family never talked about eating at the CCI if they did go:
“You didn’t go up there. You went to the University District. Pretty racy to go there … we didn’t go there often because it was a lower class place. It was simply people who … you see, we were very class conscious … you never took a step down, particularly with my German grandfather. It was very tight, very uncomfortable living … the pressure of all these small things was just too much. You always had to be proper, trying harder … it was very structured.”[32]
Whether or not Stewart was merely ultra-sensitive to the social strata, her description of the CCI makes one thing abundantly clear: discussing the offensiveness of the Coon logo seemed a low priority when comparing it to white class issues.
This indifference to the racist nature of the CCI in favor of class concerns becomes even more evident when one considers a joint labor protest against the CCI by the Bartenders, Cooks, Waiters, and Waitresses Union (BCWW) and the Musicians Union that took place in March of 1937. The unions picketed the CCI for a week, protesting against the unfair treatment of organized labor and demanding that the CCI be completely unionized. On March 18th, E. B. Fish, the labor counsel for the Seattle Chamber of Commerce labor relations department; Jack Weinberger, the international representative of the BCWW; and Lester Graham signed the standard agreement of the unions.[33] The Times report of the agreement makes no mention of the bigoted logo. A photograph of the protest, published in the Seattle Post Intelligencer with the caption, “Big Crowd, Little Profit,” captures a large crowd of white males standing in front of the giant Coon head. The men are holding picketing signs with the word “Unfair” written in bold while the Coon-head winks in the background, as if covertly communicating that he understands the irony of this photograph.[34]
These demonstrations of apathy and indifference towards the racial dimension of the CCI leave the question of why it seemed to resonate with Seattleites for 20 years. The Coon image appeared on every dish, silverware, menu, matchbox (the image even appeared on the matchsticks), and children ‘fans’ produced for the restaurant. The giant Coon face greeted customers as they entered the restaurant, spat them out when they left, or just gaped with its giant red lips at motorists on the Old Bothell Highway. Inside the restaurant, patrons were welcome to consume the “Southern Fried Coon Chicken”, the “Baby Coon Special” (complete with crisp French fries, hot buttered Parkerhouse Rolls, an olive, and a pickle), or the “Coon Fried Steak.”[35] Down the road, one could visit the Associated Poultry Co., which proudly advertised its role in supplying the CCI (the poultry store was conveniently owned by Graham).[36] Or, one was welcome to frequent Club Cotton and dance next to a Coon cutout while listening to the all-white Johnny Maxon’s Orchestra.[37]
The abundance of Coon-related imagery—from drinking glasses to fried chicken specials to matchsticks—was but another manifestation of the racism that reinforced white supremacy in an increasingly diverse and modernizing city. Although surely the success of The CCI is attributable to more than just the memorable logo, the image was a blatantly visible declaration of bigotry in North Seattle—in its own inimitable way, it echoed the restrictive covenants and other discriminatory measures in the wink of its twinkling black eye. The historical Coon image was revived and, not surprisingly, adapted to fit the needs of the community it served: the Coon of the CCI was both the dandy and the chicken lover, but this particular Coon took on a new characteristic. He was well behaved and content to be servile. This Coon was not stealing chickens or merely lazing about, and although he dressed in nice clothing much like a dandy, the CCI Coon was a waiter through and through. Ironically, no blacks were ever employed at the CCI.[38] This representation of blacks being contented in their place in society reveals the deep-seated fear of upheaval and change that helped fuel the development and popularity of the CCI logo, which in turn reaffirmed the existing racial discrimination and bigotry.
Though the CCI does not appear in newspapers in the 1940s, the restaurant persisted on the Old Bothell Highway until late 1949, when Lester Graham removed the Coon head from public view and closed the restaurant’s doors. But neither Graham nor the CCI disappeared from Seattle completely. In December 1949, the Lake City Citizen featured an advertisement for the newly opened G.I. Joe’s New Country Store, giving its location as the old Coon Chicken Inn building (Lester Graham owned the Country Store).[39] This advertisement demonstrates that even after the CCI closed, the Coon-face remained a landmark for years to come. As there is no evidence that Graham closed the CCI due to protests or objections to the name, logo, or method of advertising, one can only speculate the reason the CCI’s days ended.
The coming of World War II in Seattle brought with it a surge of African-American migration, increasing the black population in Seattle from 3,789 to 15,666, or 413 percent between 1940 and 1950.[40] Finding limited employment opportunities at such companies as Boeing and experiencing blatant acts of discrimination, many African-Americans campaigned for equal employment and desegregation. In 1949, the Fair Employment Practices law was passed and in 1948, racial restrictive covenants were declared no longer enforceable by the United States Supreme Court. Perhaps this change in the racial landscape of Seattle and the nation made hostile images like the Coon increasingly unpopular. Another possibility is that the migration of young white families to Lake City after World War II affected the out-of-town dining experience that early CCI customers seem to have found appealing in the CCI. Perhaps it is a combination of these factors. As the city progressed and expanded, Graham may have found the G.I. Joe’s Country Store to be a more modern and profitable venture than the chicken-restaurant enterprise.
Today the original CCI building is gone. Ying’s Drive Inn, a Chinese restaurant near 18th NE and NE 85th Street, sits on the piece of land where the Coon-head once grinned, where the Baby Coon Special was served, and where the Johnny Maxon Orchestra once played to enthusiastic all-white audiences. Though it is gone, the Coon Chicken Inn should not be forgotten. It offers a window into understanding the racial climate of Seattle during the 1930s and 1940s; the popularity of its caricatured logo helps us make sense of the white hostility and oppression harbored against African-Americans as well as allows us to see how African-Americans reacted defiantly to that oppression. Furthermore, the Coon Chicken Inn is a way to measure the progress Seattle has made over the past sixty years in terms of racial equality—and to envision the progress yet to be made.
Copyright (c) Catherine Roth 2009
HSTAA 498 Fall 2008
[1]MacIntosh, Heather. "Staton, Joseph Isom: An Oral History." HistoryLink. 4 Nov. 2008
[2] Oxford English Dictionary
[3] Strausbaugh, John. Black Like You: Blackface, Whiteface, Insult & Imitation in American Popular Culture (New York: Penguin, 2006). An alternate explanation for the origin of the term “coon” comes out of the transatlantic slave trade. As captured Africans awaited loading onto the slave ships that carried them on the Middle Passage to Brazil, the Caribbean, and North America they were held in makeshift pens called “barracoons.”
[4] Ibid
[5] Ibid, 95
[6] Goings, Kenneth W. Mammy and Uncle Mose: Black Collectibles and American Stereotyping (Indianapolis: Indiana University Press, 1994).
[7] Williams-Forson, Psyche A. Building Houses out of Chicken Legs: Black Women, Food, and Power (Chapel Hill: University of North Carolina Press, 2006), 48
[8] Ibid
[9] “‘Coon Cards’: Racist Postcards Have Become Collectors’ Items,” The Journal of Blacks in Higher Education, No. 25 (Autumn 1999), 72.
[10] Ibid.
[11] "Coon Chicken Inn Opened in Seattle," The Seattle Times, 31 Aug. 1930: 13.
[12] “Restrictive Covenant Database.” The Seattle Civil Rights and Labor History Project. Last accessed 7 Dec. 2008 depts.washington.edu/civilr/database.htm
[13] Horrocks, Mrs. Hattie Graham, Restaurants of Seattle, 1853-1960
[14] Soda Fountain Magazine, as quoted in John A. Jakle, Fast Food: Roadside Restaurants in the Automobile Age (Baltimore: John Hopkins University Press, 2002), 44.
[15] "Coon Chicken Inn Opened in Seattle," The Seattle Times 31 Aug. 1930: 13.
[16] Ibid.
[17] Davidson English, Arline, "Coon Chicken Inn to Change Advertising," Northwest Enterprise 25 Sep. 1930: 8.
[18] Taylor, Quintard, The Forging of a Black Community: Seattle's Central District from 1870 through the Civil Rights Era (Seattle: University of Washington Press, 1994), 81
[19] Staton Interview.
[20] Davidson English, Arline, "Citizens Protest Against 'Coon' Chicken Inn," Northwest Enterprise 18 Sep. 1930: 8.
[21] Taylor, Forging, 80; NW Enterprise December 11, 1930
[22] The NW Enterprise, Sep. 25, 1930
[23] McIver, Sadie, “Files Protest Against ‘Coon Chicken’ Advertisement,” Northwest Enterprise July 16, 1931: 8.
[24] Black, Candace, "Chicken Inn Dodges Suit with Blue Paint," Northwest Enterprise 17 Mar. 1932: 6.
[25] Taylor, Forging, Appendix.
[26] Jakle, Fast Food, 49.
[27] Advertisement, The Seattle Times, August 1930.
[28] Club Cotton Advertisement in possession of the Shoreline Historical Museum.
[29] Horrocks, 50
[30] Menu in possession of the Seattle Civil Rights and Labor History Project
[31] Personal Interview with Jean Stewart, Nov. 8, 2008.
[32] Stewart Interview.
[33] "C. of C. Helps to End Dispute," The Seattle Times 18 Mar. 1937.
[34] "Big Crowd - Little Profit!" Seattle Post-Intelligencer 8 Mar. 1937.
[35] Menu in possession of the Seattle Civil Rights and Labor History Project.
[36] Photograph of the Associated Poultry Co. in possession of the Shoreline Historical Museum.
[37] De Barros, Paul. Jackson Street After Hours: The Roots of Jazz in Seattle (Seattle: Sasquatch Books, 1993).
[38] Stewart Interview; "Big Crowd - Little Profit!"
[39] “Joe’s Country Store,” Lake City Citizen, December 8, 1949
[40] Taylor, Forging, 136.
November (20/30)
... something easy to prepare, easy to drink -because it´s delicious- and very effective: it helps to reduce fever, it´s a great source of vitamin C, helps with sore throats and much more
I have told you that I caught a cold, well I think I have to be grateful for it too, it has made me think about many things. Read here: myhealingmoments.blogspot.com/2011/11/day-27_20.html
Alexandre Gustave Eiffel 15 December 1832 – 27 December 1923) was a French civil engineer. A graduate of École Centrale des Arts et Manufactures, he made his name with various bridges for the French railway network, most famously the Garabit Viaduct. He is best known for the world-famous Eiffel Tower, designed by his company and built for the 1889 Universal Exposition in Paris, and his contribution to building the Statue of Liberty in New York. After his retirement from engineering, Eiffel focused on research into meteorology and aerodynamics, making significant contributions in both fields.
Alexandre Gustave Eiffel was born in France, in the Côte-d'Or, the first child of Catherine-Mélanie (née Moneuse) and Alexandre Bonickhausen dit Eiffel. He was a descendant of Marguerite Frédérique (née Lideriz) and Jean-René Bönickhausen and who had emigrated from the German town of Marmagen and settled in Paris at the beginning of the 19th century. The family adopted the name Eiffel as a reference to the Eifel mountains in the region from which they had come. Although the family always used the name Eiffel, Gustave's name was registered at birth as Bonickhausen dit Eiffel, and was not formally changed to Eiffel until 1880.
At the time of Gustave's birth his father, an ex-soldier, was working as an administrator for the French Army; but shortly after his birth his mother expanded a charcoal business she had inherited from her parents to include a coal-distribution business, and soon afterwards his father gave up his job to assist her. Due to his mother's business commitments, Gustave spent his childhood living with his grandmother, but nevertheless remained close to his mother, who was to remain an influential figure until her death in 1878. The business was successful enough for Catherine Eiffel to sell it in 1843 and retire on the proceeds. Eiffel was not a studious child, and thought his classes at the Lycée Royal in Dijon boring and a waste of time, although in his last two years, influenced by his teachers for history and literature, he began to study seriously, and he gained his baccalauréats in humanities and science. An important part in his education was played by his uncle, Jean-Baptiste Mollerat, who had invented a process for distilling vinegar and had a large chemical works near Dijon, and one of his uncle's friends, the chemist Michel Perret. Both men spent a lot of time with the young Eiffel, teaching him about everything from chemistry and mining to theology and philosophy.
Eiffel went on to attend the Collège Sainte-Barbe in Paris, to prepare for the difficult entrance exams set by engineering colleges in France, and qualified for entry to two of the most prestigious schools – École polytechnique and École Centrale des Arts et Manufactures – and ultimately entered the latter. During his second year he chose to specialize in chemistry, and graduated ranking at 13th place out of 80 candidates in 1855. This was the year that Paris hosted a World's Fair, and Eiffel was bought a season ticket by his mother.
The design of the Eiffel Tower was originated by Maurice Koechlin and Emile Nouguier, who had discussed ideas for a centrepiece for the 1889 Exposition Universelle. In May 1884 Koechlin, working at his home, made an outline drawing of their scheme, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Initially Eiffel showed little enthusiasm, although he did sanction further study of the project, and the two engineers then asked Stephen Sauvestre to add architectural embellishments. Sauvestre added the decorative arches to the base, a glass pavilion to the first level and the cupola at the top. The enhanced idea gained Eiffel's support for the project, and he bought the rights to the patent on the design which Koechlin, Nougier and Sauvestre had taken out. The design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884, and on 30 March 1885 Eiffel read a paper on the project to the Société des Ingénieurs Civils. After discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying that the tower would symbolise
"not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude."
Little happened until the beginning of 1886, but with the re-election of Jules Grévy as president and his appointment of Edouard Lockroy as Minister for Trade decisions began to be made. A budget for the Exposition was passed and on 1 May Lockroy announced an alteration to the terms of the open competition which was being held for a centerpiece for the exposition, which effectively made the choice of Eiffel's design a foregone conclusion: all entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. On 12 May a commission was set up to examine Eiffel's scheme and its rivals and on 12 June it presented its decision, which was that only Eiffel's proposal met their requirements. After some debate about the exact site for the tower, a contract was signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him one and a half million francs toward the construction costs. This was less than a quarter of the estimated cost of six and a half million francs. Eiffel was to receive all income from the commercial exploitation during the exhibition and for the following twenty years. Eiffel later established a separate company to manage the tower.
The tower had been a subject of some controversy, attracting criticism both from those who did not believe it feasible and from those who objected on artistic grounds. Just as work began at the Champ de Mars, the "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by Charles Garnier and including some of the most important figures of the French arts establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet: a petition was sent to Jean-Charles Adolphe Alphand, the Minister of Works, and was published by Le Temps.
"To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years ... we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal"
Work on the foundations started on 28 January 1887. Those for the east and south legs were straightforward, each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg but the other two, being closer to the river Seine were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft) to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a limestone block, each with an inclined top to bear the supporting shoe for the ironwork. These shoes were anchored by bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. Work on the foundations was complete by 30 June and the erection of the iron work was started. Although no more than 250 men were employed on the site, a prodigious amount of exacting preparatory work was entailed: the drawing office produced 1,700 general drawings and 3,629 detail drawings of the 18,038 different parts needed. The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the positions of rivet holes were specified to within 0.1 mm (0.004 in) and angles worked out to one second of arc. The components, some already riveted together into sub-assemblies, were first bolted together, the bolts being replaced by rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit it was sent back to the factory for alteration. The four legs, each at an angle of 54° to the ground, were initially constructed as cantilevers, relying on the anchoring bolts in the masonry foundation blocks. Eiffel had calculated that this would be satisfactory until they approached halfway to the first level: accordingly work was stopped for the purpose of erecting a wooden supporting scaffold. This gave ammunition to his critics, and lurid headlines including "Eiffel Suicide!" and "Gustave Eiffel has gone mad: he has been confined in an Asylum" appeared in the popular press. At this stage a small "creeper" crane was installed in each leg, designed to move up the tower as construction progressed and making use of the guides for the elevators which were to be fitted in each leg. After this brief pause erection of the metalwork continued, and the critical operation of linking the four legs was successfully completed by March 1888. In order to precisely align the legs so that the connecting girders could be put into place, a provision had been made to enable precise adjustments by placing hydraulic jacks in the footings for each of the girders making up the legs.
The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Since the lifts were not yet in operation, the ascent was made by foot, and took over an hour, Eiffel frequently stopping to make explanations of various features. Most of the party chose to stop at the lower levels, but a few, including Nouguier, Compagnon, the President of the City Council and reporters from Le Figaro and Le Monde Illustré completed the climb. At 2.35 Eiffel hoisted a large tricolour, to the accompaniment of a 25-gun salute fired from the lower level.
The Eiffel Tower is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.
Locally nicknamed "La dame de fer" (French for "Iron Lady"), it was constructed from 1887 to 1889 as the centerpiece of the 1889 World's Fair and was initially criticised by some of France's leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world. The Eiffel Tower is the most visited monument with an entrance fee in the world; 6.91 million people ascended it in 2015. It was designated a monument historique in 1964, and was named part of a UNESCO World Heritage Site ("Paris, Banks of the Seine") in 1991.
The tower is 330 metres (1,083 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. It was the first structure in the world to surpass both the 200-metre and 300-metre mark in height. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft). Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct.
The tower has three levels for visitors, with restaurants on the first and second levels. The top level's upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union. Tickets can be purchased to ascend by stairs or lift to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second, making the entire ascent a 600 step climb. Although there is a staircase to the top level, it is usually accessible only by lift.
The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centerpiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853. In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals". Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of the company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.
The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was put on display at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise
[n]ot only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.
Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. (A 300-metre tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.
After some debate about the exact location of the tower, a contract was signed on 8 January 1887. Eiffel signed it acting in his own capacity rather than as the representative of his company, the contract granting him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.
The Crédit Industriel et Commercial (C.I.C.) helped finance the construction of the Eiffel Tower. According to a New York Times investigation into France's colonial legacy in Haiti, at the time of the tower's construction, the bank was acquiring funds from predatory loans related to the Haiti indemnity controversy – a debt forced upon Haiti by France to pay for slaves lost following the Haitian Revolution – and transferring Haiti's wealth into France. The Times reported that the C.I.C. benefited from a loan that required the Haitian Government to pay the bank and its partner nearly half of all taxes the Haitian government collected on exports, writing that by "effectively choking off the nation’s primary source of income", the C.I.C. "left a crippling legacy of financial extraction and dashed hopes — even by the standards of a nation with a long history of both."
Work on the foundations started on 28 January 1887. Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft) to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.
Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed. The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 1 mm (0.04 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.
At first, the legs were constructed as cantilevers, but about halfway to the first level construction was paused to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press. At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888. Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees, due to Eiffel's safety precautions and the use of movable gangways, guardrails and screens, only one person died.
The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.
There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May. Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been 1,896,987 visitors.
After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.
On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.
At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse ("truly curious").
Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, "Buffalo Bill" Cody (his Wild West show was an attraction at the exposition) and Thomas Edison. Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition. Edison signed the guestbook with this message:
To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.
Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.
Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.
Subsequent events
Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The city had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for many innovations in the early 20th century, particularly radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.
For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism as the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism. At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.
On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.
In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays. Two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 m) to demonstrate his parachute design. In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne. From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time. In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.
On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal. A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station. A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929. In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed. In 1938, the decorative arcade around the first level was removed.
Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946. In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge, but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. On 25 August, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.
A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top. In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux. A year later, an additional lift system was installed in the north pillar.
According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.
In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant.[citation needed] The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system. A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.
Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984. In 1987, A. J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police. On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.
For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. During the last three minutes of the year, the lights were turned on starting from the base of the tower and continuing to the top to welcome 2000 with a huge fireworks show. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.
The lights sparkled blue for several nights to herald the new millennium on 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.
The tower received its 200,000,000th guest on 28 November 2002.The tower has operated at its maximum capacity of about 7 million visitors per year since 2003. In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level. A glass floor was installed on the first level during the 2014 refurbishment.
Design
The puddle iron (wrought iron) of the Eiffel Tower weighs 7,300 tonnes, and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tonnes. As a demonstration of the economy of design, if the 7,300 tonnes of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tonnes per cubic metre. Additionally, a cubic box surrounding the tower (324 m × 125 m × 125 m) would contain 6,200 tonnes of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.
Wind and weather considerations
When it was built, many were shocked by the tower's daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:
Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? ... Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be ... will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.
He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape.[69] All parts of the tower were overdesigned to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework. In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.
The Eiffel Tower sways by up to 9 cm (3.5 in) in the wind.
Ground floor
The four columns of the tower each house access stairs and elevators to the first two floors, while at the south column only the elevator to the second floor restaurant is publicly accessible.
1st floor
The first floor is publicly accessible by elevator or stairs. When originally built, the first level contained three restaurants – one French, one Russian and one Flemish — and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. Today there is the Le 58 Tour Eiffel restaurant and other facilities.
2nd floor
The second floor is publicly accessible by elevator or stairs and has a restaurant called Le Jules Verne, a gourmet restaurant with its own lift going up from the south column to the second level. This restaurant has one star in the Michelin Red Guide. It was run by the multi-Michelin star chef Alain Ducasse from 2007 to 2017. As of May 2019, it is managed by three-star chef Frédéric Anton. It owes its name to the famous science-fiction writer Jules Verne.
3rd floor
Originally there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.
From 1937 until 1981, there was a restaurant near the top of the tower. It was removed due to structural considerations; engineers had determined it was too heavy and was causing the tower to sag. This restaurant was sold to an American restaurateur and transported to New York and then New Orleans. It was rebuilt on the edge of New Orleans' Garden District as a restaurant and later event hall. Today there is a champagne bar.
Lifts
The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.
Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.
Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs. Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.
The Otis lifts originally fitted in the north and south legs
Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887. Otis were confident they would eventually be given the contract and had already started creating designs.
The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.
The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car travelled only half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.
Engraved names
Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.
Aesthetics
The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky. It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown". In what is expected to be a temporary change, the tower is being painted gold in commemoration of the upcoming 2024 Summer Olympics in Paris.
The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.
A pop-culture movie cliché is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.
Maintenance
Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.
Communications
The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington County, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C. Today, radio and digital television signals are transmitted from the Eiffel Tower.
Digital television
A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61 ft). Work carried out in 2000 added a further 5.3 m (17 ft), giving the current height of 324 m (1,063 ft).[59] Analogue television signals from the Eiffel Tower ceased on 8 March 2011.
Taller structures
The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out. The tower also lost its standing as the world's tallest tower to the Tokyo Tower in 1958 but retains its status as the tallest freestanding (non-guyed) structure in France.
Transport
The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel. The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.
Popularity
Number of visitors per year between 1889 and 2004
More than 300 million people have visited the tower since it was completed in 1889. In 2015, there were 6.91 million visitors. The tower is the most-visited paid monument in the world. An average of 25,000 people ascend the tower every day (which can result in long queues).
Illumination copyright
The tower and its image have been in the public domain since 1993, 70 years after Eiffel's death. In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright. The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992. The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright. As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use. For this reason, it is often rare to find images or videos of the lit tower at night on stock image sites, and media outlets rarely broadcast images or videos of it.
The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve". SNTE made over €1 million from copyright fees in 2002. However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.
The copyright claim itself has never been tested in courts to date, according to a 2014 article in the Art Law Journal, and there has never been an attempt to track down millions of people who have posted and shared their images of the illuminated tower on the Internet worldwide. It added, however, that permissive situation may arise on commercial use of such images, like in a magazine, on a film poster, or on product packaging.
French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented, a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.
Replicas
As one of the most famous landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 m (519 ft) tall. Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.[111]
There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, located in Mason, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.
In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build. This would be more than ten times the cost of the original (nearly 8 million in 1890 Francs; ~US$40 million in 2018 dollars).
Health benefits of plantains
Plantain relatively has more calories weight for weight than that in the table bananas. 100 g plantain holds about 122 calories, while dessert banana has only 89 calories. Indeed, they are very reliable sources of starch and energy; ensuring food security for millions of inhabitants worldwide.
It contains 2.3 g of dietary fiber per 100 g (6% of DRA per 100 g). Adequate amount of dietary-fiber in the food helps normal bowel movements, thereby reducing constipation problems.
Fresh plátanos have more vitamin C than bananas. 100 g provide 18.4 mg or 31% of daily required levels of this vitamin. Consumption of foods rich in vitamin-C helps the body develop resistance against infectious agents and scavenge harmful oxygen-free radicals. However, boiling and cooking destroys much of this vitamin in plantains.
Plantains carry more vitamin A than bananas. 100 g fresh ripe plantains contain 1127 IU or 37.5% of daily required levels of this vitamin. Besides being a powerful antioxidant, vitamin A plays a vital role in the visual cycle, maintaining healthy mucus membranes, and enhancing skin complexion.
As in bananas, they too are rich sources of B-complex vitamins, particularly high in vitamin-B6 (pyridoxine). Pyridoxine is an important B-complex vitamin that has a beneficial role in the treatment of neuritis, anemia, and to decrease homocystine (one of the causative factors for coronary artery disease (CHD) and stroke episodes) levels in the body. In addition, the fruit contains moderate levels of folates, niacin, riboflavin and thiamin.
They also provide adequate levels of minerals such as iron, magnesium, and phosphorous. Magnesium is essential for bone strengthening and has a cardiac-protective role as well.
Fresh plantains have more potassium than bananas. 100 g fruit provides 499 mg of potassium (358 mg per 100 g for bananas). Potassium is an important component of cell and body fluids that helps control heart rate and blood pressure, countering negative effects of sodium.
3 heavy snows and minus 15 C helped to turn Lost Lagoon to ice, except for 3 mini-ponds - 8 of our fleet of swans hang out with Mallard ducks. The white area used to be water - the hazy background is mist rising as the warmer air meets the ice surface.
Felt like uploading something XD
Oh! And I might sell Kuro(TOO BAD!) I just seriously never really wanted her TwT
BUT! Anygays! Then I'm saving money for a new one!n__n I'm thinking about a Dal or Pullip... I HAVE NO IDEA :c Help meeee!TuT
Orange juice is a concentrated source of vitamin C, a water-soluble vitamin that doubles as a powerful antioxidant and plays a central role in immune function
Additionally, vitamin C helps promote bone formation, wound healing, and gum health
1-Apple contains Vitamin C. Vitamin C helps greatly your immune system. A lot of people who lack Vitamin C in their diet have poor healing, bruise easily and have bleeding gums.
2-Prevent Heart Diseases. The reason it can prevent both coronary heart disease and cardiovascular disease is because apples are rich in flavonoid. Flavonoids are also known for their antioxidant effects.
3-Low in calories. A regular size apple has between 70-100 calories. Eating an apple when craving for candy or chocolate can make the desire disappear since apple in itself contains sugar, but gives you only ? of the calories.
4-Prevent Cancers. Notice the plural. We all know that cancer comes in several forms and in different places. Apples target multiple cancers such as colon cancer, prostate cancer and breast cancer in women.
5-Apples contain phenols, which have a double effect on cholesterol. It reduces bad cholesterol and increases good cholesterol. They prevent LDL cholesterol from turning into oxidized LDL, a very dangerous form of bad cholesterol which can be deadly.
6-Prevent tooth decay. Tooth decay is an infection that seriously damages the structure of your teeth, which is caused primarily because of bacteria. The juice of the apples has properties that can kill up to 80% of bacteria. So there you have it, an apple a day also keeps the dentist away!
7-Protects your brain from brain disease. This is something many people don’t know, and when you consider that your brain makes the person you are, it gives a whole new perspective. Apple has substances called phytonutrients, and these phytonutrients prevents neurodegenerative diseases like Alzheimer’s and Parkinsonism.
8-Healthier Lungs. A research at the University of Nottingham Research shows that people who eat 5 apples or more per week has lower respiratory problems, including asthma.
9-They taste great! And not only that, they also come in many flavors and colors. Not in a mood for a green apple? Why not get a red one, or a macintosh! Their taste can vary greatly, but still give you all the apple benefits. Variety is an important element to maintaining your health.
Written by Succeed With This
www.succeedwiththis.com/9-reasons-why-an-apple-a-day-real...
Eric Baker (28 Nov 1936 – 19 Jul 2006) was Budgewoi Public School's favourite teacher and has the “Eric Baker Community Education Centre” in the school grounds facing Woolana Avenue named in this honour. His retirement celebration was at the Masonic Club at Gorokan in 1996. Here's what he said.
I was born in 1936 at Cooranbong and lived at Martinsville, the second son of Fred and Eileen Baker on an orange growing orchard. I went to Cooranbong & Martinsville schools.
My parents were very poor farmers but gave us an idyllic lifestyle on the farm. There was no electricity or phone until about 1948. Then I went to Avondale Seventh Day Adventist High School, then Morisset Central and after the farm was sold, to Gosford High for the last two years after we moved to Toukley.
I decided to follow teaching as a career and went to Newcastle Teacher’s College in 1955-56.
My two brothers and sister all joined the Police Force, I’m not sure what influenced my choosing teaching, but I do remember being made to change to a right handed writer as you couldn’t become a teacher in those days if you were left handed. That was probably in either 3rd or 4th class.
College life was a big change – going into the big city of Newcastle – boarding with three other students and meeting girls on a social basis. I remember a few incidents at college that will remain with me forever:
1. Having to dance with the Art Lecturer if you wanted a good pass in that subject
2. Falling asleep in a boring lecture and falling off the chair (I think it was maths)
3. Griff Duncan (the Principal) warning us about country girls if we were sent to a small country school (pupils - not town girls)
All in all, quite interesting but not much practical use or help.
In 1957 we were all anxiously awaiting appointment to our first school - some were appointed before Christmas – but most over the Christmas holidays. None ever arrived for E. Baker, so on the first day I reported to my nearest school which was Toukley Public.
After four days there, a telegram arrived with my first appointment – Assistant at Barraba Central for the following Monday. After finding it on a school atlas I was taken there by my parents and left at the local pub (The Central) where some other teachers boarded (the men anyway). Lady teachers lived at the Victoria Hotel just down the street.
I Spent two great years at Barraba Central – and met Joan who taught in the High School English Department while I was in Infants (2nd class)
We soon married and applied for a school with nearby accommodation and got Ingleburn Primary, a fairly big primary school near Campbelltown. I had 3rd class with 53 pupils! (3B)
I made lifelong friends with Max & Dot Small (he only had 52 in his class) then when the owners wanted their little farm house back, I applied for another school with accommodation and was appointed to Mulwala Central. I found out it was on the NSW/Victorian border - 100km west of Albury.
I arrived at Mulwala and rented a very poor housing commission house where our third child was born and taught 5-6th composite of 44-46 pupils and also BK & BP in the high school section.
I had a great five years at Mulwala. I met some wonderful people and had a great time golfing, playing tennis, water-skiing, going to the snowfields, working on local farms, bringing up 3 kids, eating fruit, collecting firewood, shooting fish, playing cards, socialising with the boss and his family and watching this great new game, Aussie Rules.
Then I applied for a move to the Central Coast, any school within 20 miles of Toukley. I was told that there were no vacancies in that area so I was resigned to staying in Mulwala for another year.
Then suddenly came news of a move to Budgewoi Primary - a teacher had been chosen by birthdate to join the Armed Forces to go to Vietnam and so we were off to Toukley and Budgewoi Public School.
When I arrived on the first day, after crossing the single lane wooden bridge, I was met by George and Edna Scala (Principal & wife) and the first question I was asked was if I was interested in sport at a school level
I knew straight away I'd found my Eldorado. The school then was about 156 pupils and 6 teachers – George & Edna Scala, Val Braudrick, Edna Moore, Roy Strange and Eric Baker.
I was given 5th grade and had a wonderful class of kids - among them John Douglas, Greg Mitchell, Les Rowlandson and Pam Jones to name a few. The school was very poorly equipped - no library, no canteen, no sporting equipment but a great band of school P&C helpers and Ella Hobman who was the backbone one of the school in those early days.
One of my other jobs was cutting the firewood for the classroom fires - the woodshed was at the end of the Infant’s block and I also gave out the warm milk at recess.
Another incident I remember was digging up an echidna in the top playground and getting a green tree snake out of a classroom after two days.
The school then began to expand at an alarming rate - new pupils were arriving as if by magic and by 1972 we were bursting at the seams - then the primary section was built and Wal Dean was here as principal for about 7 or 8 years – principal was a teaching job until about 1975.
One excursion I must tell you about was a trip to Canberra and back in one day, left Budgewoi at 7.30am by bus, to Mascot, flew to Canberra - coach all over Canberra, lunch at Ten Pin Bowling Club and then more sightseeing, plane back to Mascot – tea on the bus back to Budgie - got back about 7.30pm. A great day – I think it coast about $17 each.
Over the next few years, enrolment was creeping up to about 550 and 20 teachers - some you may remember were Scott Cole, Ron James, Garth Horton, Gary Balzola, Bob and Graeme Davidson, Charles Beresford, Anne Buckle, Edna Moore, Joan Baker, Shirley Craig, John Staunton, Leila Maher, John Saunders, Phil Roxburgh, Elsa Saunders, June Morton, Wendy Wakeham, Pam Slough, Janet Moloney, Diane Hutchison, Beth Foley, Mary Cosgrove, Wendy Donaldson, Debbie Pascal, Laura Stanley, Warren Dell, John Maher, Angela Convy, Greg Thomas and Bob Jordan.
Then came the glorious 80s. We could call these the dawn of a new era for Budgewoi - over the 10 years of the 80s we grew to over 900 pupils (at one stage we were about the sixth largest primary school in the state) and over 40 teachers.
I’ll never forget the time when we were enjoying a Christmas break up party with the staff and I asked Jenny Christensen who a nice young lady was – who was sitting on the teacher’s table. I was told she was Miss (I’ve forgotten her name now) who’d been on the Infant’s staff all year and I’d never seen her!
So you can see there are problems in a large school – especially the 18 demountables we had on site – constantly being moved to other schools and being brought back.
Sports Day was a monumental task to organise - by then Gary Balzola had taken over from me and he did a fantastic job - Friday afternoon we had about 500 kids walking down to Halekulani Oval, playing and returning to catch buses (which is another story).
At one stage we had about eight buses shuttling kids backwards and forwards to school each day. Over the glorious 80s we had 3 of the greatest principals ever appointed to Budgewoi Public School. These being John Swift, Bill Clayton and Peter Newman in 1990.
John Swift was a most caring man who knew every child in the school by name and gave his whole being to the school. Bill Clayton was another man who was a great acquisition to Budgewoi – guiding us through a most difficult time with very high pupil and teacher numbers and housing everyone in crowded conditions as well as being an astute money manager.
Peter Newman came in 1990 and heralded a new period - a period that saw Budgewoi School become well known all over the State – mainly in the Performing Arts area with the great help of that outstanding teacher Rhonda Brown, with visits to the Opera House, Glen St Theatre and the Entertainment Centre and later in the Environmental Area with the great help of another outstanding man Phil Heaton who gave more than any man could be expected to give to our school with the Nature Area, beautification of the grounds, elevated walkway and in the water conservation and management area.
In 1991 Budgewoi School lost 11 teachers and 330 pupils mostly to Northlakes Public School, as well as 11 demountables and we had a playground again. Then came the acquisition of the school bus in 1993 and in 1994-5 the pergola area was built with the great help of the P&C especially Barb and Mark Donsworth who spent many many hours and days of endless worry before it was a reality.
Now we had Bruce Thompson, who is carrying on the tradition of great principals at Budgewoi School.
One thing that has greatly impressed me while I’ve been at BPS is the great staff – not only the teaching staff but the office staff, the parent helpers and the canteen staff - all working together to make Budgewoi School what it is.
While at BPS I’ve been interested in the Toukley Golf Club and the Lakes Surf Club – I enjoyed both of these clubs very much and have spent many happy times there with the Maguires, Williams, Simpsons, Dearings, Martins, and Cafes in both the Senior Surf Club and the Nippers.
As well as my own family house being very active as Joan and I now have eight grandchildren ranging from 2 weeks old to 15 years old - these are a great joy to us both and we plan to visit them a lot more after 1996.
Some great pupils I can remember well are: Greg Dearing, Vikki Williams, Cathy Maguire, Tony Maguire, Pamela Jones, Debbie Williams, Margo Jones, Lorraine Doyle, Peter Deane, Wendy Costello, Phillip Hall, Jenny Hall, Russell Hall, Sandra Dobbyn, Neil Simpson, Anne Stevenson, Grahame Cafe, John Stevenson, Julie Cafe, Bruce Stevenson, Alan Cafe, Tony Keevill, Denise Massey, Gordon Clarke, The Buckle girls, Greg Smith, The Heaton girls, Elisa Leray, Terumi Naraschima and Erin Cafe.
I’ve really enjoyed the camping programme that BPS has been involved in – from Camp Toukley to Point Wolstoncroft, Lake Keepit and the Great Aussie Bush Camp at Tea Gardens, also Camp McKay Police Boys Camp at North Richmond. A great experience for primary school kids and teachers alike.
I’m not sure yet whether I’ll come back casual teaching to Budgewoi School – as you all know being a casual teacher is a very difficult job and I think I’ll be too busy trying to fit in all the things I’ve put off over the years. However you never know!
My wife Joan and I have a new interest that has developed over the past year and that is bridge - a wonderful card game that keeps your aging brain agile.
We also want to travel around Australia and maybe take a cruise around the islands and we’ve even thought of going to India or Italy – maybe!
There are always jobs around the house - I may even be talked into doing a bit of gardening - and I’d like to try white-water rafting, hot air ballooning, a camel safari and I’ll probably start playing that frustrating game, golf, again!
Thanks everyone for supplying us with the raw materials, for supporting me over the years and for howling your interest by coming here tonight and listening to this boring diatribe for so long!
In conclusion could I say that I’ve heard that a ’good school’ is a good school because of the great kids enrolled there but I don’t agree - I think the parents and the teachers working together make a good school and Budgewoi has had both of these important ingredients ever since the school’s inception and that has made it one of the best in NSW.
[Eric was taken well before his time by pancreatic cancer, and died on 19 July 2006]
Oh no! I thought this would never happen... I bought my first lalaloopsy Dyna Might, found her at Jumbo (local supermarket). The next day I got Charlotte :c help! Lol I'm not gonna buy everything though, just my favorites :)
17 JULY 13
So if you're looking at the image above and scratching your head, most likely you have a penis. Yes, welcome to a girl world entry where nothing makes sense to the male species. Today's submission: highlighting and contouring the face. This is definitely not instructional in any way shape or form as this was my first attempt and I am no make-up artist, so if you some how ended up here for that reason, sorry to disappoint. I'm just speaking to my own experience.
So what the heck is this? Well highlighting and contouring the face in the make-up world is used to bring forth areas of the face you want to highlight (using a foundation lighter than your skin tone), whilst hiding or diminishing other sections of the face with your contour (using a foundation darker than your skin tone). The face is 3-D. It's not flat, so H/C helps allow you to use your make-up to give your face more dimension. Most African American women including myself have 2-3 tones to the face whereas a lot of Caucasian women have 1-2. What that means is typically when we apply foundation in just one color, our face tends to look flat or ashy in certain areas because some areas of our natural skin are lighter or darker then others.
This is my first attempt at H/C, and I know I made a couple errors, but whatevers, you live, you learn. First error: I needed a much darker contour color. The color I used was probably only one shade off, but not enough to get a significant contour. Second, I used liquid foundation which, I mean, hey I think it turned out jussssst fine in the end, but I think a creme foundation is what most use and what I will switch too. Third, I do believe I actually did need a foundation in my own skin tone for the mid colors, so I'll be picking that up soon as well. Fourth, I had to use a brand of foundation not "of our people," because the product I usually use or buy only had one color in the stick creme foundation and was sold out of the rest. Fifth, I forgot to apply concealer first which I believe I should have before the foundation. Sixith, yes, should have done the eyes before the h/c foundation.
I used an elf foundation brush to paint on the foundation and a big fluffy no name brand brush to blend the colors together. As all the YT videos indicated, when you blend, that is not the time to rush. You need to make sure you take your time to evenly blend the colors together or else you end up with visible lines which is not what you want at all. I finished the look using a blend of a light silver, a dark silver, and a black on the eyelid. A brown mixed with a deep purple above the crease and a white mixed with a tan as the highlight and a really smudged black eyeliner around the eyes and some fake lashes. Again, should have started with the eyes, because I was forgetting stuff left and right...I did manage to put concealer above the eyes to blend the skin tones but I forgot the primer.
My review of the process: well, it IS a process. I am not a fan of this level of make-up because I'm a 5-10 minute face gal, and I'm done. This was nearly 6 layers of stuff built upon one another...moisturizer, foundation(s), concealer, eye make-up, setting powder, blush...I felt like a very pretty clown! Ha. Taking this stuff off was a beast. I mean, you set the make-up so it will stay on your face and then of course it doesn't want to come off, so lots of Dove soap and re-moisturizing the face aftewards. The look DOES give you a very beautiful photo ready glow. I was amazed when I saw the official blend, though again, would have been much better had I had a darker contour color. The reason I'm doing all this is of course for the upcoming wedding. I'm really not trying to be funny or mean here, but I am going to a state with NO black people. There are no black salons, no black make-up artists, no black products at CVS, I am truly going to be on my own, so I'm trying to nail it all down here, so I'm not stressed on the day of. The dear bride is trying to be so nice about my hair and my make-up, but I'm like, girrrrrllllllllll let's get real...no one there is going to have a clue what to do with me! Oh gosh, the other day she asked me if I wanted to go swimming when we get up there. Swimming!!! I'll file that question under, "can I touch your hair?" "you're not going to be offended if we order fried chicken are you," "and you voted for Obama...right?"
If you want to know how to do highlight/contouring, I've left you with a gift:
If you're African American/black:
If you want to see it used on another skin tone: youtu.be/hmEWb_ZdLlY
The optimal nutritional balance is important during pregnancy as this will affect the development of baby. The nutritional needs of pregnant women are increased during pregnancy. Eating good nutritious food also develop good eating habits for the growing child. For the first few weeks you may not have good appetite and you may not feel like to have proper meals this may be possible when you suffer from morning sickness or nausea. It is better to have small frequent meals in order to counter the effect of morning sickness. It is not true that you need to eat for 2 people, but pregnant women should only increase calorie intake by 300 calories. During second and third trimester the nutritional needs of the pregnant women is to be increased as the fetus grow rapidly. The total weight gain of pregnancy at full term should be around 10 to 12 kgs.
Distribution of pregnancy weight gain:
The baby amounts to 7-9 pounds
Amniotic fluid amounts to 2 pounds
Enlarged uterus amounts to 2 pounds
Increased volume of blood amounts to 4-5 pounds
Fluid present in maternal tissue amounts to 3-4 pounds
Placenta amounts to 2 pounds
Enlarged breasts for breastfeeding amount to 1 pound
The remaining pounds are fat deposits that are needed by the body for energy and breastfeeding.
Weight gain during pregnancy:
First trimester: 2 – 3 pounds
Second trimester: 3 – 4 pounds/ month
Third trimester: 3 – 4 pounds/month
Recommended weight gain during pregnancy:
BMI (kg/m2) Recommended Weight Gain
Low (BMI <19.8) 12.5-18 kg (28-40 lb)
Normal (BMI 19.8-26) 11.5-16 kg (25-35 lb)
High (BMI 26-29) 7-11.5 kg (15-25 lb)
Nutritional requirements during pregnancy:
Nutritional needs are increased during pregnancy.
Energy + 300 kcals/day
Protein + 15 gms/ day
Iron 38 mg/day
Calcium 1000mg/day
Folic acid 400 mcg/day
Thiamine + 0.2mg/day
Riboflavin + 0.2mg/day
Nicotinic acid + 2 mg/day
Energy: Due to increased metabolic activity there is increase in basal metabolism and calorie needs are increased at around + 300 kcals per day that is in second and third trimesters. The first trimester the calorie level is no need to increase. But the choice of foods should be nutritious and healthy.
Protein: During pregnancy extra protein requirement is needed. As protein is required for placenta, amniotic and maternal tissues. It is also needed to produce new blood cells. During pregnancy the protein requirement is around 15 gms per day. Especially in second and third trimester increased protein intake is necessary as the baby’s growth and development is fast in this period. The blood volume increases by 50% during pregnancy and body requires protein to increase blood volume. It is very important to get good quantity and quality of protein in order to meet nutritional needs.
Fats: Fats are essential part of healthy balanced diet. During pregnancy fats play an important role to support development of baby’s brain and eye. Monounsaturated and polyunsaturated fats are good choices of fats. Monounsaturated fats are good as they decrease LDL levels. Polyunsaturated fats contain omega 3 and omega 6 fatty acids.
Iron: Iron is very important nutrient during pregnancy. It is needed for the formation of red blood cells. Iron improves hemoglobin level during pregnancy. Especially in second and third trimesters extra amount of iron is needed for new growing baby and placenta. If there is deficiency of iron during pregnancy then it is associated with preterm delivery low birth weight and infant mortality.
Vitamin C: It helps in absorption of Iron. Vitamin C helps in healing of damaged tissues. It also improves immunity of pregnant women.
Folic acid: Folic acid helps in formation of red blood cells. And it plays a vital role in formation of genetic material called DNA that aids in proper formation of the cells and tissues. If there is deficiency of folic acid in pregnancy then there is risk of major birth defects. Severe folic acid deficiency can lead to megaloblastic anemia. It is good to have folic acid fortified breakfast cereals. Good sources of folic acid include green leafy vegetables, beans, nuts, citrus fruits and berries. Folic acid supplements to be taken during pregnancy.
Calcium: Calcium is required in diet during pregnancy. Calcium absorption and calcium excretion is high during pregnancy. Increased calcium requirement is needed for skeletal growth of fetus.
Fluids: Pregnant women should drink at least 6 to 8 glasses of water. Drinking water can prevent morning sickness. The fluid acts as the transport system it carries nutrients through the blood to the baby. Drinking water also improves bowel movement.
Foods to eat: Eggs, milk, milk products like cheese and yogurt as these are good sources of protein and calcium.
Fruits and vegetables are good for health. Fruits like cantaloupe, apricots, mangoes, orange, grapes, bananas and vegetables like green leafy vegetables, potato, sweet potato, pumpkin, carrots, capsicum.
Nuts can also be included as a part of diet as they are rich in carbohydrates.
Rice, Breads, Pasta and cereals are also good as they are rich in carbohydrates and provide calories.
Fortified breakfast cereals.
Foods to avoid during pregnancy:
Raw eggs as they may contain salmonella.
Uncooked meat or poultry as there may be risk of salmonella bacteria.
Avoid alcohol.
Avoid raw fish.
Limit your cholesterol intake to about 300 mg per day.
Limit intake tea and coffee as they contain caffeine.
Unpasteurized milk or juice. www.clinnovo.com
"Asparagus has long been recognized for its medicinal properties,"
[Wikipedia]:
Asparagus officinalis is a spring vegetable, a flowering perennial plant species in the genus Asparagus. It was once classified in the lily family, like its Allium cousins, onions and garlic, but the Liliaceae have been split and the onion-like plants are now in the family Amaryllidaceae and asparagus in the Asparagaceae. Asparagus officinalis is native to most of Europe, northern Africa and western Asia, and is widely cultivated as a vegetable crop.
Only young asparagus shoots are commonly eaten: once the buds start to open ("ferning out"), the shoots quickly turn woody.
Asparagus is low in calories and is very low in sodium. It is a good source of vitamin B6, calcium, magnesium and zinc, and a very good source of dietary fiber, protein, vitamin A, vitamin C, vitamin E, vitamin K, thiamin, riboflavin, rutin, niacin, folic acid, iron, phosphorus, potassium, copper, manganese and selenium, as well as chromium, a trace mineral that enhances the ability of insulin to transport glucose from the bloodstream into cells.[citation needed] The amino acid asparagine gets its name from asparagus, as the asparagus plant is rich in this compound.
The shoots are prepared and served in a number of ways around the world, typically as an appetizer or vegetable side dish. In Asian-style cooking, asparagus is often stir-fried. Cantonese restaurants in the United States often serve asparagus stir-fried with chicken, shrimp, or beef, and also wrapped in bacon. Asparagus may also be quickly grilled over charcoal or hardwood embers. It is also used as an ingredient in some stews and soups. In recent years, almost as a cycle dating back to early culinary habits, asparagus has regained its popularity eaten raw as a component of a salad.
Asparagus can also be pickled and stored for several years. Some brands may label shoots prepared this way as "marinated".
Stem thickness indicates the age of the plant, with the thicker stems coming from older plants. Older, thicker stalks can be woody and peeling the skin at the base will remove the tough layer. Peeled asparagus will poach much faster, however. The bottom portion of asparagus often contains sand and dirt, so thorough cleaning is generally advised before cooking it.
Green asparagus is eaten worldwide, though the availability of imports throughout the year has made it less of a delicacy than it once was. In the UK however, the "asparagus season is a highlight of the foodie calendar", beginning on April 23 and ending on Midsummer Day. As in the continental countries nearby, due to the short growing season and demand for local produce, asparagus commands a premium.
Nutrition studies have shown asparagus is a low-calorie source of folate and potassium. Its stalks are high in antioxidants. "Asparagus provides essential nutrients: six spears contain some 135 micrograms (μg) of folate, almost half the adult RDI (recommended daily intake), 20 milligrams of potassium," notes an article in Reader's Digest.[citation needed] Research suggests folate is key in taming homocysteine, a substance implicated in heart disease. Folate is also critical for pregnant women, since it protects against neural tube defects in babies. Studies have shown that people who have died from Alzheimer's Disease have extremely low to no levels of folate. Several studies indicate getting plenty of potassium may reduce the loss of calcium from the body.
Particularly green asparagus is a good source of vitamin C. Vitamin C helps the body produce and maintain collagen, the major structural protein component of the body's connective tissues.
"Asparagus has long been recognized for its medicinal properties," wrote D. Onstad, author of Whole Foods Companion: A Guide for Adventurous Cooks, Curious Shoppers and Lovers of Natural Foods. "Asparagus contains substances that act as a diuretic, neutralize ammonia that makes us tired, and protect small blood vessels from rupturing. Its fiber content makes it a laxative, too."
Water from cooking asparagus may help clean blemishes on the face if used for washing the face morning and night. From John Heinerman's "Heinerman's new Encyclopedia of Fruits and Vegetables": "Cooked asparagus and its watery juices are very good for helping dissolve uric acid (causes gout) deposits in the extremities, as well as inducing urination where such a function may be lacking or only done on an infrequent basis. Asparagus is especially useful in cases of hypertension where the amount of sodium in the blood far exceeds the potassium present. Cooked asparagus also increases bowel evacuations."
More people with complex needs can get improved employment supports on their path to long-term recovery, health and wellness, thanks to an $8.2-million provincial grant to the Canadian Mental Health Association of British Columbia.
Learn more: news.gov.bc.ca/28237
Sweet Fragrant Juicy Lychees or Litchis currently in abundance all over Thailand and at its cheapest best!
Thailand is also fondly referred to as the world’s kitchen owing to its vast variety of fruits and vegetables. Delicious and juicy lychee or “Litchi” heralds you the arrival of summer. Besides sweet and nutritious, the berries have cooling effect on the human body. Botanically, this exotic fruit belongs to the family of Sapindaceae and named scientifically as Litchi chinensis.
Litchis, not only eye-catching in spring when the huge sprays of flowers adorn the tree but also is a stunning sight for nature lovers when the tree is full of berries.
In structure, the fruit is a drupe; oval, heart-shaped or nearly round, measures about 3–5 cm long and 3 cm in diameter and weigh about 10 g. In appearance, the fruit has close resemblances with longan and rambutan fruits.
Its outer surface is covered with rough leathery rind or peel featuring pink color. The peel can be easily removable in the ripe fruits. Inside, the pulp consists of edible portion or aril that is white, translucent, sweet, and juicy.
The fruit has sweet, fragrant flavor and delicious to savor. The pulp has single, glossy brown nut-like seed, 2 cm long, and 1–1.5 cm in diameter. The seeds, like in sapodilla, are not poisonous but should not be eaten. Fresh lychees are readily available in the markets from June to October, about 120-140 days after flowering.
Separate each fruit from the brunch and wash them in cold water. To peel; gently pinch at stem end and peel away outer coat slowly as in the top picture. Furthermore, using a small-paring knife, make an incision over its outer tough skin lengthwise all the way to tip. Take care not to press the fruit otherwise you squirt its juice! Next; carefully peel away the tough outer skin along with the inner thin membrane to expose beautiful, jelly textured translucent white flesh. Once you remove its outer cover, put the whole berry in the mouth as you do in seed grapes. Do not bite. To enjoy, gently suck its divinely sweet juice by rolling between your tongue and palate and spit out the seed.
Lychee fruit contains 66 calories per 100 g, comparable to that in the table-grapes. It has no saturated fats or cholesterol, but composes of good amounts of dietary fiber, vitamins, and antioxidants.
Research studies suggest that oligonol, a low molecular weight polyphenol, is found abundantly in lychee fruit. Oligonol is thought to have anti-oxidant and anti-influenza virus actions. In addition, it helps improve blood flow in organs, reduce weight, and protect skin from harmful UV rays. (Takuya Sakurai (Kyorin University, Japan), Biosci. Biotechnol. Biochem., 72(2), 463-476, 2008).
Litchi, like citrus fruits, is an excellent source of vitamin C; 100 g fresh fruits provide 71.5 mg or 119% of daily-recommended value. Studies suggest that consumption of fruits rich in vitamin C helps the human body develop resistance against infectious agents and scavenge harmful, pro-inflammatory free radicals.
Further, it is a very good source of B-complex vitamins such as thiamin, niacin, and folates. These vitamins are essential since they function by acting as co-factors to help the body metabolize carbohydrates, protein, and fats.
Litchi also contains a very good amount of minerals like potassium and copper. Potassium is an important component of cell and body fluids help control heart rate and blood pressure; thus, it offers protection against stroke and coronary heart diseases. Copper is required in the production of red blood cells.
Selection and storage
Fresh lychee fruits are available in the markets from June to October. The Fruit must be allowed to ripen fully on the tree itself since the ripening process stops soon after harvested. Over maturity makes them turn dark-brown in appearance and lose their luster and flavor. While harvesting, snip off the entire fruit brunch, keeping just a short piece of the stem attached to the fruit.
In the store, choose fruits that feature fresh, without cuts or mold. Litchis have a very good shelf life. Fresh fruits can be kept at room temperature for up-to five days and can be stored for up to five weeks in the refrigerator. They can also be frozen or dried and canned for export purposes.
In April, on his sixty-sixth birthday, Don Zawasky, my big brother, was diagnosed with severe leukemia. He’s a self employed businessman who’s worked passionately over the years restoring, painting and rebuilding classic automobiles. The recession took it’s toll on business, but Don always managed to make ends meet, up until now. Don has always been the sole provider for the family. He and his wife Sandy, of forty five years, have also taken on the care of their two young grandchildren,ages ten and twelve, who live with them. In 2013 they were all evicted from their home of twenty two years when the river overflowed its banks and the house flooded. When Don’s friend had to have his leg amputated a couple of years ago, he and Sandy relocated to a larger and more expensive house to help him. He now lives with them and has a home and healthcare support. Don and Sandy have always been kind and generous people. Now, with his illness, Don’s in hospital, no longer able to work. He’s on the verge of losing everything, his business, his home and his life. Please help.
july 8th update:
Don is responding well to treatment! He is a fighter! Even great warriors sometimes need help -- thank you for yours!
Sweet Fragrant Juicy Lychees or Litchis currently in abundance all over Thailand and at its cheapest best!
Thailand is also fondly referred to as the world’s kitchen owing to its vast variety of fruits and vegetables. Delicious and juicy lychee or “Litchi” heralds you the arrival of summer. Besides sweet and nutritious, the berries have cooling effect on the human body. Botanically, this exotic fruit belongs to the family of Sapindaceae and named scientifically as Litchi chinensis.
Litchis, not only eye-catching in spring when the huge sprays of flowers adorn the tree but also is a stunning sight for nature lovers when the tree is full of berries.
In structure, the fruit is a drupe; oval, heart-shaped or nearly round, measures about 3–5 cm long and 3 cm in diameter and weigh about 10 g. In appearance, the fruit has close resemblances with longan and rambutan fruits.
Its outer surface is covered with rough leathery rind or peel featuring pink color. The peel can be easily removable in the ripe fruits. Inside, the pulp consists of edible portion or aril that is white, translucent, sweet, and juicy.
The fruit has sweet, fragrant flavor and delicious to savor. The pulp has single, glossy brown nut-like seed, 2 cm long, and 1–1.5 cm in diameter. The seeds, like in sapodilla, are not poisonous but should not be eaten. Fresh lychees are readily available in the markets from June to October, about 120-140 days after flowering.
Separate each fruit from the brunch and wash them in cold water. To peel; gently pinch at stem end and peel away outer coat slowly as in the top picture. Furthermore, using a small-paring knife, make an incision over its outer tough skin lengthwise all the way to tip. Take care not to press the fruit otherwise you squirt its juice! Next; carefully peel away the tough outer skin along with the inner thin membrane to expose beautiful, jelly textured translucent white flesh. Once you remove its outer cover, put the whole berry in the mouth as you do in seed grapes. Do not bite. To enjoy, gently suck its divinely sweet juice by rolling between your tongue and palate and spit out the seed.
Lychee fruit contains 66 calories per 100 g, comparable to that in the table-grapes. It has no saturated fats or cholesterol, but composes of good amounts of dietary fiber, vitamins, and antioxidants.
Research studies suggest that oligonol, a low molecular weight polyphenol, is found abundantly in lychee fruit. Oligonol is thought to have anti-oxidant and anti-influenza virus actions. In addition, it helps improve blood flow in organs, reduce weight, and protect skin from harmful UV rays. (Takuya Sakurai (Kyorin University, Japan), Biosci. Biotechnol. Biochem., 72(2), 463-476, 2008).
Litchi, like citrus fruits, is an excellent source of vitamin C; 100 g fresh fruits provide 71.5 mg or 119% of daily-recommended value. Studies suggest that consumption of fruits rich in vitamin C helps the human body develop resistance against infectious agents and scavenge harmful, pro-inflammatory free radicals.
Further, it is a very good source of B-complex vitamins such as thiamin, niacin, and folates. These vitamins are essential since they function by acting as co-factors to help the body metabolize carbohydrates, protein, and fats.
Litchi also contains a very good amount of minerals like potassium and copper. Potassium is an important component of cell and body fluids help control heart rate and blood pressure; thus, it offers protection against stroke and coronary heart diseases. Copper is required in the production of red blood cells.
Selection and storage
Fresh lychee fruits are available in the markets from June to October. The Fruit must be allowed to ripen fully on the tree itself since the ripening process stops soon after harvested. Over maturity makes them turn dark-brown in appearance and lose their luster and flavor. While harvesting, snip off the entire fruit brunch, keeping just a short piece of the stem attached to the fruit.
In the store, choose fruits that feature fresh, without cuts or mold. Litchis have a very good shelf life. Fresh fruits can be kept at room temperature for up-to five days and can be stored for up to five weeks in the refrigerator. They can also be frozen or dried and canned for export purposes.
BONES: Brennan (Emily Deschanel, R) and Booth (David Boreanaz, C) help reunite a Jane Doe (guest star McKenzie Applegate, L) with her family in "The Signs in the Silence" episode of BONES airing Thursday, May 5 (9:00-10:00 PM ET/PT) on FOX. ©2011 Fox Broadcasting Co. Cr: Ray Mickshaw/FOX
Ingredients: Pineapple, mango, orange, and a carrot.
Pineapple:The fruit is low in calories (provides only 50 cal per 100 g), contains no saturated fats or cholesterol; but rich source of soluble and insoluble dietary fiber like pectin.
Pineapple fruit contains a proteolytic enzyme bromelain that digests food by breaking down protein. Bromelain also has anti-inflammatory, anti-clotting and anti-cancer properties. Studies have shown that consumption of pineapple regularly helps fight against arthritis, indigestion and worm infestation.
Mango: Mango fruit is rich in pre-biotic dietary fiber, vitamins, minerals, and poly-phenolic flavonoid antioxidant compounds.
According to new research study, mango fruit has been found to protect against colon, breast, leukemia and prostate cancers. Several trial studies suggest that polyphenolic anti-oxidant compounds in mango are known to offer protection against breast and colon cancers.
Orange: Nutrients in oranges are plentiful and diverse. The fruit is low in calories, contains no saturated fats or cholesterol, but is rich in dietary fiber, pectin, which is very effective in persons with excess body weight. Pectin, by its action as bulk laxative, helps to protect the mucous membrane of the colon by decreasing its exposure time to toxic substances as well as by binding to cancer causing chemicals in the colon. Pectin has also been shown to reduce blood cholesterol levels by decreasing its re-absorption in the colon by binding to bile acids in the colon.
Oranges, like other citrus fruits, is an excellent source of vitamin C (provides about 60% of DRI); Vitamin C is a powerful natural antioxidant. Consumption of foods rich in vitamin C helps body develop resistance against infectious agents and scavenge harmful, pro-inflammatory free radicals from the blood.
Carrot: They are exceptionally rich source of carotenes and vitamin-A. 100 g fresh carrot contain 8285 mcg of beta-carotene and 16706 IU of vitamin A. Studies have found that flavonoid compounds in carrots help protect from skin, lung and oral cavity cancers.
Carotenes are converted in to vitamin A in the liver. Beta-carotene is the major carotene that is present in these roots. Beta carotene is one of the powerful natural anti-oxidant helps protect body from harmful fee radical injury. In addition, it also has all the functions of vitamin A such as vision, reproduction (sperm production), maintenance of epithelial integrity, growth and development.
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
Recruits from Company C help a fellow recruit climb an 8-foot wall at Parris Island, S.C., Dec. 14, 2012. The recruits participated in the “crucible,” a two-day event that requires future marines to march 50 or more miles, while using teamwork to complete tasks set in front of them. This challenging task is the last obstacle put in their way before receiving the eagle, globe, and anchor, and gaining the title “Marine” for the first time. (U.S. Air Force photo/Staff Sgt. Christopher Griffin)
#195 of 365 Days of Photos 2007
Ah, The Perfect Summer Cocktail.
And healthy too!
As none other than the BBC tells us...Gin and Tonics were -like Gin itself- originally developed as a medicine. In this case to help fight malaria. When the British were in the East they became susceptible to malaria and eventually found out that quinine (an ingredient in Tonic Water) was useful for getting rid of the disease. Well, as you would probably expect, drinking Tonic Water by itself is pretty nasty (unless you've acquired a taste for it) and they had problems getting the British in the East to drink it.
Along comes our friend Gin to be mixed with the Tonic Water, which not only made drinking it much more pleasant, but also created an excellent drink that would be remembered from then on, even if its relationship to the disease was forgotten. So, as you can see, Gin and Tonic Water came about due to medicinal reasons, then caught on later for thier more pleasurable aspects.
On a minor note, the Lime (served in any GOOD Gin and Tonic) being a citrus fruit (and therefore containing Vitamin C) helps to prevent scurvy. Usually the limes are not the dominant ingredient of Gin and Tonic, so they won't actually get rid of scurvy if you've already got it - unless you drink A LOT of Gin and Tonics of course.
So there you have - a health tonic! Enjoy!
A U.S. Soldier assigned to the 82nd Airborne Division out of Fort Bragg, N.C., helps a woman carry a 55-pound bag of rice she received from the World Health Organization in Port-au-Prince, Haiti, Jan. 31, 2010. The Department of Defense and the U.S. Agency for International Development are in Haiti supporting Operation Unified Response, a multinational, joint-service operation to provide humanitarian assistance to Haitians affected by the 7.0-magnitude earthquake that struck the region Jan. 12, 2010. (DoD photo by Chief Mass Communication Specialist Robert J. Fluegel, U.S. Navy/Released)
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
More people with complex needs can get improved employment supports on their path to long-term recovery, health and wellness, thanks to an $8.2-million provincial grant to the Canadian Mental Health Association of British Columbia.
Learn more: news.gov.bc.ca/28237
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
BONES: Brennan (Emily Deschanel, C) helps Booth (David Boreanaz, L) do the best thing for his grandfather Hank (guest star Ralph Waite, R) in the BONES episode "The Foot in the Foreclosure" airing Thursday, Nov. 19 (8:00-9:00 PM ET/PT) on FOX. ©2009 Fox Broadcasting Co. Cr: Greg Gayne/FOX
More people with complex needs can get improved employment supports on their path to long-term recovery, health and wellness, thanks to an $8.2-million provincial grant to the Canadian Mental Health Association of British Columbia.
Learn more: news.gov.bc.ca/28237
BONES: Brennan (Emily Deschanel, C) helps Booth (David Boreanaz, R) do the best thing for his grandfather Hank (guest star Ralph Waite, R) in the BONES episode "The Foot in the Foreclosure" airing Thursday, Nov. 19 (8:00-9:00 PM ET/PT) on FOX. ©2009 Fox Broadcasting Co. Cr: Greg Gayne/FOX
More people with complex needs can get improved employment supports on their path to long-term recovery, health and wellness, thanks to an $8.2-million provincial grant to the Canadian Mental Health Association of British Columbia.
Learn more: news.gov.bc.ca/28237
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
More people with complex needs can get improved employment supports on their path to long-term recovery, health and wellness, thanks to an $8.2-million provincial grant to the Canadian Mental Health Association of British Columbia.
Learn more: news.gov.bc.ca/28237
People with temporary and permanent disabilities, and seniors, and parents with strollers will benefit from accessibility improvements supported by $5 million in provincial funding to Rick Hansen Foundation.
Learn more: news.gov.bc.ca/29292
More people with complex needs can get improved employment supports on their path to long-term recovery, health and wellness, thanks to an $8.2-million provincial grant to the Canadian Mental Health Association of British Columbia.
Learn more: news.gov.bc.ca/28237