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Pink shirt day was started in 2007 by two students in Nova Scotia, who stood up for a fellow classmate who was being bullied. Since then, BC has taken a strong stance against bullying and has officially marked the last Wednesday in February as Anti-Bullying Day - where British Columbians throughout the province where pink in solidarity.
Premier Christy Clark visited Point Grey Secondary School in Vancouver to take part in anti-bullying activities, and announced a $15,000 grant for the school to help anti-bullying efforts, as part of $1 Million budgeted from civil-forfeiture proceeds for this purpose.
Learn More: www.newsroom.gov.bc.ca/2013/02/school-led-anti-bullying-e...
Follow @ERASEbullyingBC on Twitter:
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Sir Richard Redman / Redmayne 1426 of Levens, Westmorland and 2nd wife Elizabeth Aldburgh c1417-22, widow of Sir Brian Stapleton of Carlton d1391 by whom she had a son Brian . Elizabeth was the eldest daughter and co-heiress of William de Aldeburgh / Aldburgh, Lord of the manor of Harewood Castle (they married in 1393).
Children at least 2 sons and 2 daughters
1. Matthew d1416 m Johanna daughter of Sir Thomas Tunstall, of Thurland Castle, whose son Edward 1510 www.flickr.com/photos/52219527@N00/8389510178/ succeeded here.
2. Richard of Bossall
3 Joan m Sir Thomas Wentworth
4. daughter m Richard Duckett d1448 of Grayrigg
.
In 1392 Elizabeth and her sister Sibyl www.flickr.com/photos/52219527@N00/8390159566/ jointly inherited Harewood castle and estate on the death of their brother William and were responsibe for building this church c1410.
Sir Richard had m1 and had 1 son Matthew who dsp in his father's lifetime. Sir Richard was Sheriff of Cumberland 1390-1413, later Sheriff and MP for Yorkshire, and Speaker in 1415 of the House of Commons, later taking part in the Battle of Agincourt.,
They were buried in the church of the Black Friars at York with Elizabeth's 1st husband Sir Brian Stapleton
After Elizabeth's death Richard m3 he married Elizabeth daughter of Sir William Gascoigne of Gawthorpe, Chief Justice of England www.flickr.com/photos/52219527@N00/8390344858/
By his will Sir Richard left the manors of Levens and certain Harewood estates to his younger son Richard in trust for his grandson Richard, then a minor ; on the death of this Richard without heirs to his son Richard, and failing heirs of the latter to John Redman, son of Elene Grene, &c. The manors of Kereby and Kirkby (Kirkby Overblow) he devised to Brian de Stapleton, son of Sir Brian
Stapleton by his (Sir Richard's) first wife, Elizabeth Aldeburgh, under certain conditions as to forfeiture, &c.
www.historyofparliamentonline.org/volume/1386-1421/member...
In later years ttheir descendants married into the Gascoigne / Gascoyne family who eventually became Lords of the manor
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Over 120 community safety leaders gathered to recognize their peers with the Community Safety and Crime Prevention awards.
Learn more about the five community crime fighters who were recognized: news.gov.bc.ca/releases/2015JAG0272-001868
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The New Westminster Police Department has unveiled a transformed Hummer, which was designed by 12 year old New Westminster student Christian W.
The Hummer H2 was provided to the New Westminster Police Department through the provincial government’s civil forfeiture program. This prompted the New Westminster Police Department to have the Wrap our Ride contest, where local youth were asked to submit design ideas for the seized vehicle’s wrap. The unveiling was held in conjunction with the New Westminster Secondary School Rock Solid theatrical performance which addresses school bullying and violence.
Learn more:
FROM A SENSE OF PUBLIC ORDER, AND A REGARD FOR THE OBSERVANCE OF THE SABBATH, THE INHABITANTS OF ASHTON, AT A VESTRY MEETING ASSEMBLED, ARE DETERMINED TO ENFORCE THE FOLLOWING REGULATIONS...
Vestry meetings date from the 14th century and were from the outset concerned with both religious and secular matters. In some ways they bridged the gap between the end of the feudal system and the emergence, in the late 19th century, of modern forms of local government, having a specific responsibility for poor relief in the Tudor period. Vestries could be either “open” -a general meeting of all rate-paying householders in a parish- or “select” - an executive body comprising the more prominent citizens and parish office-holders.
The remainder of the document -to which 35 Ashtonians put their names- reads as follows:
“No Person, without reasonable Excuse, shall be absent from some Place of Divine Worship on a Sunday. Penalty, One Shilling.
No Person shall work, or exercise his ordinary Calling, on the Lord's Day. Penalty, Two Shillings; and for Default, Stocks two Hours.
No Drover, Horse Courser, Waggoner, Butcher, Higgler, or their Servants, shall travel on a Sunday. Penalty, Twenty Shillings, and for Default, Stocks two Hours.
No Fruit, Herbs or Goods of any Kind, shall be carried, or exposed to Sale on a Sunday. Penalty, Forfeiture of Goods.
No Person shall kill Game on a Sunday. Penalty, from Ten Pounds to Twenty Pounds for the first Offence; Twenty Pounds to Thirty Pounds, for the second Offence; and Fifty Pounds, for the third Offence.
No Person shall profanely curse or swear. Penalty, One Shilling to a Day Labourer; [illegible] Shillings to every other person under the Degree of a Gentleman; and Five Shillings to a Person of, or above, the Degree of a Gentleman. For a second Offence, double, &c.
Every Person convicted of Drunkenness, shall forfeit Five Shillings for the poor, or be st in the Stocks six Hours.
If an Alehouse-keeper be convicted of Drunkenness, he shall forfeit Five Shillings and be deprived of the Licence for three Years.
If any person, except Travellers, be found tippling in any Alehouse, on the Lord's Day, in betwixt the Hours of Ten and Twelve, in the Forenoon, and Three and Five, in the Afternoon, he shall forfeit Three Shillings and Fourpence, or be set in the Stocks four Hours. And the Alehouse-keeper who shall suffer such tippling in his House, shall forfeit Ten Shillings, and be deprived of his Licence for three Years.
No Person shall exercise any unlawful Sport, or Play, on Pain of forfeiting Three Shillings and fourpence and being set in the Stocks three Hours.
If a Constable neglects his Duty, he forfeits Forty Shillings.
RULES AND ORDERS
All Public-Houses are to be cleared from Company, and shut up, when the Chapel Bell tolls at Half past Nine o'Clock, Sunday Nights, and, at Half-past Ten o'Clock, on all other Nights in the Week.
These Regulations shall be printed, and a Copy shall be delivered to each Publican and shall be pinned upon a conspicuous Place within each Public-House.”
From a copy at the Museum of Wigan Life.
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Today (Saturday) was the highlight of the churchcrawling calendar: Ride & Stride coupled with Heritage Weekend. The day on which many churches that are usually locked could be found open.
Three years ago, 12 out of 12 were open, and two years ago I think 10 out of 12 were open.
This year would be a different experience.
That is because, some churches are locked all the time outside services, even on Ride and Stride, their only concession is to have the charity signing sheet pinned to a door or in the porch. Maybe some refreshments for the riders and striders, but it seems the days of most churches being open are long gone.
Maybe I was unlucky. But Boughton-Under-Blean, Great Chart, Little Chart were among those locked fast today.
So bad was the experience, with the weather as well, I might not bother next year.
Having walked to the door of Great Chart, a church in a large village on the outskirts of Ashford, there was no wardens, and the church locked, though refreshments available, but again no one came to refresh the used glasses.
The plan was to end at Brookland to see inside the triple candlesnuff tower, but three hours on the Marsh, with most churches visited several times, I gave in and came home.
I got back at quarter to four, there was a brew waiting, andI had bought a couple of small Bakewells from Tesco when I called in to buy pizza for dinner.
I had woken up at seven, with the sound of heavy rain outside. There was even a few rumbles of thunder. The clouds so low and thick that we need the table light on to see.
I made final touches to my plans for the day. Jools was going to stay home. Maybe not get dressed.
I left just after nine, rain was falling steadily. I made my way to the A2, then up to Barham where I turned towards Wigham, before turning off at Addisham.
Addisham is a nice church. Old, but they had replaced the heating and floor a decade back, and it was open as part of Heritage weekend, this one should have been open.
It was, and whilst I took shots of details, I chatted with the two wardens, one of whom remembered my from my previous visit a decade back.
When I left the church, I saw a torrential downpour had started, and the road I parked on had turned into a river. I got soaked in the 15 yards back to the car, and feet wet from the road.
I decided to not go to Hackington in Canterbury, that would require using endless back lanes. Instead I drove back to the A2, then north in driving rain to Boughton-Under-Blean.
Boughton is not often found open, but I battled the partially flooded lanes and traffic forcing me off the road, arriving at the church with the rain coming down just as hard.
I used an umbrella, walked up the path under the trees, meaning it seemed even darker. None of the three doors was unlocked, with the Ride and Stride sheet pinned to the west door, and no refreshments for the riders and striders.
I went back to the car, and decided to head north to find dry weather. Back to the A2, then up to the services for a comfort break and two sausage rolls from Greggs.
Refreshed, and the clouds having parted and blue sky seen, soon sunshine brightened everything.
I had to get through the traffic at the top of Bluebell Hill, then down the A229, before turning off north to get to the banks of the Medway.
I thought I recognised the new road to Burham. It was being built last time I was here. I parked outside, and upon entering I recognised the wooden wheel from the tower for the bells, now hung on the north wall.
I took shots anyway, as I was there. But I now doubted the next church, Wouldham: had I been there before too?
It was a ten minute drive through the narrow streets of the village, but I arrived at the church. Good news was that I did not recognise it.
I walked to the door, turned the handle, and found it locked.
A voice came from inside:
Who is it, what do you want?
I thought the church would be open, I take photographs.
The door opened.
No, the church isn't open today, would you like to come in to take shots?
That would be great, thanks.
Meetings like this is what churchcrawling is all about. We talked long about this and that, and I got my shots. The church though interesting from the outside with its offset tower, but quite plain on the inside.
I set course for Thurnham, a church I have never found open.
I sighed and made my way back to the 229, then down to the M20, before turning east for one junction to Detling.
Next village along is Thurnham, and driving past the pub I could see the church just through the trees below. I turned down the hill, and parked beside a hedge between two mansions. There is a path leading between the large houses to the church.
I walked along to the gate into the churchyard, a bike was parked by the open porch door. A good sign.
Indeed the church was open, I walked in with a huge smile, and the warden was equally pleased to see another visitor.
I explained I had been here on six previous occasions and found it locked, but this was a red letter day as it was open.
I talked for a while with the warden and a rider, who was taking a break. We talk about churches and their fittings.
Little did I know, this was the last church of the day. That would be open.
I was going to go to Hothfield, but the road to the church was closed, so I drove on to Little Chart for the 20th century church there.
I struggled to find it, having driven past it in the rain without realising. Without getting out of the car, I could see a cool box and the Ride and Stride form on it.
This wasn't open either.
My mood got even lower.
Final chance was Great Chart.
Great Chart is a big village on the edge of Ashford, surely there would be wardens and it be open? If it wasn't, I told myself, I would go home.
I parked opposite, walked over in steady rain and found the usual sheet and squash in the porch. The inner door locked.
Bugger it.
I held my promise and turned for home through Ashford to the motorway. It was twenty past two, and the radio went through previews of the games to come.
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Famous for the grave of Walter Burke, in whose arms Nelson died. The church stands low in its valley and is visually undistinguished, but external appearances are misleading as it contains a great deal of interest. Part of the arcade between south aisle and nave is formed of Saxon walling, with a double splayed window visible over the central arch. The wall was cut through by the present arcade in the thirteenth century. There is a standard twelfth-century font of five columns supporting a square bowl. The tower stands in an unusual position to the north-west of the nave, and the doorway between tower and north aisle shows deep notches cut by the bell ropes when the Sanctus bell was rung. By standing outside the door the ringer could see the high altar and the altar of St Blaise in the south chapel. A lancet in the chancel forms a low side window, while a more conventional, although much smaller, low side window exists in the south-east corner of the south aisle. There is also a fine fourteenth-century piscina.
www.kentchurches.info/church.asp?p=Wouldham
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WOLDHAM.
NEXT to the parish of St. Margaret and liberty of Rochester, southward, lies the parish of Woldham, written in the Saxon charters, Wuldaham, in the succeeding Latin ones, Vuldeham, and in the record of Domesday, Oldeham.
This place is supposed to take its name from the Saxon words wolde, a plain open down or hill, free from trees and wood, and ham, a village or dwelling; in the like manner as those large open downs in the north are still called wolds, in opposition to weald, a low woody region. (fn. 1)
It is likewise described in several later grants by the name of Woldeham Monachorum, from its belonging to the monks of Rochester.
THE PARISH of Woldham lies on the eastern bank of the river Medway, something more than two miles from the city of Rochester, in a situation of a very disferent aspect, and far less pleasant than that of the country last described, though so few miles distant from it. The village having the church in it, lies at the foot of the hills, very low, almost close to the river Medway (which is the western boundary of this parish) and from its contiguity to the marshes is accounted far from being healthy. In it there is a handsome sashed brick house, named Woldham house, built by Captain Robert Trevor, of the navy, since the residence of George Guy, esq. About a mile northward, in a situation equally low, and about the same distance from the river, is the house of Starkey's, which, though now only a farm-house, has still a handsome appearance, being a strong building of stone, with gothic windows and door cases, of ashlar stone. Hence, as well as from the back of the village, the hills rise to a great height eastward, as far as Nashenden, being mostly uninclosed, open downs, the soil of which is chalk, much covered with slints, being poor and unfertile, a dreary country.
About forty years ago, in digging a trench from Woldham house up to the open downs, there were found several instruments of an antique form like a wedge, or axe, usually called celts, which were chiefly of brass.
This parish ought antiently to have contributed to the repair of the fourth pier of Rochester bridge. (fn. 2)
ETHELBERT, king of Kent, in the year 751, first gave Vuldeham to the church of St. Andrew, in Rochester; but sometime after it was taken from it, and several kings possessed it, one after the other, till the time of king Edmund, who began his reign in 941, of whom one Ælsstan Heahstanine bought it, at the price of one hundred and twelve marcs of gold, and thirty pounds in money, on whose death, Ælfege, his son, succeeded to it, who by will made in the presence of archbishop Dunstan, about the year 970, made a distribution of all his effects, and devised one part to Christ-church, in Canterbury, one part to the church of Rochester, and the remaining third part to his own wife. Notwithstanding which, one Leossunu, who had married his nephew's widow, endeavoured to set aside this disposition, as well as the archbishop's testimony in relation to it, and entered on them, but they were recovered from him in a solemn trial held at Erhede by the archbishop, for this purpose. After which, on the division of these estates, Vuldeham seems to have been part of that share of them allotted to the church of St. Andrew, in Rochester. King Ethelbert, in the year 995, confirmed Wuldaham, which then contained six mansœ, which the Kentish men called sulings, to St. Andrew's and bishop Godwin.
In the book of Domesday, Woldham is thus described, under the general title of the bishop of Rochester's lands:
The 'same bishop (of Rochester) holds Oldeham. It was taxed for six sulings in the time of king Edward the Confessor, and now for three. The arable land is five carucates. In demesne there are two, and eighteen villeins, with sixteen borderers having six carucates. There are six servants, and one fishery, and sixty acres of meadow. Wood for the pannage of twenty hogs. There is a church. In the time of king Edward the Confessor, and afterwards, it was worth eight pounds, now twelve pounds.
Bishop Gundulph, who was elected to the see of Rochester in the time of the Conqueror, on the division of the revenues of his church, allotted this manor, with its appendages, to the monks; to the use of their refectory, in lieu of Freckenham, in Suffolk, which he took in exchange for it, chusing rather, as the latter lay at so remote a distance from Rochester, that himself and his successors should be put to the inconvenience of going there, than that the monks, or the poor of that parish, should be yearly harrassed in carrying their corn so far, (fn. 3) but bishop Gilbert de Glanvill, on his coming to the see of Rochester in 1185, claiming this manor with its appendages, among others, which had been allotted to them by bishop Gundulph, as belonging to the maintenance of his table, the monks were at last forced to submit. In consequence of which, though he took the church of Woldham from them, yet they continued in possession of the manor till the dissolution of the priory in the 32d year of king Henry VIII.
In the reigns of king Edward I. and II. the bishop of Rochester claimed several liberties, as belonging to all the lands and fees of his church, as did the prior of Rochester in the 21st year of the former reign in this manor, (fn. 4) both equally the same as has been already more fully mentioned under Frindsbury. (fn. 5)
King Edward I. in his 23d year, granted to the prior and convent free warren in all their demesne lands of this manor; so that no one should hunt or take any thing on them which belonged to warren, without their licence, on forfeiture of ten pounds. (fn. 6)
The manor of Woldham, on the dissolution of the priory of Rochester in the 32d year of Henry VIII. was surrendered, with the other possessions of it, into the king's hands, who, in his 33d year settled it on his new-founded dean and chapter of Rochester, with whom the inheritance of it continues at this time.
There is a court leet and court baron held for this manor.
The lessee of it, under the dean and chapter of Rochester, is Mr. Iden Henham.
In the Custumale Roffense there is frequent mention made of a water mill in Woldham, belonging to the above manor, and the custom was, that once a year every house was obliged to send one man for a day, to clear the passage, ditch, and mill-pond, that the water might come well to turn the mill; and there were two particular acres of land, the occupiers of which were to clean the ditch, which led from the river to the millpond.
There were several small parcels of land granted at several times to different persons by the prior and convent of Rochester, lying in Magna and Parva Woldham, being two divisions in this parish, a more particular account of which may be seen in the Registrum Roffense.
RINGS is a manor here, a small part of which extends itself into the adjoining parish of St. Margaret, in Rochester. It was formerly in the possession of Robert de Woldham, after which it became separated into moieties, one of which became part of the estate of the eminent family of Cosington, of Cosington, in Aylesford, and the other became the property of Carter. From the family of Cosington that moiety passed by sale in the reign of Henry VI. to William Whorne, afterwards knighted, and lord-mayor of London, who built Whorne's-place, in Cookstone, where he resided; and the other moiety passed about the same time to Laurence; they, by a mutual deed of conveyance, alienated their joint interest in this manor to William Hadde, of Meriam-court, in Frinsted, who in the 36th year of that reign, gave it to his second son, Mr. John Hadde, whose descendant sold it to Thomas Roydon, esq. of Roydon-hall, in East Peckham, who, among others, in the 31st year of king Henry VIII. procured his estates to be disgavelled by act of parliament. From Roydon this manor passed to Brockhull, of Aldington, in Thurnham, whose descendant, Henry Brockhull, alienated it to Sir John Leveson, alias Lewson, of Whorne's-place, in Cookstone; (fn. 7) after which it passed, in like manner as that seat by sale to the family of Marsham, in which it has continued down to the right hon. Charles lord Romney, the present possessor of it.
STARKEYS is a manor here, lying in that district of this parish called Little Woldham, which was formerly known by the name of the manor of Lyttlyhall and Woldham.
In the reign of king Edward III. it seems to have been in the possession of Richard Byset, who held it as one quarter of a knight's fee in Parva Woldham, (fn. 8) and afterwards passed it away to Henry de Bokeland, who alienated it to Henry Newman, and he held it in the 20th year of that reign of the bishop of Rochester as above-mentioned. His descendant, Henry Newman, conveyed it to Humphry Starkey, descended from the Starkeys, of Wrenbury, and Oulton, in Cheshire, and bore for his arms, Sable, a stork proper, who in the 12th year of king Edward IV. was made recorder of London, and in the 2d year of king Richard III. chief baron of the exchequer, having been knighted before. (fn. 9)
He built a good house here, being a large strong edifice of stone, tho' much larger formerly than it is at present, together with a handsome chapel on this manor, a fragment of the latter only being now left at the east angle of the house, which, from that and his residence here acquired the name of Starkeys. (fn. 10) He died possessed of this manor, and lies buried in St. Leonard's, Shoreditch, in London, leaving four daughters his coheirs; and on the division of their inheritance, this manor fell to the share of Sir John Rainsford, who had married Anne, the youngest of them. His son, of the same name, was a person much in favour with king Henry VIII. who made him a privy counsellor. (fn. 11) He alienated this estate to Lambe, who passed it away to Sir John Leveson, alias Lewson, from which name it was sold, together with the manor of Rings before mentioned, in the reign of king Charles I. to John Marsham, esq. whose descendant, the right hon. Charles lord Romney, is the present possessor of this manor and estate.
SELLERS is a manor, which lies partly in this parish and partly in Burham, which with the mansion of it, called the Hall, alias Woldham ball, was held in the teign of king John, as appears by the inquisitions returned into the treasury in the 12th and 13th years of that reign, by Robert de Woldham Magna, as one quarter of a knight's fee, of the bishop of Rochester. Soon after which the possessors of this manor were called, from it, At-Hall, and in Latin deeds, De Aula. Robert Le Neve was owner of it in the reign of king Edward I. and then held it by the above tenure. His heirs sold it to John Atte Celar, written also At Celere, in Edward III's reign, whose descendant Warine Atte Celar, or De Celario, held this manor in the 30th year of it, and continuing in his descendants, it at length acquired the name of Sellers, as they now began to spell themselves. They bore for their arms, Argent, a saltier between four mullets gules; which arms were painted in a window of this church, and remained very lately in a window of the mansion-house of this manor.
The manor of Sellers remained in this family, till a female heir, about the reign of king Henry VII. carried it in marriage to John Beuly, gent. who bore for his arms, Argent, a chevron between three griffins heads erased, sable, and continuing in his descendants it gained the name of Beuly's-court, though the mansionhouse itself retained that of Hall-place, (fn. 12) alias Woldham hall. In this name of Beuly it continued till the year 1693, when it was alienated to Manley, who bore for their arms, Argent, a sinister hand couped, sable, and were descended from Thomas Manley, of Chester, (fn. 13) in which name it remained down to Mr. William Manley, who resided in it and died in 1779, and this manor became the property of his three sons and coheirs in gavelkind, from whom it was afterwards sold to Joseph Brooke, esq. on the death of whose widow, Mrs. Elizabeth Brooke, in 1796, it came by his will to the Rev. John Kenward Shaw, now of Town Malling, who has taken the name of Brooke, and is the present possessor of this estate. There is a court baron held for this manor.
There are no parochial charities.
WOLDHAM is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester.
The church, which is a small building, with a low square tower, on which was formerly a spire steeple, is situated at the south west extremity of the village, and is dedicated to All Saints. The steeple of this church, and much of the fabric, owe their original to the liberality of Stephen Slegge, of this parish, who was sheriff of Kent in the 20th year of king Henry VI. and gave by his will in the 36th year of it, one hundred marcs to be expended on it. It was formerly an appendage to the manor, and as such allotted by bishop Gundulph, in the division which he made of the possessions of his church, to the share of the monks of St. Andrew's; but bishop Gilbere de Glanvill, though he suffered them to retain the manor, yet he wrested this church out of their hands, and it has ever since remained in the possession of the bishops of Rochester, his successors.
Richard, bishop of Rochester, in the 9th year of king Edward I. at the instance of the prior and convent of Rochester, made enquiry by inquisition as to the method which the monks used in taking their portions of tithes within their manors, and what part of them was allowed to the several parish churches, by which it appeared, that in their manor of Woldham, the parish church, and the abbess of Malling took the whole of the tithes of sheaves only, but of other small tithes, it did not nor ever used to take any thing; and he decreed, that the parish church should be content with the tithes of the sheaves of every kind of corn only. All which was confirmed by John, archbishop of Canterbury, by inspeximus next year, anno 1281.
THE PORTION OF TITHES belonging to the abbey of Malling, was given to it by Ralf de Woldham, (fn. 14) being the third part of his tithe of corn, and two parts of the tithe of his demesne in this parish, and Robert de Woldham gave the whole of his tithe of Parva Woldham to it. In the 15th year of king Edward I. this portion of tithes was valued at eight marcs.
An inquisition was made by Thomas de Alkham, and the tenants of Woldham, concerning these tithes in this parish, belonging to the abbess in the 26th year of king Edward III.
In the Registrum Roffense, p. 694, is a particular account of the portions of sheaves, which the abbess took on the several lands in this parish, the names of which, of the owners and occupiers, and the measurement of them are therein mentioned, in which in some, the abbess had two sheaves, and the rector one; in others she had but one, and the rector two; in some she had the tenth sheas with the rector, and in the rest therein mentioned, she had all the tenth of sheaves.
Much dispute having arisen between the rector of this parish and the rector of Snodland, the opposite parish on the other side of the Medway, concerning the tithe of fish, caught within the bounds of this parish by the parishioners of the latter, it was submitted to the final decree of John, bishop of Rochester, who by his instrument, anno 1402, decreed that for the future the parishioners of Snodland, being inhabitants of it at any time going out from thence to fish, with their boats, nets, and other instruments necessary for that purpose, might, either by themselves or by others, draw their nets, and take fish beyond the stream of the main river to the shore of the water situated within the bounds and limits of this parish; that one moiety of the tithe of the fish so caught should belong to the rector of Snodland for the time being, and the other moiety to the rector of Woldham, to be paid to them by the fishers, without any diminution whatsoever. (fn. 15)
The church of Woldham is a discharged living in the king's books, of the clear yearly certified value of 30l. the yearly tenths of which are 1l. 8s. 7¾d. This rectory, in 1716, was augmented by queen Anne's bounty, the sum of 200l. having been contributed to it by different persons. In 1708, here were sixty-five communicants. The bishop of Rochester is patron of this rectory.
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Today (Saturday) was the highlight of the churchcrawling calendar: Ride & Stride coupled with Heritage Weekend. The day on which many churches that are usually locked could be found open.
Three years ago, 12 out of 12 were open, and two years ago I think 10 out of 12 were open.
This year would be a different experience.
That is because, some churches are locked all the time outside services, even on Ride and Stride, their only concession is to have the charity signing sheet pinned to a door or in the porch. Maybe some refreshments for the riders and striders, but it seems the days of most churches being open are long gone.
Maybe I was unlucky. But Boughton-Under-Blean, Great Chart, Little Chart were among those locked fast today.
So bad was the experience, with the weather as well, I might not bother next year.
Having walked to the door of Great Chart, a church in a large village on the outskirts of Ashford, there was no wardens, and the church locked, though refreshments available, but again no one came to refresh the used glasses.
The plan was to end at Brookland to see inside the triple candlesnuff tower, but three hours on the Marsh, with most churches visited several times, I gave in and came home.
I got back at quarter to four, there was a brew waiting, andI had bought a couple of small Bakewells from Tesco when I called in to buy pizza for dinner.
I had woken up at seven, with the sound of heavy rain outside. There was even a few rumbles of thunder. The clouds so low and thick that we need the table light on to see.
I made final touches to my plans for the day. Jools was going to stay home. Maybe not get dressed.
I left just after nine, rain was falling steadily. I made my way to the A2, then up to Barham where I turned towards Wigham, before turning off at Addisham.
Addisham is a nice church. Old, but they had replaced the heating and floor a decade back, and it was open as part of Heritage weekend, this one should have been open.
It was, and whilst I took shots of details, I chatted with the two wardens, one of whom remembered my from my previous visit a decade back.
When I left the church, I saw a torrential downpour had started, and the road I parked on had turned into a river. I got soaked in the 15 yards back to the car, and feet wet from the road.
I decided to not go to Hackington in Canterbury, that would require using endless back lanes. Instead I drove back to the A2, then north in driving rain to Boughton-Under-Blean.
Boughton is not often found open, but I battled the partially flooded lanes and traffic forcing me off the road, arriving at the church with the rain coming down just as hard.
I used an umbrella, walked up the path under the trees, meaning it seemed even darker. None of the three doors was unlocked, with the Ride and Stride sheet pinned to the west door, and no refreshments for the riders and striders.
I went back to the car, and decided to head north to find dry weather. Back to the A2, then up to the services for a comfort break and two sausage rolls from Greggs.
Refreshed, and the clouds having parted and blue sky seen, soon sunshine brightened everything.
I had to get through the traffic at the top of Bluebell Hill, then down the A229, before turning off north to get to the banks of the Medway.
I thought I recognised the new road to Burham. It was being built last time I was here. I parked outside, and upon entering I recognised the wooden wheel from the tower for the bells, now hung on the north wall.
I took shots anyway, as I was there. But I now doubted the next church, Wouldham: had I been there before too?
It was a ten minute drive through the narrow streets of the village, but I arrived at the church. Good news was that I did not recognise it.
I walked to the door, turned the handle, and found it locked.
A voice came from inside:
Who is it, what do you want?
I thought the church would be open, I take photographs.
The door opened.
No, the church isn't open today, would you like to come in to take shots?
That would be great, thanks.
Meetings like this is what churchcrawling is all about. We talked long about this and that, and I got my shots. The church though interesting from the outside with its offset tower, but quite plain on the inside.
I set course for Thurnham, a church I have never found open.
I sighed and made my way back to the 229, then down to the M20, before turning east for one junction to Detling.
Next village along is Thurnham, and driving past the pub I could see the church just through the trees below. I turned down the hill, and parked beside a hedge between two mansions. There is a path leading between the large houses to the church.
I walked along to the gate into the churchyard, a bike was parked by the open porch door. A good sign.
Indeed the church was open, I walked in with a huge smile, and the warden was equally pleased to see another visitor.
I explained I had been here on six previous occasions and found it locked, but this was a red letter day as it was open.
I talked for a while with the warden and a rider, who was taking a break. We talk about churches and their fittings.
Little did I know, this was the last church of the day. That would be open.
I was going to go to Hothfield, but the road to the church was closed, so I drove on to Little Chart for the 20th century church there.
I struggled to find it, having driven past it in the rain without realising. Without getting out of the car, I could see a cool box and the Ride and Stride form on it.
This wasn't open either.
My mood got even lower.
Final chance was Great Chart.
Great Chart is a big village on the edge of Ashford, surely there would be wardens and it be open? If it wasn't, I told myself, I would go home.
I parked opposite, walked over in steady rain and found the usual sheet and squash in the porch. The inner door locked.
Bugger it.
I held my promise and turned for home through Ashford to the motorway. It was twenty past two, and the radio went through previews of the games to come.
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Famous for the grave of Walter Burke, in whose arms Nelson died. The church stands low in its valley and is visually undistinguished, but external appearances are misleading as it contains a great deal of interest. Part of the arcade between south aisle and nave is formed of Saxon walling, with a double splayed window visible over the central arch. The wall was cut through by the present arcade in the thirteenth century. There is a standard twelfth-century font of five columns supporting a square bowl. The tower stands in an unusual position to the north-west of the nave, and the doorway between tower and north aisle shows deep notches cut by the bell ropes when the Sanctus bell was rung. By standing outside the door the ringer could see the high altar and the altar of St Blaise in the south chapel. A lancet in the chancel forms a low side window, while a more conventional, although much smaller, low side window exists in the south-east corner of the south aisle. There is also a fine fourteenth-century piscina.
www.kentchurches.info/church.asp?p=Wouldham
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WOLDHAM.
NEXT to the parish of St. Margaret and liberty of Rochester, southward, lies the parish of Woldham, written in the Saxon charters, Wuldaham, in the succeeding Latin ones, Vuldeham, and in the record of Domesday, Oldeham.
This place is supposed to take its name from the Saxon words wolde, a plain open down or hill, free from trees and wood, and ham, a village or dwelling; in the like manner as those large open downs in the north are still called wolds, in opposition to weald, a low woody region. (fn. 1)
It is likewise described in several later grants by the name of Woldeham Monachorum, from its belonging to the monks of Rochester.
THE PARISH of Woldham lies on the eastern bank of the river Medway, something more than two miles from the city of Rochester, in a situation of a very disferent aspect, and far less pleasant than that of the country last described, though so few miles distant from it. The village having the church in it, lies at the foot of the hills, very low, almost close to the river Medway (which is the western boundary of this parish) and from its contiguity to the marshes is accounted far from being healthy. In it there is a handsome sashed brick house, named Woldham house, built by Captain Robert Trevor, of the navy, since the residence of George Guy, esq. About a mile northward, in a situation equally low, and about the same distance from the river, is the house of Starkey's, which, though now only a farm-house, has still a handsome appearance, being a strong building of stone, with gothic windows and door cases, of ashlar stone. Hence, as well as from the back of the village, the hills rise to a great height eastward, as far as Nashenden, being mostly uninclosed, open downs, the soil of which is chalk, much covered with slints, being poor and unfertile, a dreary country.
About forty years ago, in digging a trench from Woldham house up to the open downs, there were found several instruments of an antique form like a wedge, or axe, usually called celts, which were chiefly of brass.
This parish ought antiently to have contributed to the repair of the fourth pier of Rochester bridge. (fn. 2)
ETHELBERT, king of Kent, in the year 751, first gave Vuldeham to the church of St. Andrew, in Rochester; but sometime after it was taken from it, and several kings possessed it, one after the other, till the time of king Edmund, who began his reign in 941, of whom one Ælsstan Heahstanine bought it, at the price of one hundred and twelve marcs of gold, and thirty pounds in money, on whose death, Ælfege, his son, succeeded to it, who by will made in the presence of archbishop Dunstan, about the year 970, made a distribution of all his effects, and devised one part to Christ-church, in Canterbury, one part to the church of Rochester, and the remaining third part to his own wife. Notwithstanding which, one Leossunu, who had married his nephew's widow, endeavoured to set aside this disposition, as well as the archbishop's testimony in relation to it, and entered on them, but they were recovered from him in a solemn trial held at Erhede by the archbishop, for this purpose. After which, on the division of these estates, Vuldeham seems to have been part of that share of them allotted to the church of St. Andrew, in Rochester. King Ethelbert, in the year 995, confirmed Wuldaham, which then contained six mansœ, which the Kentish men called sulings, to St. Andrew's and bishop Godwin.
In the book of Domesday, Woldham is thus described, under the general title of the bishop of Rochester's lands:
The 'same bishop (of Rochester) holds Oldeham. It was taxed for six sulings in the time of king Edward the Confessor, and now for three. The arable land is five carucates. In demesne there are two, and eighteen villeins, with sixteen borderers having six carucates. There are six servants, and one fishery, and sixty acres of meadow. Wood for the pannage of twenty hogs. There is a church. In the time of king Edward the Confessor, and afterwards, it was worth eight pounds, now twelve pounds.
Bishop Gundulph, who was elected to the see of Rochester in the time of the Conqueror, on the division of the revenues of his church, allotted this manor, with its appendages, to the monks; to the use of their refectory, in lieu of Freckenham, in Suffolk, which he took in exchange for it, chusing rather, as the latter lay at so remote a distance from Rochester, that himself and his successors should be put to the inconvenience of going there, than that the monks, or the poor of that parish, should be yearly harrassed in carrying their corn so far, (fn. 3) but bishop Gilbert de Glanvill, on his coming to the see of Rochester in 1185, claiming this manor with its appendages, among others, which had been allotted to them by bishop Gundulph, as belonging to the maintenance of his table, the monks were at last forced to submit. In consequence of which, though he took the church of Woldham from them, yet they continued in possession of the manor till the dissolution of the priory in the 32d year of king Henry VIII.
In the reigns of king Edward I. and II. the bishop of Rochester claimed several liberties, as belonging to all the lands and fees of his church, as did the prior of Rochester in the 21st year of the former reign in this manor, (fn. 4) both equally the same as has been already more fully mentioned under Frindsbury. (fn. 5)
King Edward I. in his 23d year, granted to the prior and convent free warren in all their demesne lands of this manor; so that no one should hunt or take any thing on them which belonged to warren, without their licence, on forfeiture of ten pounds. (fn. 6)
The manor of Woldham, on the dissolution of the priory of Rochester in the 32d year of Henry VIII. was surrendered, with the other possessions of it, into the king's hands, who, in his 33d year settled it on his new-founded dean and chapter of Rochester, with whom the inheritance of it continues at this time.
There is a court leet and court baron held for this manor.
The lessee of it, under the dean and chapter of Rochester, is Mr. Iden Henham.
In the Custumale Roffense there is frequent mention made of a water mill in Woldham, belonging to the above manor, and the custom was, that once a year every house was obliged to send one man for a day, to clear the passage, ditch, and mill-pond, that the water might come well to turn the mill; and there were two particular acres of land, the occupiers of which were to clean the ditch, which led from the river to the millpond.
There were several small parcels of land granted at several times to different persons by the prior and convent of Rochester, lying in Magna and Parva Woldham, being two divisions in this parish, a more particular account of which may be seen in the Registrum Roffense.
RINGS is a manor here, a small part of which extends itself into the adjoining parish of St. Margaret, in Rochester. It was formerly in the possession of Robert de Woldham, after which it became separated into moieties, one of which became part of the estate of the eminent family of Cosington, of Cosington, in Aylesford, and the other became the property of Carter. From the family of Cosington that moiety passed by sale in the reign of Henry VI. to William Whorne, afterwards knighted, and lord-mayor of London, who built Whorne's-place, in Cookstone, where he resided; and the other moiety passed about the same time to Laurence; they, by a mutual deed of conveyance, alienated their joint interest in this manor to William Hadde, of Meriam-court, in Frinsted, who in the 36th year of that reign, gave it to his second son, Mr. John Hadde, whose descendant sold it to Thomas Roydon, esq. of Roydon-hall, in East Peckham, who, among others, in the 31st year of king Henry VIII. procured his estates to be disgavelled by act of parliament. From Roydon this manor passed to Brockhull, of Aldington, in Thurnham, whose descendant, Henry Brockhull, alienated it to Sir John Leveson, alias Lewson, of Whorne's-place, in Cookstone; (fn. 7) after which it passed, in like manner as that seat by sale to the family of Marsham, in which it has continued down to the right hon. Charles lord Romney, the present possessor of it.
STARKEYS is a manor here, lying in that district of this parish called Little Woldham, which was formerly known by the name of the manor of Lyttlyhall and Woldham.
In the reign of king Edward III. it seems to have been in the possession of Richard Byset, who held it as one quarter of a knight's fee in Parva Woldham, (fn. 8) and afterwards passed it away to Henry de Bokeland, who alienated it to Henry Newman, and he held it in the 20th year of that reign of the bishop of Rochester as above-mentioned. His descendant, Henry Newman, conveyed it to Humphry Starkey, descended from the Starkeys, of Wrenbury, and Oulton, in Cheshire, and bore for his arms, Sable, a stork proper, who in the 12th year of king Edward IV. was made recorder of London, and in the 2d year of king Richard III. chief baron of the exchequer, having been knighted before. (fn. 9)
He built a good house here, being a large strong edifice of stone, tho' much larger formerly than it is at present, together with a handsome chapel on this manor, a fragment of the latter only being now left at the east angle of the house, which, from that and his residence here acquired the name of Starkeys. (fn. 10) He died possessed of this manor, and lies buried in St. Leonard's, Shoreditch, in London, leaving four daughters his coheirs; and on the division of their inheritance, this manor fell to the share of Sir John Rainsford, who had married Anne, the youngest of them. His son, of the same name, was a person much in favour with king Henry VIII. who made him a privy counsellor. (fn. 11) He alienated this estate to Lambe, who passed it away to Sir John Leveson, alias Lewson, from which name it was sold, together with the manor of Rings before mentioned, in the reign of king Charles I. to John Marsham, esq. whose descendant, the right hon. Charles lord Romney, is the present possessor of this manor and estate.
SELLERS is a manor, which lies partly in this parish and partly in Burham, which with the mansion of it, called the Hall, alias Woldham ball, was held in the teign of king John, as appears by the inquisitions returned into the treasury in the 12th and 13th years of that reign, by Robert de Woldham Magna, as one quarter of a knight's fee, of the bishop of Rochester. Soon after which the possessors of this manor were called, from it, At-Hall, and in Latin deeds, De Aula. Robert Le Neve was owner of it in the reign of king Edward I. and then held it by the above tenure. His heirs sold it to John Atte Celar, written also At Celere, in Edward III's reign, whose descendant Warine Atte Celar, or De Celario, held this manor in the 30th year of it, and continuing in his descendants, it at length acquired the name of Sellers, as they now began to spell themselves. They bore for their arms, Argent, a saltier between four mullets gules; which arms were painted in a window of this church, and remained very lately in a window of the mansion-house of this manor.
The manor of Sellers remained in this family, till a female heir, about the reign of king Henry VII. carried it in marriage to John Beuly, gent. who bore for his arms, Argent, a chevron between three griffins heads erased, sable, and continuing in his descendants it gained the name of Beuly's-court, though the mansionhouse itself retained that of Hall-place, (fn. 12) alias Woldham hall. In this name of Beuly it continued till the year 1693, when it was alienated to Manley, who bore for their arms, Argent, a sinister hand couped, sable, and were descended from Thomas Manley, of Chester, (fn. 13) in which name it remained down to Mr. William Manley, who resided in it and died in 1779, and this manor became the property of his three sons and coheirs in gavelkind, from whom it was afterwards sold to Joseph Brooke, esq. on the death of whose widow, Mrs. Elizabeth Brooke, in 1796, it came by his will to the Rev. John Kenward Shaw, now of Town Malling, who has taken the name of Brooke, and is the present possessor of this estate. There is a court baron held for this manor.
There are no parochial charities.
WOLDHAM is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester.
The church, which is a small building, with a low square tower, on which was formerly a spire steeple, is situated at the south west extremity of the village, and is dedicated to All Saints. The steeple of this church, and much of the fabric, owe their original to the liberality of Stephen Slegge, of this parish, who was sheriff of Kent in the 20th year of king Henry VI. and gave by his will in the 36th year of it, one hundred marcs to be expended on it. It was formerly an appendage to the manor, and as such allotted by bishop Gundulph, in the division which he made of the possessions of his church, to the share of the monks of St. Andrew's; but bishop Gilbere de Glanvill, though he suffered them to retain the manor, yet he wrested this church out of their hands, and it has ever since remained in the possession of the bishops of Rochester, his successors.
Richard, bishop of Rochester, in the 9th year of king Edward I. at the instance of the prior and convent of Rochester, made enquiry by inquisition as to the method which the monks used in taking their portions of tithes within their manors, and what part of them was allowed to the several parish churches, by which it appeared, that in their manor of Woldham, the parish church, and the abbess of Malling took the whole of the tithes of sheaves only, but of other small tithes, it did not nor ever used to take any thing; and he decreed, that the parish church should be content with the tithes of the sheaves of every kind of corn only. All which was confirmed by John, archbishop of Canterbury, by inspeximus next year, anno 1281.
THE PORTION OF TITHES belonging to the abbey of Malling, was given to it by Ralf de Woldham, (fn. 14) being the third part of his tithe of corn, and two parts of the tithe of his demesne in this parish, and Robert de Woldham gave the whole of his tithe of Parva Woldham to it. In the 15th year of king Edward I. this portion of tithes was valued at eight marcs.
An inquisition was made by Thomas de Alkham, and the tenants of Woldham, concerning these tithes in this parish, belonging to the abbess in the 26th year of king Edward III.
In the Registrum Roffense, p. 694, is a particular account of the portions of sheaves, which the abbess took on the several lands in this parish, the names of which, of the owners and occupiers, and the measurement of them are therein mentioned, in which in some, the abbess had two sheaves, and the rector one; in others she had but one, and the rector two; in some she had the tenth sheas with the rector, and in the rest therein mentioned, she had all the tenth of sheaves.
Much dispute having arisen between the rector of this parish and the rector of Snodland, the opposite parish on the other side of the Medway, concerning the tithe of fish, caught within the bounds of this parish by the parishioners of the latter, it was submitted to the final decree of John, bishop of Rochester, who by his instrument, anno 1402, decreed that for the future the parishioners of Snodland, being inhabitants of it at any time going out from thence to fish, with their boats, nets, and other instruments necessary for that purpose, might, either by themselves or by others, draw their nets, and take fish beyond the stream of the main river to the shore of the water situated within the bounds and limits of this parish; that one moiety of the tithe of the fish so caught should belong to the rector of Snodland for the time being, and the other moiety to the rector of Woldham, to be paid to them by the fishers, without any diminution whatsoever. (fn. 15)
The church of Woldham is a discharged living in the king's books, of the clear yearly certified value of 30l. the yearly tenths of which are 1l. 8s. 7¾d. This rectory, in 1716, was augmented by queen Anne's bounty, the sum of 200l. having been contributed to it by different persons. In 1708, here were sixty-five communicants. The bishop of Rochester is patron of this rectory.
A Distinguished Service Award is presented to Tanya Miller, Property Management Specialist, Eastern District of Michigan for her role in completing the Business of Forfeiture course, serving as a key contributor and instructor, while also gathering information from across the agency for eManuals, an interactive and searchable online tool providing step-by-step Asset Forfeiture procedures. Deputy Director Chris Dudley, Deputy Attorney General James Cole, and Director Stacia Hylton presented the award.
The US Marshals Service Director's Awards are annually given to top performing deputies and administrative employees throughout the Service. The 2011 awards ceremony honoring the men and women who distinguished themselves in 2010 was held on May 18 in Arlington, Va.
Credit : Shane T. McCoy / US Marshals
The north side of Hailes Castle, facing the River Tyne, with the remains of the well tower on the left.
Following the forfeiture of James Hepburn, 4th Earl of Bothwell, Hailes Castle went into a period of decline, a process accelerated in 1650 by Oliver Cromwell, who partly slighted the buildings after the battle of Dunbar, to prevent them being reoccupied in his rear (as Tantallon was).
In its latter years, Hailes passed through the hands of the Stewarts, the Setons, and finally, in 1700, the Dalrymples. By the mid-19th century the castle was being used as a granary, Sir David Dalrymple having taken advantage of the more settled times in which he lived, to move his family to the mansion of New Hailes.
Pink shirt day was started in 2007 by two students in Nova Scotia, who stood up for a fellow classmate who was being bullied. Since then, BC has taken a strong stance against bullying and has officially marked the last Wednesday in February as Anti-Bullying Day - where British Columbians throughout the province where pink in solidarity.
Premier Christy Clark visited Point Grey Secondary School in Vancouver to take part in anti-bullying activities, and announced a $15,000 grant for the school to help anti-bullying efforts, as part of $1 Million budgeted from civil-forfeiture proceeds for this purpose.
Learn More: www.newsroom.gov.bc.ca/2013/02/school-led-anti-bullying-e...
Follow @ERASEbullyingBC on Twitter:
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Economic and Financial Crimes Commission (EFCC) says it has obtained orders for the interim forfeiture of assets traced to a former Imo governor, Rochas Okorocha, and his wife. The Head, Enugu Zonal Office of the commission, Mr Usman Imam, disclosed this on Wednesday in Enugu while briefing newsmen on the activities of the commission […]
nnn.com.ng/2019/09/04/okorocha-wife-others-to-forfeit-ass...
Sir Richard Redman / Redmayne 1426 of Levens, Westmorland and 2nd wife Elizabeth Aldburgh c1417-22, widow of Sir Brian Stapleton of Carlton d1391 by whom she had a son Brian . Elizabeth was the eldest daughter and co-heiress of William de Aldeburgh / Aldburgh, Lord of the manor of Harewood Castle (they married in 1393).
Children at least 2 sons and 2 daughters
1. Matthew d1416 m Johanna daughter of Sir Thomas Tunstall, of Thurland Castle, whose son Edward 1510 www.flickr.com/photos/52219527@N00/8389510178/ succeeded here.
2. Richard of Bossall
3 Joan m Sir Thomas Wentworth
4. daughter m Richard Duckett d1448 of Grayrigg
.
In 1392 Elizabeth and her sister Sibyl www.flickr.com/photos/52219527@N00/8390159566/ jointly inherited Harewood castle and estate on the death of their brother William and were responsibe for building this church c1410.
Sir Richard had m1 and had 1 son Matthew who dsp in his father's lifetime. Sir Richard was Sheriff of Cumberland 1390-1413, later Sheriff and MP for Yorkshire, and Speaker in 1415 of the House of Commons, later taking part in the Battle of Agincourt.,
They were buried in the church of the Black Friars at York with Elizabeth's 1st husband Sir Brian Stapleton
After Elizabeth's death Richard m3 he married Elizabeth daughter of Sir William Gascoigne of Gawthorpe, Chief Justice of England www.flickr.com/photos/52219527@N00/8390344858/
By his will Sir Richard left the manors of Levens and certain Harewood estates to his younger son Richard in trust for his grandson Richard, then a minor ; on the death of this Richard without heirs to his son Richard, and failing heirs of the latter to John Redman, son of Elene Grene, &c. The manors of Kereby and Kirkby (Kirkby Overblow) he devised to Brian de Stapleton, son of Sir Brian
Stapleton by his (Sir Richard's) first wife, Elizabeth Aldeburgh, under certain conditions as to forfeiture, &c.
www.historyofparliamentonline.org/volume/1386-1421/member...
In later years ttheir descendants married into the Gascoigne / Gascoyne family who eventually became Lords of the manor
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
This shot shows the gatehouse leading into the outer ward, with the inner ward in the distance, beyond the dry ditch (crossed by a modern wooden bridge). The outer curtain wall (which is straight, not curved as this panoramic shot suggests) was crowned with a parapet and walk and is bristling with gunloops.
Before the Hamiltons, Graignethan was known as the barony of Draffane and was owned by the Black Douglases until their forfeiture in 1455. The barony was granted to the Hamiltons, and in 1530 was given by James Hamilton, 1st Earl of Arran to his illegitimate son Sir James Hamilton of Finnart. Finnart had travelled in Europe, and had become an accomplished architect and military engineer. At Craignethan, he set out to build a "showcase" to display his talents in both domestic and military architecture.
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Women leaving abusive homes, Indigenous families rebuilding and healing from intergenerational trauma, and young people needing mentorship to resist gang overtures will benefit from one of the largest rounds of grants from crime proceeds in B.C.’s history.
Learn more: news.gov.bc.ca/16885
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Pink shirt day was started in 2007 by two students in Nova Scotia, who stood up for a fellow classmate who was being bullied. Since then, BC has taken a strong stance against bullying and has officially marked the last Wednesday in February as Anti-Bullying Day - where British Columbians throughout the province where pink in solidarity.
Premier Christy Clark visited Point Grey Secondary School in Vancouver to take part in anti-bullying activities, and announced a $15,000 grant for the school to help anti-bullying efforts, as part of $1 Million budgeted from civil-forfeiture proceeds for this purpose.
Learn More: www.newsroom.gov.bc.ca/2013/02/school-led-anti-bullying-e...
Follow @ERASEbullyingBC on Twitter:
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Prudhoe Castle is a ruined medieval English castle situated on the south bank of the River Tyne at Prudhoe, Northumberland, England. It is a Scheduled Ancient Monument and a Grade I listed building.
Archaeological excavations have shown that the first castle on the site was a Norman motte and bailey, built sometime in the mid 11th century. Following the Norman Conquest, the Umfraville family took over control of the castle. Robert d’Umfraville was formally granted the barony of Prudhoe by Henry I but it is likely that the Umfravilles had already been granted Prudhoe in the closing years of the 11th century. The Umfravilles (probably Robert) initially replaced the wooden palisade with a massive rampart of clay and stones and subsequently constructed a stone curtain wall and gatehouse.
In 1173 William the Lion of Scotland invaded the North East to claim the earldom of Northumberland. The head of the Umfraville family, Odinel II, refused to support him and as a result the Scottish army tried to take Prudhoe Castle. The attempt failed as the Scots were not prepared to undertake a lengthy siege. The following year William attacked the castle again but found that Odinel had strengthened the garrison, and after a siege of just three days the Scottish army left. Following the siege, Odinel further improved the defences of the castle by adding a stone keep and a great hall.
Odinel died in 1182 and was succeeded by his son Richard. Richard became one of the barons who stood against King John, and as a result forfeited his estates to the crown. They remained forfeited until 1217, the year after King John's death. Richard died in 1226 and was succeeded by his son, Gilbert, who was himself succeeded in 1245 by his son Gilbert. Through his mother, Gilbert II inherited the title of Earl of Angus, with vast estates in Scotland, but he continued to spend some of his time at Prudhoe. It is believed that he carried out further improvements to the castle. Gilbert took part in the fighting between Henry III of England and his barons, and in the Scottish expeditions of Edward I. He died in 1308 and was succeeded by his son, Robert D’Umfraville IV. In 1314, Robert was taken prisoner by the Scots at Bannockburn, but was soon released, though he was deprived of the earldom of Angus and of his Scottish estates. In 1316 King Edward granted Robert 700 marks to maintain a garrison of 40 men-at-arms and 80 light horsemen at Prudhoe.
In 1381 the last of the line, Gilbert III, died without issue and his widow married Henry Percy, 1st Earl of Northumberland. On her death in 1398, the castle passed to the Percy family.
The Percys added a new great hall to the castle shortly after they took possession of it. Henry Percy, 1st Earl of Northumberland fought against Henry IV and took part in the Battle of Shrewsbury, for which act he was attainted and his estates, including Prudhoe, were forfeited to the Crown in 1405. That same year it was granted to the future Duke of Bedford, (a son of Henry IV) and stayed in his hands until his death in 1435, whereupon it reverted to the Crown.
The Percys regained ownership of the Prudhoe estates in 1440, after a prolonged legal battle. However, Henry Percy, 3rd Earl of Northumberland fought on the Lancastrian side in the Wars of the Roses and was killed at the Battle of Towton in 1461. In 1462 Edward IV granted Prudhoe to his younger brother George, Duke of Clarence. The latter only possessed the castle briefly before the king granted it to Lord Montague.
The castle was restored to the fourth Earl in 1470. The principal seat of the Percys was Alnwick Castle and Prudhoe was for the most part let out to tenants. In 1528 however Henry Percy 6th Earl was resident at the castle as later was his brother Sir Thomas Percy. Both the Earl and Sir Thomas were heavily involved in the Pilgrimage of Grace in 1536 and both were convicted of treason and executed. Following forfeiture of the estates the castle was reported in August 1537 to have habitable houses and towers within its walls, although they were said to be somewhat decayed and in need of repairs estimated at £20.
The castle was once again restored to Thomas Percy, the 7th Earl in about 1557. He was convicted of taking part in the Rising of the North in 1569. He escaped, but was recaptured and was executed in 1572.
The castle was thereafter let out to many and various tenants and was not used as a residence after the 1660s. In 1776 it was reported to be ruinous.
Between 1808 and 1817, Hugh Percy, 2nd Duke of Northumberland carried out substantial repairs to the ancient fabric and replaced the old dwellings within the walls with a Georgian mansion adjoining the keep.
In 1966 the castle was given over to the Crown and is now in the custody of English Heritage and is open to the public.
U.S. Marshal for the Eastern District of Virginia Bobby Mathieson, Executive Director of the Northern Virginia Regional Gang Task Force Ray Colgan, Congressman Frank Wolf, Falls Church City Police Chief Harry Reitze, Leesburg Police Chief Joseph Price, FBI Special Agent in Charge Ronald Hosko, and U.S. Attorney for the Eastern District of Virginia Neil MacBride attended the ceremony June 22, in which a check for $850,000 was presented to the Northern Virginia Regional Gang Task Force from the Department of Justice Assets Forfeiture Fund.
Photo by (Shane T. McCoy / US Marshals)
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Pink shirt day was started in 2007 by two students in Nova Scotia, who stood up for a fellow classmate who was being bullied. Since then, BC has taken a strong stance against bullying and has officially marked the last Wednesday in February as Anti-Bullying Day - where British Columbians throughout the province where pink in solidarity.
Premier Christy Clark visited Point Grey Secondary School in Vancouver to take part in anti-bullying activities, and announced a $15,000 grant for the school to help anti-bullying efforts, as part of $1 Million budgeted from civil-forfeiture proceeds for this purpose.
Learn More: www.newsroom.gov.bc.ca/2013/02/school-led-anti-bullying-e...
Follow @ERASEbullyingBC on Twitter:
The Morris-Jumel Mansion was built in 1765 as a summer house by Colonel Roger Morris for his wife, Mary Philipse and their family on approximately 135 acres of land that stretched from the Harlem to Hudson rivers between what is now 140th and approximately 18oth streets. Their country estate was named Mount Morris and, being situated on one of the highest points of Manhattan, offered clear views of New Jersey, Connecticut, and all of New York harbor. In addition to serving as a summer retreat, Mount Morris was also a working farm with fruit trees, cows, and sheep in addition to a variety of crops.
With the outbreak of the American Revolutionary War, the Morris family abandoned their summer home. Then, in the autumn of 1776, General George Washington and his Patriot officers moved in and made the house their headquarters from September 14th to October 21st. The superb views from Mount Morris made the location ideal for observing troop movements and General Washington used this advantage to plan his army’s first successful victory; the Battle of Harlem Heights. Despite this victory, on October 21st, General Washington was forced to retreat to White Plains. For the remainder of the war, the house was used as a headquarters for both British and Hessian armies.
Following the war, the estate was confiscated under the Forfeiture Laws by the State of New York and sold to cover war debts. For a time, it served as a tavern; however, after some years, the tavern became unsuccessful and the house was abandoned once again. Then on July 10th of 1790, now President George Washington held his first Cabinet dinner at the same place he scored his first victory during the Revolutionary War. n 1810, Eliza and Stephen Jumel purchased Mount Morris, all farmlands, and began a series of alterations to the house. A merchant from the south of France, who emigrated to New York some years earlier, Stephen met and married Eliza Bowen in New York. She grew up in a poor Rhode Island family, a voracious reader and self-educated, she developed into a shrewd businesswoman long before most women worked outside the home, let alone ran businesses. At a moment when Stephen's business was foundering, Eliza applied herself to the real estate trade, buying and selling land and renting properties downtown. Her success made large profits for her husband and herself, making her one of the wealthiest women in New York, after Stephen’s death.
By the 1880s, most of the Jumel land had been sold as the city expanded and fashionable townhouses rose immediately surrounding the Mansion. The City of New York purchased the house and the two acres it sits on creating Roger Morris Park. With the assistance of the DAR, the Mansion was turned into a historic house and museum. The mid-20th Century saw the neighborhood develop into a vibrant home to many artists and celebrities including Paul Robeson, Jackie Robinson, Thurgood Marshall, and Duke Ellington, who once referred to the Morris-Jumel Mansion as “the jewel in the crown of Sugar Hill.” The buildings in this district are protected by the New York Landmarks Commission and must be maintained by their owners reflective of when they were built. Because of this, the appearance of the neighborhood has changed very little since the beginning of the twentieth century.
Today, the Morris-Jumel Mansion is the oldest house in Manhattan and as a museum highlights the art, architecture and lives of the Morris and Jumel families, while celebrating the changing landscape from the now lost Polo Grounds to the contemporary artists who find inspiration from this over 250 year old structure, and culture. We hope to see you soon to experience all that is new at Manhattan’s oldest house.
"As Manhattan’s oldest residence, the Morris-Jumel Mansion Museum presents American life from the colonial era to the present by preserving, collecting, and interpreting history, culture, and the arts to engage and inspire diverse audiences.
Morris-Jumel Mansion, Inc. operates the Morris -Jumel Mansion as a historic house museum and thereby seeks to preserve and interpret Manhattan’s oldest residence, one that has witnessed the evolution of northern Manhattan from rural countryside to a dynamic multicultural community. Through historic site tours and education programs, the museum interprets the mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800’s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration. Morris-Jumel Mansion seeks to serve as a cultural resource for an audience of national and international visitors and, in particular, the diverse audiences of the City of New York."
Pink shirt day was started in 2007 by two students in Nova Scotia, who stood up for a fellow classmate who was being bullied. Since then, BC has taken a strong stance against bullying and has officially marked the last Wednesday in February as Anti-Bullying Day - where British Columbians throughout the province where pink in solidarity.
Premier Christy Clark visited Point Grey Secondary School in Vancouver to take part in anti-bullying activities, and announced a $15,000 grant for the school to help anti-bullying efforts, as part of $1 Million budgeted from civil-forfeiture proceeds for this purpose.
Learn More: www.newsroom.gov.bc.ca/2013/02/school-led-anti-bullying-e...
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