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Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
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www.hi-n-dry.com/session_americana
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Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Two memorials - one ornate, the other plain . The one on the left was erected in Westminster Abbey nave south aisle designed by James Gibbs and sculpted by Rysbrack. On either side of her portrait are the figures of Faith, with a book, and Prudence who once held a mirror
"To the memory of Mrs KATHARINA BOVEY whose person & understanding would have become the highest ranke in female life & whose vivacity would have recommended her in the best conversation. But by judgment as well as inclination she chose such a retirement as gave her great opportunitys for reading and reflection: which she made use of to the wisest purposes of improvement in knowledge and religion. Upon other subjects she ventured far out of the common way of thinking, but in religious matters she made the Holy Scriptures, in which she was well skilled, the rule and guide of her faith & actions: esteeming it more safe to rely upon the plain Word of God than to run into any freedoms of thought upon revealed truths. The great share of time allowed to the closet was not perceived in her economy: for she had always a well ordered & well instructed family, from the happy influence as well of her temper and conduct, as of her uniform & exemplary Christian life. It pleased God to bless her with a considerable estate, which with a liberal hand guide by wisdom and piety, she imployed to His glory & the good of her neighbours. Her domestic expenses were managed with a decency & dignity suitable to her fortune; but with a frugality that made her income abound to all proper objects of charity; to the relief of the necessitous, the incouragement of the industrious & instruction of the ignorant. She distributed not only with cheerfulness but with joy, which upon some occasions of raising & refreshing the spirit of the afflicted, she could not refrain from breaking forth into tears flowing from a heart throughly affected with compassion & benevolence. Thus did many of her good works, while she lived, go up as a memorial before God & some she left to follow her. She dyed Jan.21 1726 in the 57th year of her age at Flaxley, her seat in Glocestershire & was buryed there, where her name will be long remembered & where several of her benefactions at that place, as well as others, are more particularly recorded.
This monument was erected with the utmost respect to her memory and justice to her character by her executrix Mrs MARY POPE who lived with her near 40 years in perfect friendship never once interrupted till her much lamented death"
On the right is a plain wall memorial here at Flaxley where she was buried
"In the vault near this Chapel is reposited the Body of Mrs CATHARINA BOVEY, Daughter of JOHN RICHES, Esq. of London, Merchant. She was married to WILLIAM BOVEY, Esq. Lord of this Mannor of Flaxley, at the Age of 15, was left a Widow, without Children, at the Age of 22, and continued so all the rest of her Life. She entertained her Friends and Neighbours with a most agreeable Hospitality; but always took Care to have a large Reserve for Charity, which she bestowed, not only on such Occasions as offered, but studied how to employ it so as to make it useful and advantageous. Her Disposition to do good was so well known in the District about her, that she easily became acquainted with the Circumstances of those that wanted; and, as she preserved many Families from Ruin, by seasonable Loans or Gifts, so she conveyed her Assistance to some of better Rank, in such a Manner as made it doubly acceptable. How far her Bounty extended was known to herself alone; but much of it appeared, to her Honour and God`s Glory, in frequent Distributions to the Poor, and especially to the Charity Schools Round about the Country, in relieving those in Prison, and delivering many out of it, in contributing to the Churches of the English Establishment abroad, as well as aiding several at home, in cloathing and feeding her indigent Neighbours, and teaching their Children, some of whom every Sunday, by Turns, she entertained at her House, and condescended to examine them herself; besides this continual, it might be said this daily, Course of Liberality during her Life. She bequeathed at her Death, towards founding a College in the Island of Bermudas £500; to the Grey Coat Hospital, in St. Margaret`s, Westminster, £500; to the Blue Coat Hospital in Westminster, £500; to the Charity School of Christ Church, Parish of Southwark, £400; to augment the Living of this Place, £1200; to put out poor Children Apprentices, the Interest of £400 for ever; of which Summe £160 had been left by Mr. CLARKE and Mr. BOVEY; to be distributed, as her Executrix should think fit, among those whom she had put out Apprentices in her Life-time £400; lastly, she designed the re-building of this Chapel, which pious Design of hers was speedily"executed by Mrs. MARY POPE
She dyed January 21st 1726/7 in the 57th year of her age at FLAXLEY her seat in GLOCESTERSHIRE & was bury'd there wherre her name will be long remembered & where several of her benefactions at that place as well as others are more particularly recorded
This monument was erected with the utmost respect ot her memory and justice to her character, by her executrix MRS MARY POPE who liv'd with her near 40 years in perfect friendship never once interrupted till her much lamented death
She dyed January 21st 1726 in the 57th year of her age at FLAXLEY her seat in GLOCESTERSHIRE & was bury'd there wherre her name will be long remembered & where several of her benefactions at that place as well as others are more particularly recorded
This monument was erected with the utmost respect ot her memory and justice to her character, by her executrix MRS MARY POPE who liv'd with her near 40 years in perfect friendship never once interrupted till her much lamented death"
Catharina 1669-1726 was the daughter of John Riches 1718 by 2nd wife Anne daughter of Thomas Davall, merchant of Amsterdam, by Anna Potts
Katharina was baptised on 1 May 1670 at All Hallows Lombard Street, London. Her father was a wealthy merchant originally of Amsterdam who settled in the parish of St Laurence Pountney in London. He was member of the Grocers Company and a Common Councilman of Dowgate (1678–83, 1689) and a Deputy in 1685.
Her siblings were John Riches (dvp.1676) and sister Anne d1689 who also has monument here inscribed "ANNE RICHES, Daughter of JOHN RICHES, Esq. and only sister to Mrs. BOVEY, of Flaxley, departed this Life 5 Oct. 1689, which she had passed in a religious Observance of her Duty towards God and her Parents; in tender Affection to her Relations; in Charity and Kindness to all; endued with this early Habit of Vertue, Death, however suddain, did not surprise her unprepared"
Catharina was a great beauty and is also described as "one of those lofty, black, and lasting beauties that strike with reverence and yet delight" having "great genius and good judgement", derived from her reading
She m 1685 William Boevey 1657- 1692 www.flickr.com/gp/52219527@N00/038atU the son of merchant lawyer James Boevey 1696 en.wikipedia.org/wiki/James_Boevey#/media/File:JamesBoeve... and 2nd wife Isabel de Visscher who the In 1683 had inherited Flaxley Abbey estates from his cousin Abraham Clark www.flickr.com/gp/52219527@N00/S327RG who had died without issue.
William was 28 & she was 15
Sadly husband William was given to "excesses, both in debauch and ill-humour," bringing much suffering to his wife; who never complained, but supported it all "like a martyr, cheerful under her very sufferings". The short marriage was childless and Catherina was widowed aged 22 , and as now mistress of Flaxley estate and sole heiress of her wealthy father, she at once became the centre of a crowd of wooers; but remaining unmarried for the rest of her long life.
By c 1686, aged 17, she had formed a strong friendship with Mrs. Mary Pope www.flickr.com/gp/52219527@N00/038atU who joined her in her philanthropic life.
She died at Flaxley Hall on Saturday, 18 January 1726, and was buried "in a most private manner", according to her own directions
The small chapel at the Abbey's gate , dedicated to St. Mary the Virgin, was extended by Mary Pope funded by a bequest in her will.
On Catherina's death, the estate passed to a kinsman Thomas Crawley 1741 www.flickr.com/gp/52219527@N00/9AU0X8 who assumed the name Crawley-Boevey, and thence to his son Thomas Crawley-Boevey who enlarged the estate in the 1760s by purchasing land in Westbury-on-Severn adjoining the main part of Flaxley.
www.westminster-abbey.org/abbey-commemorations/commemorat...
en.wikipedia.org/wiki/Catherina_Boevey en.wikipedia.org/wiki/James_Boevey<
www.westminster-abbey.org/abbey-commemorations/commemorat... - Church of St Mary the Virgin Flaxley Gloucestershire
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. ROME – “ANYTHING GOES IN ROME”, CORRIERE DELLA SERA 18 JUNE (2015). ROME = Olympics 2024 & Jubilee 2016 & Mafia Capital of Italy & The City is Just Filthy!
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Italiano = IL GRANDE DEGRADO - Roma e le regole svanite: abusivi anche gli hotel - Video - Foto. La prima puntata dell’inchiesta. La trattoria che chiede 579 euro (più 115 di mancia) a una coppia di giapponesi L’impero ambulante della dinastia Tredicine e i centurioni minacciosi Così la Capitale tratta i turisti «Tanto vengono lo stesso», CORRIERE DELLA SERA (18|06|2015).
roma.corriere.it/notizie/cronaca/15_giugno_18/a-busivi-an...
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ROMA - CAPITAL DECAY "Anything Goes in Rome" - Even hotels are unlicensed. Trattoria presented Japanese couple with bill for €579 plus €115 tip. Tredicine dynasty of street traders and Colosseum’s aggressive centurions. Tourists-will-be-back-anyway attitude di Sergio Rizzo and Gian Antonio Stella. CORRIERE DELLA SERA 18 JUNE (2015).
“You’ll be holding your guts in your hands”. A threat, the kind that no respectable person would make, gives you some idea of the bad Rome that has shouldered its way into the tourism business, like the “bulli” of old. Those 17th-century thugs were described by Antonio Pardi in “The stupendous strength and bravery of Captain Skullcrusher and Boltspitter”: “I am the great Skullcrusher, tall and proud, / before whose strength all other strength yields, / I smash, I break, I wreck, I shatter, I destroy”.
A few years ago, Francesco Merlo went to Rome with his British wife after six of the unofficial centurions were arrested: “The Colosseum area outside the Colosseum itself is a lawless place where people eat, cheat and quickly come to blows, as they did in [dialect poet Giacomo Gioachino] Belli’s day, ‘to get the ackers in the bag’”. The Merlos were quickly approached by fake ancient Romans: The question “Could you take a photo of me wearing your cucullus?” produced a Roman reply: “What about a photo of me in your cucullus?”
Free-for-all of unlicensed traders at Colosseum
The archaeological heart of the world is a sort of free-trade area dominated by the powerful Tredicine family, which followed old Donato Tredicine from Abruzzo in the Fifties. Donato sold roast chestnuts but today the Tredicines own most of the sixty-nine mobile bars dotted around tourist-rich zones. Their kingdom has expanded to include the souk of unlicensed postcard, carpet and eyewear sellers and above all the “urtisti”. Today, there are 112 of these hawkers who bear the name of the Jewish street traders who - with papal authorisation - “bumped” [“urtare”in Italian - Trans.] into passers-by with a tray of souvenirs slung round their neck and resting on their stomach.
Mayor Ignazio Marino has declared war on the Tredicines, who pay €325 a month to park big lorries in the best spots (€10 a day, the price of two rolls) and €250 for the smaller vehicles (€8 a day, or a roll and a soft drink). In the name of public decency, the mobile bars will soon be moved on to less obtrusive spots. At last. You can imagine the protests. The arguments. The fits of anger.
Tourists, the resource that Rome treats badly
Statistics tell us that tourism is big business all over the planet. Since 1990, the number of international holidaymakers has risen from 444 million to 1.138 billion. Growth last year was 51 million. If you do the maths, that’s a rise of 158%. Over the same period, Italy has grown only half as much, from 26.7 million to 48.6 million, or +82%. But Rome has hit the jackpot. Despite cash-strapped Italian holidaymakers having thinned out in recent years, total arrivals have spiked from 4 million to almost 16.5 million in the last quarter century. A fourfold rise. Overnight stays have gone from 11 million to 39 million.
Obviously, organised international tourism is concentrated in bare-bones standard packages. But if you are selling a Canadian or Korean a two-week Europe package, how can you skip Rome? Particularly with instability on the rise in some parts of the world. The result is that too many Romans already overconfident about Rome’s Caput Mundi status (former deputy mayor Mauro Cutrufo went so far as to claim that “Rome has 30-40% of the world’s artistic assets”. Wow!) have seen their conviction that “they’ve got to come here” amply confirmed.
And if the planet’s tourists have got to go to Rome, the Romans are doing them a favour letting them sleep in dirty hotels, charging them a fortune to eat badly, drive them around in often wallet-crippling taxis (“Meter broken, sorry”) or sell them three slices of tiramisù and three cappuccinos for €72, as one bar in Via Cavour did. Leading the rip-off rankings is the Trattoria Passetto near Piazza Navona, closed for presenting a Japanese couple with a bill for €695, including an unauthorised tip of €115.50.
What sense is there in treating people who provide 11% of the GDP of a city that is far weaker in other areas of the economy, starting with industry? Yet that’s how it is. For many Romans, tourists are sheep waiting to be shorn. This was pointed out a few months ago by Trivago, the online meta-search engine that compares the prices of 700,000 hotels and B&Bs around the world. A comparison of Italy’s hotel prices with those of eight other European countries showed Italian prices averaging €144 compared to the UK’s €139, Germany’s €112 and €108 in Spain. France was more expensive at €152. But what about the service?
A survey of customer satisfaction by online bookings site hotel.info provides the answer, endorsing the thousands of web-vehicled complaints about the apparently random distribution of hotel stars. One respondent lamented that the room didn’t deserve four, or even three, stars (perhaps two). There was no air conditioning. One of the two drawers in the wardrobe wouldn’t open while the other was full of crackers and other scraps of food. The minibar had an elderly sandwich in it, the TV didn’t work, the bathroom was microscopic and the shower was the kind you expect in a hostel. In short, poor value for money.
Poor or non-compliant services and no controls
The survey ranks Warsaw the best city in Europe with 7.92 points, followed by Helsinki (7.64), Berlin (7.59) and the rest. Italy’s top city is Bologna and bringing up the rear, behind Naples, are Milan and Rome. We’re talking about official hotels here, so imagine what the rest are like. It sounds incredible but one of the many unauthorised activities in Rome is keeping hotels.
The capital has 1,041 registered hotels, bed and breakfasts and residences but the Federalberghi association chair Giuseppe Roscioli reckons there could be 4,000 undeclared establishments with at least 25,000 beds, which are set to double. He says: “Since the municipal authorities were unable to do it, we mapped the web for them and said now go and inspect them. A waste of time. There are self-proclaimed B&Bs with websites that say: ‘Last five rooms still free’. But B&Bs can only have a maximum of three rooms!” It’s so chaotic that “you could end up staying at Pacciani’s house”, with the Monster of Florence.
An exaggeration? “Not at all. The international chains - and I’m speaking from experience - make inspections once a year in nit-picking detail. They arrive out of the blue, look for dust under the beds, measure the microclimate in bathrooms and count how many times the phone rings before reception answers. If anything’s wrong, they withdraw approval”. What about Italy? “No inspections at all. Haven’t been for years. Two stars, three stars, four stars don’t mean a thing if you don’t make checks. A hotel may have been excellent twenty years ago but now... It’s such a mess that with the Jubilee coming up and the risk of international terrorism, we have alerted even the prefect to the issue of customer registration.
Official tourism employs 143,000 people in Rome, more than the chemical industry in the whole of Italy. Then there are the undeclared workers, presumably at least 20,000 of them. Some are the self-proclaimed “decent people” who find it normal not to take credit cards (“Oh dear. Line’s down”) to get paid in cash and dodge taxes while the rest are borderline criminal or actual members of an underworld organisation.
Security alerts on foreign consulate websites
In a nutshell the flood of tourists pouring into Italy since 1990 has been used not badly but appallingly. A waste. As well as international embarrassments such as value for money - the latest Brand Index says that from 2012 to 2014 Italy slipped from 28th place to 57th, with much of the blame going to Rome - and even security. Remember how in the wake of the 2009 TripAdvisor warning about theft in Rome, the UK government site gov.uk warned about crime a few months ago: “Take care on public transport and in crowded areas in Rome, especially around the main railway station ‘Termini’ and on the number 64 bus, which goes to and from St Peter’s Square (...) Use a hotel safe for valuables where possible”.
Yet Rome is so beautiful, so packed with breath-taking views, evocative atmospheres, renaissance piazzas, archaeological sites and medieval remains that it deserves everyone’s love. Wolfgang Goethe was one of the many to fall under Rome’s spell. Recalling a still, bright moon over the Forum, he wrote: “The sight was magical. In such a light one ought also to see the Pantheon, the Capitol, the Portico of St. Peter’s, and the grand streets and squares. And so sun and moon, as well as the human mind, have to do here a very different job from what they do elsewhere, here where vast yet elegant masses ...”
Heritage ministry figures indicate that in the twenty years since 1996, tourist numbers at Castel Sant’Angelo have doubled, tripled at the Galleria Borghese and quadrupled at the once separately managed circuit of the Colosseum, Palatine and Forum, where they have gone from fewer than a million and a half to six million. Then there is the Pantheon, which has shot from just over a million visitors to six and a half million. The boom prompts you to wonder why even if it is still a church, no one has ever thought of charging a euro or two, what with all the worries over arts funding.
Those same figures show that the mass tourism boom that packs unfeasible numbers of tables onto the pavements also denies the masses access to anything a little out of the way, such as the baths of Caracalla, the villa of the Quintili or the mausoleum of Cecilia Metella. Today, they receive more or less the same number of visitors as in 2006, despite a cumulative ticket costing just €6. There is also the Ostia Antica site, which has recorded a modest +27% even though tourist numbers have quadrupled. And let’s not linger over the superb Hadrian’s Villa, which has managed to lose a quarter of its visitors in the past two decades.
Turf wars over city-centre archaeological sites
Even more striking is the fact that city-centre sites like the Colosseum, the Palatine or the Forum have not been given the tidying up that in any other country would have been a matter of course. Hard though it is to believe, the world’s most celebrated archaeological site is split between two administrations, part being run by the municipality and the rest by central government. Nero’s Domus Aurea, for example, belongs almost entirely to the state but the walls of the baths of Trajan, built on top of Nero’s residence, are the competence of the municipality. So, too, is the garden above, where a Himalayan pine was planted eighty years ago. The tree’s roots have penetrated so deep that they pose a threat to one of the Domus Aurea’s most sublime features, the vault depicting Ulysses and Polyphemus. The pine has to go but who is going to remove it? The municipality, to which the garden belongs. But since a residents’ committee is opposed to the pine’s removal, the city authorities have appointed a cultural mediator to sort things out. Tree or frescoes? The residents of Collio Oppio have a vote, like everyone else.
It’s a ridiculous situation. The mausoleum of Augustus belongs to Rome and the Colosseum - but not the surrounding area, which is in Roma Capitale’s remit -to the state, as has been the case since 1925. Politicians have steered well clear. The situation culminates at the Forum, where the part on the right as you go from Piazza Venezia towards the Colosseum belongs to the state. On the left, the remains are municipal. Two superintendencies. Two administrations. Two ticketing systems.
Heritage minister Dario Franceschini has urged the creation of a consortium to share management of the Forum, if nothing else. Everyone knows the best solution would be to merge the administrations. But who is going to tell the workers? Who is going to take on the prickly task of merging two sites belonging to different public bodies? And who is going to tell the plethora of private companies that have everything to gain from the long-standing division?
FONTE SOURCE:
-- CORRIERE DELLA SERA (18|06|2015).
www.corriere.it/english/15_giugno_18/anything-goes-rome-9...
FOTO FONTE SOURCE:
-- ROME - The Neglect of Rome's Cultural Heritage by the Ministry of Culture (2008-11), and the City of Rome (2005 - 11): The Piazza Trilussa - The New York Times, The Corriere Della Sera, The Il Messaggero, The La Repubblica (09/2009).
www.flickr.com/photos/imperial_fora_of_rome/3896639848/
S.V.,
1). ROME, ARCHAEOLOGY & CULTURAL HERITAGE: Political Corruption, Neglect & Abandonment of Rome's Cultural Heritage & Priorities of the Tourist Industry by the Political Administration of the Ministry of Culture & the City of Rome (2005 – 2015). FOTO AND NEWS 1 THRU 606 ITEMS.
www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...
1.1). ROMA ARCHEOLOGICA & RESTAURO ARCHITECTURA. Roma sotto Marino, Roma Mafia Capitale, Roma Degrado Vista Dal Mondo: la città di incompetenza perpetua e la corruzione (2013-15). Foto & stampa 1 di 616.
www.flickr.com/photos/imperial_fora_of_rome/sets/72157634...
This photo has been cropped in the interests of public decency. Most of the rest of the photos from this event have been "moderated". This means you have to be logged in to flickr and have your safe search setting set to off.
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'. It was great to see Jews, Muslims, Christians and others joining together to promote peace. Maybe the people themselves will do what governments apparently no longer can? Am I just dreaming?
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
WALMART WORKERS, TAXPAYERS ARRESTED CALLING FOR WALMART OWNERS TO STOP ROBBING AMERICA
Group calls on Walton family to stop taking advantage of taxpayer programs to support low-wage model & instead, pay workers $15 an hour and provide full-time work
If the Waltons fail to respond, protestors promise to return to Walmart stores on Black Friday
New York and Washington, DC – Forty-two Walmart workers and their supporters were arrested today calling on Walmart’s owners to stop robbing workers a fair wage and passing the bill on to taxpayers. Without a public commitment from the Waltons to raise pay at Walmart, the group refused to disperse, shutting down Park Avenue in front of Alice Walton’s new penthouse in New York and K Street in front of the Walton Family Foundation in DC. Last year, Walmart’s former CEO confirmed that the majority of Walmart workers are paid less than $25,000 a year.
“My grandkids go hungry because of low pay at Walmart,” said Sandra Sok, a Walmart worker in Phoenix. “I’ll do whatever it takes to make these billionaires and Walmart see what they’re doing to our families.”
“We are tired of seeing the Waltons enjoy every luxury this world can offer while the workers that build their wealth are unable to pay their bills,” said Interfaith Worker Justice Executive Director Kim Bobo. “Income inequality will only be addressed when the Waltons and Walmart provide fair pay and regular hours to their workers. I’m here today taking a stand for Walmart workers, and I’ll be back on Black Friday with thousands of others who have had enough of Walmart’s destruction of the American Dream.”
Before the arrests, the group delivered a petition signed by workers from 1,710 of Walmart stores in all 50 states. The petition calls on Walmart to publicly commit raise pay to $15 an hour and provide consistent, full-time hours. The actions today follow protests yesterday in Phoenix, AZ, where Walmart associates and community members delivered the petition to Walmart chair Rob Walton.
“The Waltons have made it impossible for me to get ahead and make sure my daughter goes to bed in a warm home,” said Fatmata Jabbie,a Walmart worker who delivered the petition to the Walton Family Foundation in Washington, DC. “The Waltons can choose to turn things around and stop robbing working Americans like me who just want to raise our families. We need $15 an hour and consistent full-time work—now.”
The Walton family, which controls the Walmart empire, is the richest family in the U.S.—with the wealth of 43% of American families combined. While many Walmart workers are unable to feed and clothe their families on their pay of less than $25,000 a year, the Walton family takes in $8.6 million a day in Walmart dividends alone to build on its $150 billion in wealth. Walmart brings in $16 billion in annual profits.
“Right now, corporate profits are at an all-time high while wages are lower than any time since 1948,” said Rep. Grijalva. “Walmart alone rakes in $16 billion a year while enjoying $8 billion in tax breaks and subsidies, but refuses to pay employees enough to put food on the table or clothes on their back. Many of their employees are forced to rely on taxpayer-funded programs, meaning the American taxpayers are paying for the Walton family’s refusal to pay a decent wage. It’s time to end this scam, and ensure all workers have the decency of a livable wage and full-time work.”
Walmart workers depend on food stamps and other taxpayer-supported programs to support their families. Walmart—the standard-setter for jobs in the retail industry—has created a norm of erratic, part-time scheduling that is keeping workers from getting the hours they need, holding down second jobs, arranging child care, going to school or managing health conditions.
The protests today come at a time when OUR Walmart members have made significant strides creating change at the country’s largest employer. OUR Walmart member Richard Reynoso, who sent a letter to Walmart about the new dress code policy, not only pushed the company to live up to its Buy America commitment with the new vests; his manager gave him full-time hours in response to his concerns about affording new clothing on his low pay. OUR Walmart members have had similar hours victories—through petitions and meetings with managers—in the San Francisco Bay Area, Dallas, Florida, Southern California, Louisiana and Chicago. Walmart improved its pregnancy policy recently after OUR Walmart members, who are also shareholders, submitted a resolution to the company about its pregnancy policy. And, responding to OUR Walmart members’ growing calls on the retailer to improve access to hours, Walmart rolled out a new system nationwide that allows workers to sign up for open shifts in their stores online.
Background
A report released earlier this year by Americans for Tax Fairness showed that by dodging taxes, exploiting loopholes and taking advantage of taxpayer subsidies, Walmart and the Waltons received an estimated $7.8 billion in tax breaks and subsidies in 2013. And while many taxpayers struggle to stretch paychecks, the richest family in the country has avoided an estimated $3 billion in taxes by using specialized trusts to dodge estate taxes.
National public policy organization Demos released a report this year showing low-pay and erratic scheduling keep millions of hard-working Americans—particularly women—near poverty. The report finds that establishing a new wage floor equivalent to $25,000 per year for fulltime, year round work at retail companies employing at least 1,000 workers would improve the lives of more than 3.2 million female retail workers and lift 900,000 women and their families directly out of poverty or near poverty.
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LEGAL DISCLAIMER: UFCW and OUR Walmart have the purpose of helping Wal-Mart employees as individuals or groups in their dealings with Wal-Mart over labor rights and standards and their efforts to have Wal-Mart publically commit to adhering to labor rights and standards. UFCW and OUR Walmart have no intent to have Walmart recognize or bargain with UFCW or OUR Walmart as the representative of Walmart employees.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Manhattan, New York City, New York, United States
The Everett Building is a sixteen-story commercial structure located on the northwest corner of East 17th Street and Park Avenue South. Named for Union Square's nineteenth-century Everett Hotel, and built in 1908 for the Everett Investing Company, it was designed by Goldwin Starrett & Van Vleck, a firm known for its commercial architecture.
It is a quintessential example of a building type defined by A. C. David (writing in Architectural Record in 1910): functional, fireproof, speedy to construct, while also demonstrating a concern for "architectural decency;" as such, this building is a uniquely American architectural expression. In its design, the Everett Building synthesizes classical elements with key aspects of both the New York and the Chicago styles; Goldwin Starrett was familiar with the Chicago style as a result of his years in Daniel Burnham's Chicago office.
The building reflects its structure in its cladding, while employing a design vocabulary that includes classical motifs. The Everett Building is prominently located on a site on the north side of Union Square and, together with the monumental Germania (now Guardian) Life Insurance Company Building directly across the avenue, forms an imposing terminus to Park Avenue South.
The Development of Union Square
The Commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road, (now Broadway), and the Bowery intersected at 16th Street.
The acute angle formed by this "union" was set aside by the Commissioners and named Union Place.
Initially Union Place extended from 10th to 17th Streets, on land owned by the Manhattan Bank:
It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties.
In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary. As the city expanded northward and land use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and festivities, and ... to serve as ventilators to a densely populated city."
Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized.
Graded, paved, and fenced, Union Place was finally opened to the public in July, 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations.
By the 1850s, Union Square (as it came to be known) was completely surrounded by buildings including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun." Theaters, hotels, and luxury retailers predominated in the 1870s. By the 1890s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown.
The land on which the Everett Building stands was originally part of Cornelius Tiebout's farm. From 1853 on, the site was occupied by the Everett House, a hotel frequented by the singers and musicians performing at the new opera house, the Academy of Music (1854, architect Alexander Saeltzer).
Like the Belvedere and the Clarendon, hotels which were also demolished to make way for 'modern' office and loft buildings, the Everett House was razed to clear the site for the Everett Building.
The Everett Building is prominently situated on the northwest corner of East 17th Street and Union Square North, at the base of Park Avenue South (then called Fourth Avenue). Stations for major subway, surface, and "El" lines were close to the site, which was characterized by Real Estate Record & Guide in 1908 as "one of the most accessible locations for modern office buildings in the city."
Although when built, the Everett Building was associated with a possible transformation of Union Square to be effected by the construction of a new courthouse, the building was later seen as evidence of the concentration of the silk, woolen, cotton, and dry goods trades on Fourth Avenue, the area around the Square and lateral streets.
By September, 1910, about seventeen new loft and office buildings (generally restricted to office and salesroom needs, as opposed to manufacturing) had been erected, conveniently located near hotels and transportation.
In October 1911, Real Estate Record & Guide noted that "the Everett Building and those along the avenue, in which dry goods people are tenants, are all filled up."
Larger than the late nineteenth-century buildings on Union Square West, the new loft and office buildings, such as the Everett Building, altered the scale of structures on the Square's northern and southern ends and formed the core of a new mercantile district developed as an economical alternative to the commercial district along lower Fifth Avenue.
Notice of Goldwin Starrett & Van Vleck's selection as the recipients of the commission to design the Everett Building appeared in Real Estate Record & Guide for August 1, 1908.
The Everett Building was built for the Everett Investing Company; included among its early tenants were a wide variety of businesses and occupations, including William Skinner & Sons, an operating establishment "in the broad silk end"; the firm of W. G. Cornell, which was responsible for the plumbing for the new Gimbel Building and the offices of Goldwin Starrett & Van Vleck.
Goldwin Starrett & Van Vleck
The firm was founded in 1907 by Goldwin Starrett (1867-1918) and Ernest Allen Van Vleck (1875-1956). Starrett was one of five brothers, all active in the construction and architectural fields. Born in Lawrence, Kansas, his family later moved to Chicago. Starrett attended the engineering school of the University of Michigan, graduating in 1894. He then entered the architectural offices of D. H. Burnham & Co. , as had his two older brothers, Theodore and Paul. He remained in Burnham's employ for four years, rising to be one of Burnham's principal assistants.
In 1898 Goldwin entered the New York offices of the George A. Fuller Construction Co. as superintendent and assistant manager, joining his brother Theodore.
In 1901, along with Theodore, and his brothers, Ralph and William A., he formed the Thompson-Starrett Construction Company; he remained with the firm for four years, during which time he designed the Algonquin Hotel, a designated New York City Landmark, for Albert Foster of the Puritan Realty Company. Goldwin then entered into a four-year association with the E. B. Ellis Granite Company, which had its quarries in Vermont. In the construction business, Goldwin was associated with many important buildings, including Union Station in Washington, D.C. and the Woolworth Building in New York, a designated New York City Landmark.
In 1907, Ernest Allen Van Vleck joined Starrett to form the firm of Goldwin Starrett & Van Vleck. A native of Bell Creek, Nebraska, Van Vleck received a degree from the Cornell School of Architecture in 1897. He then traveled to Europe on a fellowship.
About 1908, Orrin Rice was admitted to the partnership, and in 1913, William A. Starrett joined the firm, which then became known as Starrett & Van Vleck, with Goldwin Starrett becoming the senior partner.
Starrett & Van Vleck specialized in commercial buildings and schools but also designed many other structures. Among the firm's ma j or commissions were the Lord & Taylor department store, a building that was termed "frankly commercial as well as dignified" in contrast to the residential nature of most other contemporary commercial designs; Saks Fifth Avenue, a designated New York City Landmark; a major expansion of Bloomingdale's; the facade of the Curb (now the American Stock) Exchange Building; the Downtown Athletic Club; the La Salle & Koch store in Toledo, Ohio (1916); the Court & Remsen Street Building in Brooklyn; The Equitable Life Assurance Society Building, and the Royal Insurance Building.
The firm was also responsible for designing the Hale Publishing Co. Building, the Berkeley Building, and the twelve-story neo-Italian Renaissance apartment houses at 82 0 and 817 Fifth Avenue, within the Upper East Side Historic District.
Other works by the firm include the Mills-Gibb Building, a mercantile building at Fourth Avenue and 22nd Street; a building for John T. Underwood, president of Underwood Typewriter Co. located at Church and Vesey Streets; the Mercantile Building at Fifth Avenue and 38th Street; 28-30 West 38th Street, a twelve-story building for Capt. W. H. Wheeler; and the twelve-story Sixteenth Street Building, at Irving Place and 16th Street.
Loft and Commercial Building
The Everett Building is a quintessential example of the new commercial style of architecture built around 1910 in New York and concentrated on Fourth Avenue from Union Square to 30th Street.
Its design was considered innovative when it was illustrated in the Architectural Record (Dec. 1910), as part of a tribute to the new corridor of commercial buildings in what is now Park Avenue South.
These buildings termed "thoroughly contemporary" and "strictly commercial" were erected with exceptional rapidity; the Everett Building "was ready for occupants within four months from the time the first column shoe was set."
In "The New Architecture," A. C. David specified a tall order for architects of these loft and commercial buildings, one which Starrett & Van Vleck fulfilled. Tenants required a maximum amount of clear, preferably square or rectangular, floor space so that large numbers of employees could be supervised by a floor manager.
In order to secure the greatest amount of natural light, a corner site, large windows, and high ceilings were imperative. In addition, the planning of building services affected the amount of "clear and available" floor space. These new structures had to meet the specifications of the insurance companies and of the building laws for fireproofing, in order to obtain the lowest insurance rates (as the Everett Building did).
Combining the stairway and fire escape provisions of the building law and omission of power plants in the building were additional ways to cut costs. At the same time, the building must be economical to operate. Speedy construction, a goal facilitated by granolithic or concrete floors, the use of metal trim, the omission of ornamental plastering, and the standardization of detail, was also essential.
In his article, David also suggested that attention to the building's design was necessary because "a structure which presents a good appearance sells better."
The Everett Building fulfilled these specifications as well. Like the Everett Building, the ideal loft and commercial structure was to consist of "a frame work, usually about sixteen stories high of piers and floors, the lines of both of which are separated by fixed distances, and both of which cannot be disguised by much ornamentation."
An ornamental cornice was not merely permitted but encouraged, even if the natural light on the top floor was impaired. The employment of glazed orange and green terra-cotta panels and medallions brings this desired attention to the Everett Building's crown.
According to David, windows should be grouped in order to emphasize the corners and to convey an impression of solidity; a building could thus be made to resemble a tower rather than a cage.
Face brick, laid in patterns, and architectural terra cotta were recommended for the cladding of the shaft. In other instances, exemplified by the Everett Building, "white glazed terra cotta decorated with superficial ornamental patterns has been effectively employed."
David continues that these buildings were a specific and original American type, "the only genuine commercial architecture in the world." These characteristics constitute what may be called a New York style.
Classical Aspects of the Building's Design
The Everett Building incorporates many classical elements in its design. As in other nearby skyscrapers including Bruce Price's Bank of the Metropolis, a designated New York City Landmark, the tripartite skyscraper elevation inspired by the parts of a classical column is employed in the Everett Building. A rusticated base is surmounted by a decorative transitional story; an eleven-story shaft leads to yet another transitional story, which is capped by a two-story attic crowned by an elaborate bracketed cornice.
The two-story base is articulated by rusticated piers which carry a classically-derived entablature that is embellished with stylized triglyphs and metopes. The building's two-story crown evokes a giant order; the elements of the pilasters are articulated and embellished by abstract terracotta elements. The doorway as built was pedimented with acroteria at center and sides.
William H. Jordy has observed that such commercial buildings retain "something of the blocky quality of the Renaissance palace format" which permitted the anonymity and interchangeability of functions.Real Estate Record & Guide concluded that the building "an investor might expect for $900,000," would be a structure "not — gaudy ... the whole with its straight, Renaissance architecture giving the impression of commercial utility."
Influence of the Chicago School
Goldwin Starrett's years working in Daniel Burnham's prestigious office (in the 1890s, the largest in Chicago, with branch offices in New York and San Francisco) are of clear influence to the design of the Everett Building which frankly expresses function. Starrett doubtless knew such monuments of Chicago architecture as Burnham & Root's Rand McNally Building (1888-90) and Burnham & Atwood's Reliance Building (1895).
Starrett's Chicago connections also would have insured his familiarity with the Carson, Pirie, Scott Store (the first two parts designed by Louis Sullivan, 1899, 1903-04; third part designed by Daniel Burnham, 1906). All three buildings contain innovations later incorporated in the Everett Building. The Rand McNally by Burnham & Root was formed of a consistent steel frame with facades "of terra cotta produced specifically to fit the frame."
The steel and terra cotta combination introduced in the Rand McNally was further refined after Root's death by Burnham and his designer Charles Atwood in the Reliance Building (1895).
Terra cotta, which although lighter, less expensive, and more solid than masonry, had heretofore been employed only as a fireproof undercoating to masonry and for ornamental embellishment. Its use as sheathing for the skyscraper was a precedent followed by Goldwin Starrett & Van Vleck and in many contemporary office and loft buildings in New York City.
By creating the appearance of a grid on the elevations, Starrett incorporated a major tenet of the Chicago School: the articulation on the exterior of interior structure. In this building, verticals are juxtaposed against horizontals and thus serve as visible surrogates for the concealed skeletal frame; such a system is one of the most important characteristics of the Chicago School.
The panels which emphasize the spandrel beams, the use of textured, ribbed moldings to articulate the panels themselves, and the vertical alignment of the windows is, in some respects, reminiscent of Carson, Pirie, Scott's structural expressiveness.
In Carson, Pirie, Scott, the terra-cotta panels and the fenestration create the impression of a grid and of horizontality; like the Chicago structure, the Everett Building can be viewed as both grids "expressing the frame" and as bands of horizontals.
The Everett Building, however, is more overtly classical than Carson, Pirie, Scott. In contrast to the receding two-story loggia which originally capped the two portions of the store designed by Sullivan, Starrett's design articulates the top two stories (which do not recede) with terra-cotta moldings.
Starrett topped the building with an avowedly classical cresting that features acroteria (as did the pedimented portico over the doorway as originally completed) and rests the building on rusticated piers.
Starrett and Van Vleck also render the Chicago idiom more traditionally. For example, the tripartite "Chicago window" with wide central pane and two narrow sash windows has here been translated into a bay containing three equally sized one-over-one windows. Although the end piers of the Everett Building are of the same width as those between bays, an additional textured molding has been added to their outer edges. Moreover, at the intersection of the Park Avenue South and Union Square elevations, the rusticated pier emphasizes the effect of the corner.
Description
Prominently located at the corner of East 17th Street and Park Avenue South, fronting on Union Square, the Everett Building is a sixteen-story, steel-framed office and loft building. A seventeenth story is concealed beneath the cornice and is evident only on the north and west walls. The building is sheathed in white terra-cotta panels and has applied green and orange architectural terra-cotta ornament. It is rectangular in shape with a rectangular light-court in the northwestern portion.
There are six bays on the Union Square side; the Park Avenue South elevation consists of eight bays. Each bay is divided into three parts, (with the exception of one bay on the Park Avenue South side which only contains two), each of which contains a window; above each first story window (with the exception of the second from the right on the Park Avenue South elevation which contains only two) and framed by the rusticated piers are three narrow, rectangular panels.
A two-story base with rusticated piers (each resting on a pink polished marble base and topped by a geometrical molding) is set off from the rest of the building by a cornice embellished with stylized triglyphs and metopes. Mullions separating windows in the bays of the second story resemble pilasters; they are set on blocks and feature consoles supporting pyramid-shaped blocks that reiterate the rustication on the piers and serve as capitals. A cornice with mutules completes the frieze above the second story. On the Union Square facade, atop the aperture of the bay on the extreme left, the original overdoor consisting of several thin moldings (two of which are embellished by small applied bosses in the shape of flowers) remains. On the Park Avenue South elevation, the bay to the extreme right contains the original transom treatment: above the shop windows and entrance (which are new), the transom area is divided into three panels each consisting of twelve lights, arranged in three rows of four. Two faciae separate each group of twelve lights; directly above these faciae, on the beltcourse, two dark bezants appear, serving both to embellish and to link the dark frames of the glazed panels below and the windows above.
The third story consists of ornamented piers (which separate the bays) demarcating the transition from the two-story base to the eleven-story shaft above. Set atop a plain base, the shaft of each pier is ornamented by borders with foliated and ribboned embellishments and palmette accents set diagonally into the corners.
Pilasters between the windows are also set atop plain bases; they are ornamented by long, thin recessed panels. The capitals of both piers and pilasters are both embellished by palmettes. A frieze embellished by garlands draped over bezants completes the transitional story and signals the beginning of the shaft.
On the eleven-story shaft, the crossings of the ribbed mullions and the outer textured edges of the panels which cover the spandrel beams establishes a grid, which reflects the building's construction and underscores the grid created by the intersection of windows, spandrel beams, and piers. On the Union Square facade, spandrel bands below each window are three panels wide and two panels high; each such group "of six panels is outlined by raised moldings.
Each bay consists of a total of three such groups. On the Park Avenue South elevation, each group is two panels wide and two panels high; each such group of four panels is outlined by raised moldings. On both elevations, the moldings which separate each group of panels are both continuations of the window mullions and indications of the window's outer edges. Piers are also indicated (when they intersect with the spandrel beam) by outlined terra-cotta panels, one panel wide and two panels high.
The intersection of the horizontal spandrel demarcation and the window's mullions and outer edges sets up a grid motif. The regularity of the grid deflects attention from the bay (second from the right on the Park Avenue South elevation) which consists of only two windows and from the change from a width of three panels for each subsection of each bay on the Union Square facade to two panels for each subsection on the Park Avenue South elevation.
A beltcourse tops the eleven-story shaft and sets off the two-story crown, which corresponds to the "capital" of the "tripartite column," from the body of the building. The piers are transformed into abstract pilasters by the application of applied reiterating polychrome terra-cotta ornament.
Within raised borders of white terra cotta that extend the length of both stories, orange rectangular panels embellished at their midpoints by applied green circles appear.
The spandrel beams between the two stories are covered with white terra-cotta panels within which are rectangular orange panels. Mullions (and their extensions) which abut spandrel beams are also embellished with recessed panels. The two-story section is topped with several moldings including one incorporating applied polychrome geometric motifs: in this scheme, paired and single green and orange rectangular lozenges alternate with green circular motifs. An elaborate dentilled cornice crested by acroteria tops the building.
On the west elevation, a brick wall pierced by four-over-four sash windows is visible from the ninth story upward; two windows indicate the seventeenth story. Bands demarcate borders that correspond to the terra-cotta spandrel beam covers on the facade. This elevation features interpretations of the stringcourse separating the top two stories and of the polychrome panelling and cornice treatment on the Union Square facade. To the right of and above the seventeenth story windows, a substantial amount of replacement brick appears.
On the north elevation visible above the ninth story, a buff brick wall features eight windows per floor; the remaining originals have four-over-four sash. From the visible base of this elevation through the fourteenth story, a terra-cotta border appears; above this, the border continues as panels. On this elevation, windows indicate the presence of the seventeenth story. A significant portion of the top two stories appears to be resurfaced. With its essential architectural features unchanged, this building continues to function as an office building with retail spaces at the ground story.
- From the 1988 NYCLPC Landmark Designation Report
'Decency in speech and conduct is the key to being a successful spiritual candidate.' - His Holiness Younus AlGohar
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town.AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
WALMART WORKERS, TAXPAYERS ARRESTED CALLING FOR WALMART OWNERS TO STOP ROBBING AMERICA
Group calls on Walton family to stop taking advantage of taxpayer programs to support low-wage model & instead, pay workers $15 an hour and provide full-time work
If the Waltons fail to respond, protestors promise to return to Walmart stores on Black Friday
New York and Washington, DC – Forty-two Walmart workers and their supporters were arrested today calling on Walmart’s owners to stop robbing workers a fair wage and passing the bill on to taxpayers. Without a public commitment from the Waltons to raise pay at Walmart, the group refused to disperse, shutting down Park Avenue in front of Alice Walton’s new penthouse in New York and K Street in front of the Walton Family Foundation in DC. Last year, Walmart’s former CEO confirmed that the majority of Walmart workers are paid less than $25,000 a year.
“My grandkids go hungry because of low pay at Walmart,” said Sandra Sok, a Walmart worker in Phoenix. “I’ll do whatever it takes to make these billionaires and Walmart see what they’re doing to our families.”
“We are tired of seeing the Waltons enjoy every luxury this world can offer while the workers that build their wealth are unable to pay their bills,” said Interfaith Worker Justice Executive Director Kim Bobo. “Income inequality will only be addressed when the Waltons and Walmart provide fair pay and regular hours to their workers. I’m here today taking a stand for Walmart workers, and I’ll be back on Black Friday with thousands of others who have had enough of Walmart’s destruction of the American Dream.”
Before the arrests, the group delivered a petition signed by workers from 1,710 of Walmart stores in all 50 states. The petition calls on Walmart to publicly commit raise pay to $15 an hour and provide consistent, full-time hours. The actions today follow protests yesterday in Phoenix, AZ, where Walmart associates and community members delivered the petition to Walmart chair Rob Walton.
“The Waltons have made it impossible for me to get ahead and make sure my daughter goes to bed in a warm home,” said Fatmata Jabbie,a Walmart worker who delivered the petition to the Walton Family Foundation in Washington, DC. “The Waltons can choose to turn things around and stop robbing working Americans like me who just want to raise our families. We need $15 an hour and consistent full-time work—now.”
The Walton family, which controls the Walmart empire, is the richest family in the U.S.—with the wealth of 43% of American families combined. While many Walmart workers are unable to feed and clothe their families on their pay of less than $25,000 a year, the Walton family takes in $8.6 million a day in Walmart dividends alone to build on its $150 billion in wealth. Walmart brings in $16 billion in annual profits.
“Right now, corporate profits are at an all-time high while wages are lower than any time since 1948,” said Rep. Grijalva. “Walmart alone rakes in $16 billion a year while enjoying $8 billion in tax breaks and subsidies, but refuses to pay employees enough to put food on the table or clothes on their back. Many of their employees are forced to rely on taxpayer-funded programs, meaning the American taxpayers are paying for the Walton family’s refusal to pay a decent wage. It’s time to end this scam, and ensure all workers have the decency of a livable wage and full-time work.”
Walmart workers depend on food stamps and other taxpayer-supported programs to support their families. Walmart—the standard-setter for jobs in the retail industry—has created a norm of erratic, part-time scheduling that is keeping workers from getting the hours they need, holding down second jobs, arranging child care, going to school or managing health conditions.
The protests today come at a time when OUR Walmart members have made significant strides creating change at the country’s largest employer. OUR Walmart member Richard Reynoso, who sent a letter to Walmart about the new dress code policy, not only pushed the company to live up to its Buy America commitment with the new vests; his manager gave him full-time hours in response to his concerns about affording new clothing on his low pay. OUR Walmart members have had similar hours victories—through petitions and meetings with managers—in the San Francisco Bay Area, Dallas, Florida, Southern California, Louisiana and Chicago. Walmart improved its pregnancy policy recently after OUR Walmart members, who are also shareholders, submitted a resolution to the company about its pregnancy policy. And, responding to OUR Walmart members’ growing calls on the retailer to improve access to hours, Walmart rolled out a new system nationwide that allows workers to sign up for open shifts in their stores online.
Background
A report released earlier this year by Americans for Tax Fairness showed that by dodging taxes, exploiting loopholes and taking advantage of taxpayer subsidies, Walmart and the Waltons received an estimated $7.8 billion in tax breaks and subsidies in 2013. And while many taxpayers struggle to stretch paychecks, the richest family in the country has avoided an estimated $3 billion in taxes by using specialized trusts to dodge estate taxes.
National public policy organization Demos released a report this year showing low-pay and erratic scheduling keep millions of hard-working Americans—particularly women—near poverty. The report finds that establishing a new wage floor equivalent to $25,000 per year for fulltime, year round work at retail companies employing at least 1,000 workers would improve the lives of more than 3.2 million female retail workers and lift 900,000 women and their families directly out of poverty or near poverty.
###
LEGAL DISCLAIMER: UFCW and OUR Walmart have the purpose of helping Wal-Mart employees as individuals or groups in their dealings with Wal-Mart over labor rights and standards and their efforts to have Wal-Mart publically commit to adhering to labor rights and standards. UFCW and OUR Walmart have no intent to have Walmart recognize or bargain with UFCW or OUR Walmart as the representative of Walmart employees.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 229/70. Gregory Peck in Mackenna's Gold (J. Lee Thompson, 1969).
American actor Gregory Peck (1916-2003) was one of the most popular film stars from the 1940s to the 1960s. Peck received five nominations for Academy Award for Best Actor and won once – for his performance as Atticus Finch in To Kill a Mockingbird (1962). He almost always played courageous, nobly heroic good guys who saw injustice and fought it. Among his best known films are Spellbound (1945), The Yearling (1946), Gentleman's Agreement (1947), Roman Holiday (1953), The Guns of Navarone (1961), and Cape Fear (1962).
Eldred Gregory Peck was born in 1916 in La Jolla, California (now in San Diego). His parents were Bernice Mary (Ayres) and Gregory Pearl Peck, a chemist, and druggist in San Diego. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the cinema every week and of his dog, which followed him everywhere. Peck's father encouraged him to take up medicine. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play 'The Morning Star' (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (Jacques Tourneur, 1944). Stardom came with his next film, The Keys of the Kingdom (John M. Stahl, 1944), for which he was nominated for an Oscar. Tony Fontana at IMDb: "Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles." He appeared opposite Ingrid Bergman in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (Clarence Brown, 1946), he was again nominated for an Oscar and won the Golden Globe. He was especially effective in Westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (King Vidor, 1946), the somewhat better received Yellow Sky (William A. Wellman, 1948), and the acclaimed The Gunfighter (Henry King, 1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (Elia Kazan, 1947), which dealt with anti-Semitism, and Twelve O'Clock High (Henry King, 1949), a story of high-level stress in an Air Force bomber unit in World War II. In 1947, Peck, along with Dorothy McGuire, David O'Selznick, and Mel Ferrer, founded the La Jolla Playhouse, located in his hometown, and produced many of the classics there. Due to film commitments, he could not return to Broadway but whet his appetite for live theatre on occasion at the Playhouse, keeping it firmly established with a strong, reputable name over the years.
With a string of hits to his credit, Gregory Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (Raoul Walsh, 1951) with Virginia Mayo, and Moby Dick (John Huston, 1956) with Richard Basehart. He worked with Audrey Hepburn in her debut film, Roman Holiday (William Wyler, 1953). While filming The Bravados (Henry King, 1958), he decided to become a cowboy in real life, so he purchased a vast working ranch near Santa Barbara, California - already stocked with 600 head of prize cattle. In the early 1960s, he gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (J. Lee Thompson, 1961) opposite David Niven and Anthony Quinn. The film was one of the biggest box-office hits of that year. Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (Robert Mulligan, 1962). He also appeared in two darker films than he usually made, Cape Fear (J. Lee Thompson, 1962) opposite Robert Mitchum, and Captain Newman, M.D. (David Miller, 1963) with Tony Curtis, which dealt with the way people live. The financial failure of Cape Fear (1962) ended his company, Melville Productions. After making Arabesque (Stanley Donen, 1966) with Sophia Loren, Peck withdrew from acting for three years in order to concentrate on various humanitarian causes, including the American Cancer Society. In the early 1970s, he produced two films, The Trial of the Catonsville Nine (Gordon Davidson, 1972) and The Dove (Charles Jarrott, 1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Ambassador Robert Thorn in the horror film The Omen (Richard Donner, 1976) with Lee Remick. After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (Joseph Sargent, 1977) and the infamous Nazi war criminal Dr. Josef Mengele in the huge hit The Boys from Brazil (Franklin J. Schaffner, 1978) with Laurence Olivier and James Mason. In the 1980s, he moved into television with the miniseries The Blue and the Gray (Andrew V. McLaglen, 1982) in which he played Abraham Lincoln, and The Scarlet and the Black (Jerry London, 1983) with Christopher Plummer and John Gielgud. In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (Norman Jewison, 1991), starring Danny DeVito. In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights, and civil rights. In 2003, Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute, only two weeks before his death. Atticus beat out Indiana Jones, who was placed second, and James Bond who came third. Gregory Peck died in 2003 in Los Angeles, California. He was 87. Peck was married twice. From 1942 till 1955, he was married to Greta Kukkonen. They had three children: Jonathan Peck (1944-1975), Stephen Peck (1946), and Carey Paul Peck (1949). His second wife was Veronique Passani, whom he met at the set of Roman Holliday. They married in 1955 and had two children: Tony Peck (1956) and Cecilia Peck (1958). The couple remained together till his death.
Sources: Tony Fontana (IMDb), and IMDb.
And, please check out our blog European Film Star Postcards.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
John Lennon and Yoko Ono's Two Virgins. In the name of decency, I've photoshopped out the naughty bits!
Catching up on some back shots from the beginning of the year
On a walk around the Addington Cemetery with a wonderful Flickr friend. February 13, 2016 Christchurch New Zealand.
There is so much damaged in the cemetery because of the earthquake we have had. It is such a pity as I don' think it will ever be fully repaired.
The Addington Cemetery was established in 1858 when the Scottish Presbyterians of St Andrew’s Church purchased land for a cemetery in Selwyn Street. Although not the first cemetery in Christchurch, Addington was in fact the first “public” cemetery, “being open to all persons of any religious community” and allowing the performance of any religious service “not contrary to public decency”.
The first burial took place on the 10th of November 1858. The cemetery has several persons of note buried within its grounds including activist Kate Sheppard, Christchurch Mayor Tommy Taylor and members of the pioneer family, the Deans.
For More Info:http://my.christchurchcitylibraries.com/addington-cemetery/
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Henry Carey, 2nd earl of Monmouth; Elizabeth Trevannion, Countess of Monmouth; Robert Carey, Earl of Monmouth; Philadelphia Carey; Thomas Carey
Attributed to Paul Van Somer,painting,circa 1617
Robert Carey, 1st Earl of Monmouth (c. 1560 – 12 April 1639), youngest son of Henry Carey, 1st Baron Hunsdon (Chamberlain and first cousin/brother of Queen Elizabeth I) and Anne Morgan daughter of Sir Thomas Morgan and Anne Whitney.
As a young man he accompanied several diplomatic missions abroad and took part in military expeditions. In 1587 he joined in the attempt to relieve Sluys, in 1588 served as a volunteer against the Spanish Armada, and commanded a regiment in the Earl of Essex's expedition to Normandy in support of the Protestant Henry IV of France in 1591, taking part in the siege of Rouen. He was knighted by Essex the same year for having by his intercession with the Queen procured his recall.
In the parliaments of 1586 and 1588 he represented Morpeth; in that of 1593, Callington; and in those of 1596 and 1601, Northumberland. From 1593 till the end of Elizabeth's reign he occupied various posts in the government of the Scottish borders, succeeding to his father's appointment of Lord Warden of the Marches in 1596, which he held till February 1598.
This was some of the most important work of his life, and he was largely responsible for easing the troubles and the depredations of the Border Reivers. His conflict with the Scottish fyrebrande Robert Ker, 1st Earl of Roxburghe was only settled after great skill and tact on Carey's part.
In March 1603 he visited the court, and witnessed Queen Elizabeth I's last illness, which he described in his memoirs. Anxious to recommend himself to her successor James I, and disobeying the orders of the council, he started on horseback immediately after the Queen's death on the morning of 24 March 1603, in order to be the first to communicate the tidings to James, arrived at Holyrood late on 26 March, and was appointed by the King a Gentleman of the Bedchamber. But his conduct met with general and merited censure as "contrary to all decency, good manners and respect," and on James's arrival in England he was dismissed from his new post. On 23 February 1605, however, he was made governor of Prince Charles, in 1611 his master of the robes, in 1617 his Chamberlain, and on 6 February 1622, he was created Baron Carey of Leppington. In 1623 he followed Charles in his visit to Philip IV of Spain. Following Charles' succession to the throne he was created Earl of Monmouth in 1626.
He died on 12 April 1639. His eldest son Henry Carey, 2nd Earl of Monmouth (1596–1661) succeeded him, and on his death without surviving male issue the peerage became extinct.
His Memoirs were published first by John Boyle, 5th Earl of Cork in 1759. A second edition, annotated by Sir Walter Scott, was printed in 1808.
Joseph R. McCarthy was born in Grand Chute, Wisconsin, November 14, 1908, on his Irish Catholic parents' dairy farm. A restless student, he dropped out of high school at sixteen to start his own poultry farm on land he had rented from a friend.
After a brutal winter killed all his flock, he returned to school in 1929, focused and determined to graduate with his class, which required completing four years of course work in half that time. In 1930, he enrolled in Marquette University and developed a reputation as a card shark and heavyweight boxer.
After earning a law degree in 1935 (financed by gambling winnings and wages from odd jobs), he returned home to open his practice and begin a career in politics.
When McCarthy lost his first campaign as the Democratic nominee for district attorney, he decided to seek a nonpartisan position. He soon sought a circuit judgeship and challenged a twenty-year incumbent who dismissed McCarthy as a long shot, an unelectable rookie.
McCarthy campaigned with a vengeance and over the course of the election deliberately inflated his opponent's age and salary. His tactics worked and, in 1937, the twenty-nine year old McCarthy became the youngest judge in Wisconsin history.
Five years later, even though his service on the bench excluded him for military service, McCarthy joined the Marines, hoping that his combat experience would enhance his political stature.
As an intelligence officer stationed in the Pacific, he spent the war debriefing pilots after they returned from bombing raids over Japan.
Yet, when he returned to campaign at home, he transformed himself into "tail-gunner Joe," the battle-scarred veteran who survived hazardous missions over Japanese-held territory and, in the process, "fired more bullets than any marine in history" during his fourteen (a figure he later changed to seventeen and then thirty-two) engagements with the enemy.
To prove his courage, he asked to receive (and was awarded) the Distinguished Flying Cross.
Capitalizing on his war record, McCarthy narrowly defeated the overconfident Senator Robert La Follette in the 1946 Republican senatorial primary and assailed his Democratic opponent, Howard McMurray, as a man so desperate for election that he would accept communist support.
The baseless charge worked. McCarthy trounced McMurray and, in 1947, became the junior U.S. senator from Wisconsin.
He quickly alienated his colleagues (especially after he tried to court the German-American vote by criticizing the prosecution of Nazis accused of slaughtering American troops during the Battle of the Bulge) and he soon feared that he could not be re-elected without a major issue to improve his political standing.
Consequently, on February 7, 1950, he told a group of Republican women assembled in Wheeling, West Virginia, that there was serious "communist influence" in the Truman administration, declaring, " I have here in my hand a list of 205 . . . names that were known to the Secretary of State and who nevertheless are still working and shaping the policy of the State Department."
Even though no such list existed, McCarthy's accusations gripped the media and he soon became a national figure, promoted on the covers of national news magazines.
Alleged communist infiltration of government agencies became McCarthy's political calling card. By the 1952 election, he had called Sinologist Owen Lattimore America's "top Russian spy," labeled Secretary of State George C. Marshall "a traitor," nicknamed Secretary of State Dean Acheson the "Red Dean of Fashion," attacked President Truman as a drunkard and "a son of a bitch [who] should be impeached," and repeatedly referred to Democratic nominee Adlai Stevenson as "Alger . . . I mean Adlai."
His tactics worked and, when reelected, McCarthy gained the chairmanship of the Senate Committee on Government Operations, a position he used, according to biographer David Oshinksy, "to undermine government morale, damage numerous reputations, and make America look sinister in the eyes of the world."
In 1953, McCarthy announced that he would investigate alleged communist infiltration of the U.S. Army and savaged the Army for "coddling Communists."
On March 11, 1954 McCarthy called Annie Lee Moss, a black civilian clerk in the Army Signal Corps, and accused her of having communist ties while handling classified information.
McCarthy left the hearing leaving the questioning to his hatchet-man Roy Cohn who quickly bungled the interrogation. Moss came across as an honest, victimized government worker while Cohn came across as someone caught without facts making unsubstantiated accusations in a vicious manner.
In truth, Moss handled only encrypted documents and not readable classified information. Her only contact with communists seemed to come through her former union Cafeteria Local 471, CIO.
The episode was filmed by the television show See It Now produced by renowned journalist Edward Murrow and broadcast nationwide the following week. The public began to turn against McCarthy after the show and an unflattering portrait of McCarthy broadcast the previous week by Murrow.
Disturbed by McCarthy's staccato accusations and worried that he had unjustly damaged the reputation of innocent civilians (as well as the image of the Senate), his senatorial colleagues coalesced to investigate both McCarthy and his allegations.
Agreeing with Eisenhower that televised hearings would expose the real McCarthy in a way that print coverage could not, Republican leaders decided to let the cameras inside the chambers to televise the thirty-six day Army hearings.
Forty million viewers watched the Army-McCarthy hearings and the national mood began to turn against the senator when, on June 9, 1954, the audience in the Senate Caucus room applauded army counsel Louis Welch's outburst ("Have you no sense of decency, sir?") after the senator tried to attack Welch's young assistant.
Six months later, the Senate voted 67-22 to censure McCarthy.
.
McCarthy ended his career, lonely and out of the political limelight. It was revealed later he had been a morphine addict throughout the 1940s. He died at the Bethesda Naval Hospital May 2, 1957 at age 48 from complications due to alcoholism and hepatitis.
--McCarthy biography largely excerpted from George Washington University Eleanor Roosevelt website.
For more information and related images, see flic.kr/s/aHsk72YVXD
The television cameraman is unknown. The image is from CBS television, but the distributor is unknown. The image is housed in the D.C. Public Library Washington Star Collection.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Nearly halfway through the month, and it's the weekend again, and the the good news is that the sore throat I had on Friday went and did not return.
Which is nice.
Jools's cough, however, which seemed like it was getting better, returned slightly on Friday evening, and would again on Saturday. We had tockets to see Public Service Bradcasting again, this time in Margate, but our hearts were not in it, if I'm honest, and in the end we decided not to go in light of her coughing, but also as I said, we saw them a month back, though this would be a different show.
And Norwich were on the tellybox, what could be better than watching that?
Anything, as it turned out.
But that was for later.
We went to Tesco, a little later than usual, as we had slept in rather, then back home for breakfast before the decision on what to do for the day. Jools decided to stay home to bead and read, I would go out.
There are three churches near to home that I feel I needed to revisit, St Margaret's itself I should be able to get the key from the village shop at any time, but St Mary in Dover hasn't been open the last few times I have been in town, and Barfrestone was closed most of the year due to vandalism.
But Saturday morning there is usually a coffee morning in St Mary, so I went down armed with camera and lenses to take more shots of the details, especially of the windows.
There was a small group with the Vicar, talking in one of the chapels, so I made busy getting my shots, just happy that the church was open. I left a fiver with the vicar, and walked back to the car, passing the old guy supping from a tin of cider sitting outside the church hall.
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In the heart of the town with a prominent twelfth-century tower. From the outside it is obvious that much work was carried out in the nineteenth century. The church has major connections with the Lord Wardens of the Cinque Ports and is much used for ceremonial services. The western bays of the nave with their low semi-circular arches are contemporary with the tower, while the pointed arches to the east are entirely nineteenth century. The scale and choice of stone is entirely wrong, although the carving is very well done. However the east end, with its tall narrow lancet windows, is not so successful. The Royal Arms, of the reign of William and Mary, are of carved and painted wood, with a French motto - Jay Maintendray - instead of the more usual Dieu et Mon Droit. The church was badly damaged in the Second World War, but one of the survivors was the typical Norman font of square Purbeck marble construction. One of the more recent additions to the church is the Herald of Free Enterprise memorial window of 1989 designed by Frederick Cole.
www.kentchurches.info/church.asp?p=Dover+1
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THE TOWN AND PORT OF DOVER.
DOVER lies at the eastern extremity of Kent, adjoining to the sea, the great high London road towards France ending at it. It lies adjoining to the parish of Charlton last-described, eastward, in the lath of St. Augustine and eastern division of the county. It is within the liberty of the cinque ports, and the juristion of the corporation of the town and port of Dover.
DOVER, written in the Latin Itinerary of Antonine, Dubris. By the Saxons, Dorsa, and Dofris. By later historians, Doveria; and in the book of Domesday, Dovere; took its name most probably from the British words, Dufir, signifying water, or Dusirrha, high and steep, alluding to the cliffs adjoining to it. (fn. 1)
It is situated at the extremity of a wide and spacious valley, inclosed on each side by high and steep hills or cliffs, and making allowance for the sea's withdrawing itself from between them, answers well to the description given of it by Julius Cæfar in his Commentaries.
In the middle space, between this chain of high cliffs, in a break or opening, lies the town of Dover and its harbour, which latter, before the sea was shut out, so late as the Norman conquest, was situated much more within the land than it is at present, as will be further noticed hereafter.
ON THE SUMMIT of one of these cliffs, of sudden and stupendous height, close on the north side of the town and harbour, stands DOVER CASTLE, so famous and renowned in all the histories of former times. It is situated so exceeding high, that it is at most times plainly to be seen from the lowest lands on the coast of France, and as far beyond as the eye can discern. Its size, for it contains within it thirty five acres of ground, six of which are taken up by the antient buildings, gives it the appearance of a small city, having its citadel conspicuous in the midst of it, with extensive fortifications, around its walls. The hill, or rather rock, on which it stands, is ragged and steep towards the town and harbour; but towards the sea, it is a perpendicular precipice of a wonderful height, being more than three hundred and twenty feet high, from its basis on the shore.
Common tradition supposes, that Julius Cæfar was the builder of this castle, as well as others in this part of Britain, but surely without a probability of truth; for our brave countrymen found Cæfar sufficient employment of a far different sort, during his short stay in Britain, to give him any opportunity of erecting even this one fortress. Kilburne says, there was a tower here, called Cæsar's tower, afterwards the king's lodgings; but these, now called the king's keep, were built by king Henry II. as will be further mentioned hereafter; and he further says, there were to be seen here great pipes and casks bound with iron hoops, in which was liquor supposed to be wine, which by long lying had become as thick as treacle, and would cleave like birdlime; salt congealed together as hard as stone; cross and long bows and arrows, to which brass was fastened instead of feathers, and they were of such size, as not to be fit for the use of men of that or any late ages. These, Lambarde says, the inhabitants shewed as having belonged to Cæfar, and the wine and salt as part of the provision he had brought with him hither; and Camden relates, that he was shewn these arrows, which he thinks were such as the Romans used to shoot out of their engines, which were like to large crossbows. These last might, no doubt, though not Cæsar's, belong to the Romans of a later time; and the former might, perhaps, be part of the provisions and stores which king Henry VIII. laid in here, at a time when he passed from hence over sea to France. But for many years past it has not been known what is become of any of these things.
Others, averse to Cæsar's having built this castle, and yet willing to give the building of it to the empire of the Romans of a later time, suppose, and that perhaps with some probability, it was first erected by Arviragus, (or Arivog, as he is called on his coin) king of Britain, in the time of Claudius, the Roman emperor. (fn. 2)
That there was one built here, during the continuance of the Roman empire in Britain, must be supposed from the necessity of it, and the circumstances of those times; and the existence of one plainly appears, from the remains of the tower and other parts of the antient church within it, and the octagon tower at the west end, in which are quantities of Roman brick and tile. These towers are evidently the remains of Roman work, the former of much less antiquity than the latter, which may be well supposed to have been built as early as the emperor Claudius, whose expedition hither was about or immediately subsequent to the year of Christ 44. Of these towers, probably the latter was built for a speculum, or watch-tower, and was used, not only to watch the approach of enemies, but with another on the opposite hill, to point out the safe entrance into this port between them, by night as well as by day.
In this fortress, the Romans seem afterwards to have kept a garrison of veterans, as we learn from Pancirollus, who tells us that a company of soldiers under their chief, called Præpositus Militum Tungricanorum, was stationed within this fortess.
Out of the remains of part of the above-mentioned Roman buildings here, a Christian church was erected, as most historians write, by Lucius, king of Britain, about the year 161; but it is much to be doubted whether there ever was such a king in Britain; if there was, he was only a tributary chief to the Roman emperor, under whose peculiar government Britain was then accounted. This church was built, no doubt, for the use of that part of the garrison in particular, who were at that time believers of the gospel, and afterwards during the different changes of the Christian and Pagan religions in these parts, was made use of accordingly, till St. Augustine, soon after the year 597, at the request of king Ethelbert, reconsecrated it, and dedicated it anew, in honour of the blessed Virgin Mary.
¶His son and successor Eadbald, king of Kent, founded a college of secular canons and a provost in this church, whose habitations, undoubtedly near it, there are not the least traces of. These continued here till after the year 691; when Widred, king of Kent, having increated the fortifications, and finding the residence of the religious within them an incumbrance, removed them from hence into the town of Dover, to the antient church of St. Martin; in the description of which hereafter, a further account of them will be given.
DOVER does not seem to have been in much repute as a harbour, till some time after Cæsar's expedition hither; for the unfitness, as well as insecurity of the place, especially for a large fleet of shipping, added to the character which he had given of it, deterred the Romans from making a frequent use of it, so that from Boleyne, or Gessoriacum, their usual port in Gaul, they in general failed with their fleets to Richborough, or Portus Rutupinus, situated at the mouth of the Thames, in Britain, and thence back again; the latter being a most safe and commodious haven, with a large and extensive bay.
Notwithstanding which, Dover certainly was then made use of as a port for smaller vessels, and a nearer intercourse for passengers from the continent; and to render the entrance to it more safe, the Romans built two Specula, or watch-towers, here, on the two hills opposite to each other, to point out the approach to it, and one likewise on the opposite hill at Bologne, for the like purpose there; and it is mentioned as a port by Antoninus, in his Itinerary, in which, ITER III. is A Londinio ad Portum Dubris, i. e. from London to the port of Dover.
After the departure of the Romans from Britain, when the port of Bologne, as well as Richborough, fell into decay and disuse, and instead of the former a nearer port came into use, first at Whitsan, and when that was stopped up, a little higher at Calais, Dover quickly became the more usual and established port of passage between France and Britain, and it has continued so to the present time.
When the antient harbour of Dover was changed from its antient situation is not known; most probably by various occurrences of nature, the sea left it by degrees, till at last the farmer scite of it became entirely swallowed up by the beach. That the harbour was much further within land, even at the time of the conquest than it is at present, seems to be confirmed by Domesday, in which it is said, that at the entrance of it, there was a mill which damaged almost every ship that passed by it, on account of the great swell of the sea there. Where the scite of this mill was, is now totally unknown, though it is probable it was much within the land, and that by the still further accumulation of the beach, and other natural causes, this haven was in process of time so far filled up towards the inland part of it, as to change its situation still more to the south-west, towards the sea.
From the time of the Norman conquest this port continued the usual passage to the continent, and to confine the intercourse to this port only, there was a statute passed anno 4 Edward IV. that none should take shipping for Calais, but at Dover. (fn. 20) But in king Henry VII.'s time, which was almost the next reign, the harbour was become so swerved up, as to render it necessary for the king's immediate attention, to prevent its total ruin, and he expended great sums of money for its preservation. But it was found, that all that was done, would not answer the end proposed, without the building of a pier to seaward, which was determined on about the middle of Henry VIII.'s reign, and one was constructed, which was compiled of two rows of main posts, and great piles, which were let into holes hewn in the rock underneath, and some were shod with iron, and driven down into the main chalk, and fastened together with iron bands and bolts. The bottom being first filled up with great rocks of stone, and the remainder above with great chalk stones, beach, &c. During the whole of this work, the king greatly encouraged the undertaking, and came several times to view it; and in the whole is said to have expended near 63,000l. on it. But his absence afterwards abroad, his ill health, and at last his death, joined to the minority of his successor, king Edward VI. though some feeble efforts were made in his reign, towards the support of this pier, put a stop to, and in the end exposed this noble work to decay and ruin.
Queen Mary, indeed, attempted to carry it on again, but neither officers nor workmen being well paid, it came to nothing, so that in process of time the sea having brought up great quantities of beach again upon it, the harbour was choaked up, and the loss of Calais happening about the same time, threatened the entire destruction of it. Providentially the shelf of beach was of itself became a natural defence against the rage of the sea, insomuch, that if a passage could be made for ships to get safely within it, they might ride there securely.
To effect this, several projects were formed, and queen Elizabeth, to encourage it, gave to the town the free transportation of several thousand quarters of corn and tuns of beer; and in the 23d of her reign, an act passed for giving towards the repair of the harbour, a certain tonnage from every vessel above twenty tons burthen, passing by it, which amounted to 1000l. yearly income; and the lord Cobham, then lordwarden, and others, were appointed commissioners for this purpose; and in the end, after many different trials to effect it, a safe harbour was formed, with a pier, and different walls and sluices, at a great expence; during the time of which a universal diligence and public spirit appeared in every one concerned in this great and useful work. During the whole of the queen's reign, the improvement of this harbour continued without intermission, and several more acts passed for that purpose; but the future preservation of it was owing to the charter of incorporation of the governors of it, in the first year of king James I. by an act passed that year, by the name of the warden and assistants of the harbour of Dover, the warden being always the lord-warden of the cinque ports for the time being, and his assistants, his lieutenant, and the mayor of Dover, for the time being, and eight others, the warden and assistants only making a quorum; six to be present to make a session; at any of which, on a vacancy, the assistants to be elected; and the king granted to them his land or waste ground, or beach, commonly called the Pier, or Harbour ground, as it lay without Southgate, or Snargate, the rents of which are now of the yearly value of about three hundred pounds.
Under the direction of this corporation, the works and improvements of this harbour have been carried on, and acts of parliament have been passed in almost every reign since, to give the greater force to their proceedings.
From what has been said before, the reader will observe, that this harbour has always been a great national object, and that in the course of many ages, prodigious sums of money have been from time to time expended on it, and every endeavour used to keep it open, and render it commodious; but after all these repeated endeavours and expences, it still labours under such circumstances, as in a very great degree renders unsuccessful all that has ever been done for that purpose.
DOVER, as has been already mentioned, was of some estimation in the time of the Roman empire in Britain, on account of its haven, and afterwards for the castle, in which they kept a strong garrison of sol. diers, not only to guard the approach to it, but to keep the natives in subjection; and in proof of their residence here, the Rev. Mr. Lyon some years since discovered the remains of a Roman structure, which he apprehended to have been a bath, at the west end of the parish-church of St. Mary, in this town, which remains have since repeatedly been laid open when interments have taken place there.
This station of the Romans is mentioned by Antonine, in his Itinerary of the Roman roads in Britain, by the name of Dubris, as being situated from the station named Durovernum, or Canterbury, fourteen miles; which distance, compared with the miles as they are now numbered from Canterbury, shews the town, as well as the haven, for they were no doubt contiguous to each other, to have both been nearer within land than either of them are at present, the present distance from Canterbury being near sixteen miles as the road now goes, The sea, indeed, seems antiently to have occupied in great part the space where the present town of Dover, or at least the northwest part of it, now stands; but being shut out by the quantity of beach thrown up, and the harbour changed by that means to its present situation, left that place a dry ground, on which the town of Dover, the inhabitants following the traffic of the harbour, was afterwards built.
This town, called by the Saxons, Dofra, and Dofris; by later historians, Doveria; and in Domesday, Dovere; is agreed by all writers to have been privileged before the conquest; and by the survey of Domesday, appears to have been of ability in the time of king Edward the Confessor, to arm yearly twenty vessels for sea service. In consideration of which, that king granted to the inhabitants, not only to be free from the payment of thol and other privileges throughout the realm, but pardoned them all manner of suit and service to any of his courts whatsoever; and in those days, the town seems to have been under the protection and government of Godwin, earl of Kent, and governor of this castle.
Soon after the conquest, this town was so wasted by fire, that almost all the houses were reduced to ashes, as appears by the survey of Domesday, at the beginning of which is the following entry of it:
DOVERE, in the time of king Edward, paid eighteen pounds, of which money, king E had two parts, and earl Goduin the third. On the other hand, the canons of St. Martin had another moiety. The burgesses gave twenty ships to the king once in the year, for fifteen days; and in each ship were twenty and one men. This they did on the account that he had pardoned them sac and soc. When the messengers of the king came there, they gave for the passage of a horse three pence in winter, and two in summer. But the burgesses found a steerman, and one other assistant, and if there should be more necessary, they were provided at his cost. From the festival of St. Michael to the feast of St. Andrew, the king's peace was in the town. Sigerius had broke it, on which the king's bailiff had received the usual fine. Whoever resided constantly in the town paid custom to the king; he was free from thol throughout England. All these customs were there when king William came into England. On his first arrival in England, the town itself was burnt, and therefore its value could not be computed how much it was worth, when the bishop of Baieux received it. Now it is rated at forty pounds, and yet the bailiff pays from thence fifty-four pounds to the king; of which twenty-four pounds in money, which were twenty in an one, but thirty pounds to the earl by tale.
In Dovere there are twenty-nine plats of ground, of which the king had lost the custom. Of these Robert de Romenel has two. Ralph de Curbespine three. William, son of Tedald, one. William, son of Oger, one. William, son of Tedold, and Robert niger, six. William, son of Goisfrid, three, in which the guildhall of the burgesses was. Hugo de Montfort one house. Durand one. Rannulf de Colubels one. Wadard six. The son of Modbert one. And all these vouch the bishop of Baieux as the protector and giver of these houses. Of that plat of ground, which Rannulf de Colubels holds, which was a certain outlaw, they agree that the half of the land was the king's, and Rannulf himself has both parts. Humphry the lame man holds one plat of ground, of which half the forfeiture is the king's. Roger de Ostrabam made a certain house over the king's water, and held to this time the custom of the king; nor was a house there in the time of king Edward. In the entrance of the port of Dovere, there is one mill, which damages almost every ship, by the great swell of the sea, and does great damage to the king and his tenants; and it was not there in the time of king Edward. Concerning this, the grandson of Herbert says, that the bishop of Baieux granted it to his uncle Herbert, the son of Ivo.
And a little further, in the same record, under the bishop's possessions likewise:
In Estrei hundred, Wibertus holds half a yoke, which lies in the gild of Dover, and now is taxed with the land of Osbert, the son of Letard, and is worth per annum four shillings.
From the Norman conquest, the cities and towns of this realm appear to have been vested either in the crown, or else in the clergy or great men of the laity, and they were each, as such, immediately lords of the same. Thus, when the bishop of Baieux, to whom the king had, as may be seen by the above survey, granted this town, was disgraced. It returned into the king's hands by forfeiture, and king Richard I. afterwards granted it in ferme to Robt. Fitz-bernard. (fn. 21)
After the time of the taking of the survey of Domesday, the harbour of Dover still changing its situation more to the south-westward, the town seems to have altered its situation too, and to have been chiefly rebuilt along the sides of the new harbour, and as an encouragement to it, at the instance, and through favour especially to the prior of Dover, king Edward I. in corporated this town, the first that was so of any of the cinque ports, by the name of the mayor and commonalty. The mayor to be chosen out of the latter, from which body he was afterwards to chuse the assistants for his year, who were to be sworn for that purpose. At which time, the king had a mint for the coinage of money here; and by patent, anno 27 of that reign, the table of the exchequer of money was appointed to be held here, and at Yarmouth. (fn. 22) But the good effects of these marks of the royal favour were soon afterwards much lessened, by a dreadful disaster; for the French landed here in the night, in the 23d year of that reign, and burnt the greatest part of the town, and several of the religious houses, in it, and this was esteemed the more treacherousk, as it was done whilst the two cardinals were here, treating for a peace between England and France; which misfortune, however, does not seem to have totally impoverished it, for in the 17th year of the next reign of king Edward II it appears in some measure to have recovered its former state, and to have been rebuilt, as appears by the patent rolls of that year, in which the town of Dover is said to have then had in it twenty-one wards, each of which was charged with one ship for the king's use; in consideration of which, each ward had the privilege of a licensed packetboat, called a passenger, from Dover across the sea to Whitsan, in France, the usual port at that time of embarking from thence.
The state of this place in the reign of Henry VIII. is given by Leland, in his Itinerary, as follows:
"Dovar ys xii myles fro Canterbury and viii fro Sandwich. Ther hath bene a haven yn tyme past and yn taken ther of the ground that lyith up betwyxt the hilles is yet in digging found wosye. Ther hath bene found also peeces of cabelles and anchores and Itinerarium Antonini cawlyth hyt by the name of a haven. The towne on the front toward the se hath bene right strongly walled and embateled and almost al the residew; but now yt is parly fawlen downe and broken downe. The residew of the towne as far as I can perceyve was never waulled. The towne is devided into vi paroches. Wherof iii be under one rose at S. Martines yn the hart of the town. The other iii stand that yt hath be walled abowt but not dyked. The other iii stand abrode, of the which one is cawled S. James of Rudby or more likely Rodeby a statione navium. But this word ys not sufficient to prove that Dovar showld be that place, the which the Romaynes cawlled Portus Rutupi or Rutupinum. For I cannot yet se the contrary but Retesboro otherwise cawlled Richeboro by Sandwich, both ways corruptly, must neades be Rutupinum. The mayne strong and famose castel of Dovar stondeth on the loppe of a hille almost a quarter of a myle of fro the towne on the lyst side and withyn the castel ys a chapel, yn the sides wherof appere sum greate Briton brykes. In the town was a great priory of blacke monkes late suppressed. There is also an hospitalle cawlled the Meason dew. On the toppe of the hye clive betwene the towne and the peere remayneth yet abowt a slyte shot up ynto the land fro the very brymme of the se clysse as ruine of a towr, the which has bene as a pharos or a mark to shyppes on the se and therby was a place of templarys. As concerning the river of Dovar it hath no long cowrse from no spring or hedde notable that descendith to that botom. The principal hed, as they say is at a place cawled Ewelle and that is not past a iii or iiii myles fro Dovar. Ther be springes of frech waters also at a place cawled Rivers. Ther is also a great spring at a place cawled …… and that once in a vi or vii yeres brasted owt so abundantly that a great part of the water cummeth into Dovar streme, but als yt renneth yn to the se betwyxt Dovar and Folchestan, but nerer to Folchestan that is to say withyn a ii myles of yt. Surely the hedde standeth so that it might with no no great cost be brought to run alway into Dovar streame." (fn. 23)
Cougate Crosse-gate Bocheruy-gate stoode with toures toward the se. There is beside Beting-gate and Westegate.
Howbeyt MTuine tol me a late that yt hath be walled abowt but not dyked.
This was the state of Dover just before the time of the dissolution of religious houses, in Henry VIII.'s reign, when the abolition of private masses, obits, and such like services in churches, occasioned by the reformation, annillilated the greatest part of the income of the priests belonging to them, in this as well as in other towns, in consequence of which most of them were deserted, and falling to ruin, the parishes belonging to them were united to one or two of the principal ones of them. Thus, in this town, of the several churches in it, two only remained in use for divine service, viz. St. Mary's and St. James's, to which the parishes of the others were united.
After this, the haven continuting to decay more than ever, notwithstanding the national assistance afforded to it, the town itself seemed hastening to impoverishment. What the state of it was in the 8th year of queen Elizabeth, may be seen, by the certificate returned by the queen's order of the maritime places, in her 8th year, by which it appears that there were then in Dover, houses inhabited three hundred and fifty-eight; void, or lack of inhabiters, nineteen; a mayor, customer, comptroller of authorities, not joint but several; ships and crayers twenty, from four tons to one hundred and twenty.
¶This probable ruin of the town, however, most likely induced the queen, in her 20th year, to grant it a new charter of incorporation, in which the manner of chusing mayor, jurats, and commoners, and of making freemen, was new-modelled, and several surther liberties and privileges granted, and those of the charter of king Edward I. confirmed likewise by inspeximus. After which, king Charles II. in his 36th year, anno 1684, granted to it a new charter, which, however, was never inrolled in chancery, and in consequence of a writ of quo warranto was that same year surrendered, and another again granted next year; but this last, as well as another charter granted by king James II. and forced on the corporation, being made wholly subservient to the king's own purposes, were annulled by proclamation, made anno 1688, being the fourth and last year of his reign: but none of the above charters being at this time extant, (the charters of this corporation, as well as those of the other cinque ports, being in 1685, by the king's command, surrendered up to Col. Strode, then governor of Dover castle, and never returned again, nor is it known what became of them,) Dover is now held to be a corporation by prescription, by the stile of the mayor, jurats, and commonalty of the town and port of Dover. It consists at present of a mayor, twelve jurats, and thirty-six commoners, or freemen, together with a chamberlain, recorder, and town-clerk. The mayor, who is coroner by virtue of his office, is chosen on Sept. 8, yearly, in St. Mary's church, and together with the jurats, who are justices within this liberty, exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, and it has other privileges, mostly the same as the other corporations, within the liberties of the cinque ports. It has the privilege of a mace. The election of mayor was antiently in the church of St. Peter, whence in 1581 it was removed to that of St. Mary, where it has been, as well as the elections of barons to serve in parliament, held ever since. These elections here, as well as elsewhere in churches, set apart for the worship of God, are certainly a scandal to decency and religion, and are the more inexcusable here, as there is a spacious court-hall, much more fit for the purposes. After this, there was another byelaw made, in June, 1706, for removing these elections into the court-hall; but why it was not put in execution does not appear, unless custom prevented it—for if a decree was of force to move them from one church to another, another decree was of equal force to remove them from the church to the courthall. Within these few years indeed, a motion was made in the house of commons, by the late alderman Sawbridge, a gentlemand not much addicted to speak in favour of the established church, to remove all such elections, through decency, from churches to other places not consecrated to divine worship; but though allowed to be highly proper, yet party resentment against the mover of it prevailed, and the motion was negatived by a great majority.
The mayor is chosen by the resident freemen. The jurats are nominated from the common-councilmen by the jurats, and appointed by the mayor, jurats, and common-councilmen, by ballot.
THE CHURCH OF ST. Mary stands at some distance from the entrance into this town from Canterbury, near the market-place. It is said to have been built by the prior and convent of St. Martin, (fn. 47) in the year 1216; but from what authority, I know not.—Certain it is, that it was in king John's reign, in the gift of the king, and was afterwards given by him to John de Burgh; but in the 8th year of Richard II.'s reign, anno 1384, it was become appropriated to the abbot of Pontiniac. After which, by what means, I cannot discover, this appropriation, as well as the advowson of the church, came into the possession of the master and brethren of the hospital of the Maison Dieu, who took care that the church should be daily served by a priest, who should officiate in it for the benefit of the parish. In which state it continued till the suppression of the hospital, in the 36th year of king Henry VIII.'s reign, when it came into the hands of the crown, at which time the parsonage was returned by John Thompson, master of the hospital, to be worth six pounds per annum.
Two years after which, the king being at Dover, at the humble entreaty of the inhabitants of this parish, gave to them, as it is said, this church, with the cemetery adjoining to it, to be used by them as a parochial church; at the same time he gave the pews of St. Martin's church for the use of it; and on the king's departure, in token of possession, they sealed up the church doors; since which, the patronage of it, which is now esteemed as a perpetual curacy, the minister of it being licensed by the archbishop, has been vested in the inhabitants of this parish. Every parishioner, paying scot and lot, having a vote in the chusing of the minister, whose maintenance had been from time to time, at their voluntary option, more or less. It is now fixed at eighty pounds per annum. Besides which he has the possession of a good house, where he resides, which was purchased by the inhabitants in 1754, for the perpetual use of the minister of it. It is exempt from the jurisdiction of the archdeacon. (fn. 48)
There is a piece of ground belonging, as it is said, to the glebe of this church, rented annually at ten pounds, which is done by vestry, without the minister being at all concerned in it. In 1588 here were eight hundred and twenty-one communicants. This parish contains more than five parts out of six of the whole town, and a greater proportion of the inhabitants.
The church of St. Mary is a large handsome building of three isles, having a high and south chancel, all covered with lead, and built of flints, with ashler windows and door cases, which are arched and ornamented. At the west end is the steeple, which is a spire covered with lead, in which are eight bells, a clock, and chimes. The pillars in the church are large and clumsy; the arches low and semicircular in the body, but eliptical in the chancel; but there is no separation between the body and chancel, and the pews are continued on to the east end of the church. In the high chancel, at the eastern extremity of it, beyond the altar, are the seats for the mayor and jurats; and here the mayor is now chosen, and the barons in parliament for this town and port constantly elected.
In 1683, there was a faculty granted to the churchwardens, to remove the magistrates seats from the east end of the church to the north side, or any other more convenient part of it, and for the more decent and commodious placing the communion table: in consequence of which, these seats were removed, and so placed, but they continued there no longer than 1689, when, by several orders of vestry, they were removed back again to where they remain at present.
The mayor was antiently chosen in St. Peter's church; but by a bye-law of the corporation, it was removed to this church in 1583, where it has ever since been held. In 1706, another bye law was made, to remove, for the sake of decency, all elections from this church to the court-hall, but it never took place. More of which has been mentioned before.
From the largeness, as well as the populousness of this parish, the church is far from being sufficient to contain the inhabitants who resort to it for public worship, notwithstanding there are four galleries in it, and it is otherwise well pewed. This church was paved in 1642, but it was not ceiled till 1706. In 1742, there was an organ erected in it. The two branches in it were given, one by subscription in 1738, and the other by the pilots in 1742.
Thomas Toke, of Dover, buried in the chapel of St. Katharine, in this church, by his will in 1484, gave seven acres of land at Dugate, under Windlass-down, to the wardens of this church, towards the repairs of it for ever.
¶The monuments and memorials in this church and church yard, are by far too numerous to mention here. Among them are the following: A small monument in the church for the celebrated Charles Churchill, who was buried in the old church-yard of St. Martin in this town, as has been noticed before; and a small stone, with a memorial for Samuel Foote, esq. the celebrated comedian, who died at the Ship inn, and had a grave dug for him in this church, but was afterwards carried to London, and buried there. A monument and several memorials for the family of Eaton; arms, Or, a sret, azure. A small tablet for John Ker, laird of Frogden, in Twit dale, in Scotland, who died suddenly at Dover, in his way to France, in 1730. Two monuments for Farbrace, arms, Azure, a bend, or, between two roses, argent, seeded, or, bearded vert. A monument in the middle isle, to the memory of the Minet family. In the north isle are several memorials for the Gunmans, of Dover; arms,. … a spread eagle, argent, gorged with a ducal coronet, or. There are others, to the memory of Broadley, Rouse, and others, of good account in this town.
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
I have received a completely malicious and uwarranted accusation from another Flickr member regarding the following posting on this site. The member stated 'I note you are still using others work', this snidey comment has now been removed and he will not be commenting again on my work, which is ALL original.
www.flickr.com/photos/buzzer999/8060329531/
The image I show above was taken on 08/10/2012 in my office.
It contains two of my Dinky Big Bedfords bought by me some years ago at auction.
The original Big Bedford leaflet I bought from e-bay some years ago and my folder containing over 100 original leaflets of vehicles from Austin, Bedford, Daimler, Morris, Hillman etc.etc.etc.
I have never copied or plagiarised anyone elses images from this, or any other, site. If I do wish to use an image I always obtain permission first, and always acknowledge this has occurred.
I expect an unreserved apology from the Flickr member regarding this incorrect and unwanted accusation without delay.
Because the person who left this snidey comment did not have the common decency to discuss it with me I have now started a blocked list and he is in it.
Hopefully from now on Flickr will continue to be a friendly place.
Thankfully it is now friendly place again and the other ignorant idiot has crawled back under his rock.
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'. It was great to see Jews, Muslims, Christians and others joining together to promote peace. Maybe the people themselves will do what governments apparently no longer can? Am I just dreaming?
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Walking in my shoes on YouTubehttp://www.youtube.com/watch?v=UGs6rkKf-lk
Walking in my shoes by Depeche Mode:
I would tell you about the things
They put me through
The pain I've been subjected to
But the Lord himself would blush
The countless feasts laid at my feet
Forbidden fruits for me to eat
But I think your pulse would start to rush
Now I'm not looking for absolution
Forgiveness for the things I do
But before you come to any conclusions
Try walking in my shoes
Try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes
Morality would frown upon
Decency look down upon
The scapegoat fate's made of me
But I promise now, my judge and jurors
My intentions couldn't have been purer
My case is easy to see
I'm not looking for a clearer conscience
Peace of mind after what I've been through
And before we talk of any repentance
Try walking in my shoes
Try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes
Try walking in my shoes
Now I'm not looking for absolution
Forgiveness for the things I do
But before you come to any conclusions
Try walking in my shoes
Try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
Try walking in my shoes
If you try walking in my shoes
Try walking in my shoes
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Louisiana Irises weren't the only interesting things on display in the Sculpture Garden at the New Orleans City Park.
Would have photographed from other angles but that might have affected my Flickr decency setting LOL.
Elisabeth Frink, Riace Warriors, I, II, III, IV, 1983-88
Follow my travels and photographic adventures at: www.MegapixelTravel.com
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Sikhism originated in the 15th century, in the Punjab region by Guru Nanak, who preached ideas that were radical for his age: he denounced Hinduism's oppressive caste system and Islam's gender discrimination, preaching that all people can commune with the divine equally, without the intervention of rituals or priests. The Sikh faith is a monotheistic religion, meaning Sikhs worship one God. The three core pillars of Sikhism are: vaṇḍ chakkō (sharing with others, helping those in need, as well as participating as part of a community), kirat karō (earning/making a living honestly, without exploitation or fraud, and speaking the truth at all times) and naam japna (meditating on God’s name to live a life of decency and humility).
The temporary distractions of the material world are seen as an illusion. The qualities of ego, anger, greed, attachment and lust are known as the Five Thieves that rob a person of their ability to realize their oneness with God and creation. Sikhs work to counteract the temptations of these qualities through the values of service, equality, and seeking justice for all. Sikhs also believe that one’s form on Earth is only a temporary vessel for the eternal soul. Thus, the death of the physical body is a natural part of the life cycle, while the soul remains. Death is not an end, but merely the progression of the soul on its journey toward God.
Nine more gurus succeeded Guru Nanak (Angad, Amar Das, Ram Das, Arjan, Har Gobind, Har Rai, Har Krishan, Tegh Bahadur, and Gobind Singh), and continued to spread his teachings across the world.
The last guru, Guru Gobind Singh, named the Sikh sacred text, the Guru Granth Sahib, to be the eternal Guru that would guide the Sikhs going forward. It consists of 1,430 Anks, or pages, and 6,000 Sabads, or line compositions, all are written in poetic verse and are aligning to the rhythmic forms of ancient north Indian classical music. At the core of the Guru Granth Sahib is a yearning for a world governed by divine justice, without oppression of any kind.
The final living guru, Gobind Singh, also established the Khalsa, or order of Sikh soldier-saints. They are recognizable by "The 5 k's," their physical articles of faith: Kesh (unshorn hair and beard), Kirpan (ceremonial sword), Kangha (comb), Kara (steel bracelet) and Kachha (drawers). The Dastar, or turban, is considered a spiritual crown, a token of remembrance of the Sikh principles.
Subathu, Himachal Pradesh, India
WALMART WORKERS, TAXPAYERS ARRESTED CALLING FOR WALMART OWNERS TO STOP ROBBING AMERICA
Group calls on Walton family to stop taking advantage of taxpayer programs to support low-wage model & instead, pay workers $15 an hour and provide full-time work
If the Waltons fail to respond, protestors promise to return to Walmart stores on Black Friday
New York and Washington, DC – Forty-two Walmart workers and their supporters were arrested today calling on Walmart’s owners to stop robbing workers a fair wage and passing the bill on to taxpayers. Without a public commitment from the Waltons to raise pay at Walmart, the group refused to disperse, shutting down Park Avenue in front of Alice Walton’s new penthouse in New York and K Street in front of the Walton Family Foundation in DC. Last year, Walmart’s former CEO confirmed that the majority of Walmart workers are paid less than $25,000 a year.
“My grandkids go hungry because of low pay at Walmart,” said Sandra Sok, a Walmart worker in Phoenix. “I’ll do whatever it takes to make these billionaires and Walmart see what they’re doing to our families.”
“We are tired of seeing the Waltons enjoy every luxury this world can offer while the workers that build their wealth are unable to pay their bills,” said Interfaith Worker Justice Executive Director Kim Bobo. “Income inequality will only be addressed when the Waltons and Walmart provide fair pay and regular hours to their workers. I’m here today taking a stand for Walmart workers, and I’ll be back on Black Friday with thousands of others who have had enough of Walmart’s destruction of the American Dream.”
Before the arrests, the group delivered a petition signed by workers from 1,710 of Walmart stores in all 50 states. The petition calls on Walmart to publicly commit raise pay to $15 an hour and provide consistent, full-time hours. The actions today follow protests yesterday in Phoenix, AZ, where Walmart associates and community members delivered the petition to Walmart chair Rob Walton.
“The Waltons have made it impossible for me to get ahead and make sure my daughter goes to bed in a warm home,” said Fatmata Jabbie,a Walmart worker who delivered the petition to the Walton Family Foundation in Washington, DC. “The Waltons can choose to turn things around and stop robbing working Americans like me who just want to raise our families. We need $15 an hour and consistent full-time work—now.”
The Walton family, which controls the Walmart empire, is the richest family in the U.S.—with the wealth of 43% of American families combined. While many Walmart workers are unable to feed and clothe their families on their pay of less than $25,000 a year, the Walton family takes in $8.6 million a day in Walmart dividends alone to build on its $150 billion in wealth. Walmart brings in $16 billion in annual profits.
“Right now, corporate profits are at an all-time high while wages are lower than any time since 1948,” said Rep. Grijalva. “Walmart alone rakes in $16 billion a year while enjoying $8 billion in tax breaks and subsidies, but refuses to pay employees enough to put food on the table or clothes on their back. Many of their employees are forced to rely on taxpayer-funded programs, meaning the American taxpayers are paying for the Walton family’s refusal to pay a decent wage. It’s time to end this scam, and ensure all workers have the decency of a livable wage and full-time work.”
Walmart workers depend on food stamps and other taxpayer-supported programs to support their families. Walmart—the standard-setter for jobs in the retail industry—has created a norm of erratic, part-time scheduling that is keeping workers from getting the hours they need, holding down second jobs, arranging child care, going to school or managing health conditions.
The protests today come at a time when OUR Walmart members have made significant strides creating change at the country’s largest employer. OUR Walmart member Richard Reynoso, who sent a letter to Walmart about the new dress code policy, not only pushed the company to live up to its Buy America commitment with the new vests; his manager gave him full-time hours in response to his concerns about affording new clothing on his low pay. OUR Walmart members have had similar hours victories—through petitions and meetings with managers—in the San Francisco Bay Area, Dallas, Florida, Southern California, Louisiana and Chicago. Walmart improved its pregnancy policy recently after OUR Walmart members, who are also shareholders, submitted a resolution to the company about its pregnancy policy. And, responding to OUR Walmart members’ growing calls on the retailer to improve access to hours, Walmart rolled out a new system nationwide that allows workers to sign up for open shifts in their stores online.
Background
A report released earlier this year by Americans for Tax Fairness showed that by dodging taxes, exploiting loopholes and taking advantage of taxpayer subsidies, Walmart and the Waltons received an estimated $7.8 billion in tax breaks and subsidies in 2013. And while many taxpayers struggle to stretch paychecks, the richest family in the country has avoided an estimated $3 billion in taxes by using specialized trusts to dodge estate taxes.
National public policy organization Demos released a report this year showing low-pay and erratic scheduling keep millions of hard-working Americans—particularly women—near poverty. The report finds that establishing a new wage floor equivalent to $25,000 per year for fulltime, year round work at retail companies employing at least 1,000 workers would improve the lives of more than 3.2 million female retail workers and lift 900,000 women and their families directly out of poverty or near poverty.
###
LEGAL DISCLAIMER: UFCW and OUR Walmart have the purpose of helping Wal-Mart employees as individuals or groups in their dealings with Wal-Mart over labor rights and standards and their efforts to have Wal-Mart publically commit to adhering to labor rights and standards. UFCW and OUR Walmart have no intent to have Walmart recognize or bargain with UFCW or OUR Walmart as the representative of Walmart employees.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Nearly halfway through the month, and it's the weekend again, and the the good news is that the sore throat I had on Friday went and did not return.
Which is nice.
Jools's cough, however, which seemed like it was getting better, returned slightly on Friday evening, and would again on Saturday. We had tockets to see Public Service Bradcasting again, this time in Margate, but our hearts were not in it, if I'm honest, and in the end we decided not to go in light of her coughing, but also as I said, we saw them a month back, though this would be a different show.
And Norwich were on the tellybox, what could be better than watching that?
Anything, as it turned out.
But that was for later.
We went to Tesco, a little later than usual, as we had slept in rather, then back home for breakfast before the decision on what to do for the day. Jools decided to stay home to bead and read, I would go out.
There are three churches near to home that I feel I needed to revisit, St Margaret's itself I should be able to get the key from the village shop at any time, but St Mary in Dover hasn't been open the last few times I have been in town, and Barfrestone was closed most of the year due to vandalism.
But Saturday morning there is usually a coffee morning in St Mary, so I went down armed with camera and lenses to take more shots of the details, especially of the windows.
There was a small group with the Vicar, talking in one of the chapels, so I made busy getting my shots, just happy that the church was open. I left a fiver with the vicar, and walked back to the car, passing the old guy supping from a tin of cider sitting outside the church hall.
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In the heart of the town with a prominent twelfth-century tower. From the outside it is obvious that much work was carried out in the nineteenth century. The church has major connections with the Lord Wardens of the Cinque Ports and is much used for ceremonial services. The western bays of the nave with their low semi-circular arches are contemporary with the tower, while the pointed arches to the east are entirely nineteenth century. The scale and choice of stone is entirely wrong, although the carving is very well done. However the east end, with its tall narrow lancet windows, is not so successful. The Royal Arms, of the reign of William and Mary, are of carved and painted wood, with a French motto - Jay Maintendray - instead of the more usual Dieu et Mon Droit. The church was badly damaged in the Second World War, but one of the survivors was the typical Norman font of square Purbeck marble construction. One of the more recent additions to the church is the Herald of Free Enterprise memorial window of 1989 designed by Frederick Cole.
www.kentchurches.info/church.asp?p=Dover+1
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THE TOWN AND PORT OF DOVER.
DOVER lies at the eastern extremity of Kent, adjoining to the sea, the great high London road towards France ending at it. It lies adjoining to the parish of Charlton last-described, eastward, in the lath of St. Augustine and eastern division of the county. It is within the liberty of the cinque ports, and the juristion of the corporation of the town and port of Dover.
DOVER, written in the Latin Itinerary of Antonine, Dubris. By the Saxons, Dorsa, and Dofris. By later historians, Doveria; and in the book of Domesday, Dovere; took its name most probably from the British words, Dufir, signifying water, or Dusirrha, high and steep, alluding to the cliffs adjoining to it. (fn. 1)
It is situated at the extremity of a wide and spacious valley, inclosed on each side by high and steep hills or cliffs, and making allowance for the sea's withdrawing itself from between them, answers well to the description given of it by Julius Cæfar in his Commentaries.
In the middle space, between this chain of high cliffs, in a break or opening, lies the town of Dover and its harbour, which latter, before the sea was shut out, so late as the Norman conquest, was situated much more within the land than it is at present, as will be further noticed hereafter.
ON THE SUMMIT of one of these cliffs, of sudden and stupendous height, close on the north side of the town and harbour, stands DOVER CASTLE, so famous and renowned in all the histories of former times. It is situated so exceeding high, that it is at most times plainly to be seen from the lowest lands on the coast of France, and as far beyond as the eye can discern. Its size, for it contains within it thirty five acres of ground, six of which are taken up by the antient buildings, gives it the appearance of a small city, having its citadel conspicuous in the midst of it, with extensive fortifications, around its walls. The hill, or rather rock, on which it stands, is ragged and steep towards the town and harbour; but towards the sea, it is a perpendicular precipice of a wonderful height, being more than three hundred and twenty feet high, from its basis on the shore.
Common tradition supposes, that Julius Cæfar was the builder of this castle, as well as others in this part of Britain, but surely without a probability of truth; for our brave countrymen found Cæfar sufficient employment of a far different sort, during his short stay in Britain, to give him any opportunity of erecting even this one fortress. Kilburne says, there was a tower here, called Cæsar's tower, afterwards the king's lodgings; but these, now called the king's keep, were built by king Henry II. as will be further mentioned hereafter; and he further says, there were to be seen here great pipes and casks bound with iron hoops, in which was liquor supposed to be wine, which by long lying had become as thick as treacle, and would cleave like birdlime; salt congealed together as hard as stone; cross and long bows and arrows, to which brass was fastened instead of feathers, and they were of such size, as not to be fit for the use of men of that or any late ages. These, Lambarde says, the inhabitants shewed as having belonged to Cæfar, and the wine and salt as part of the provision he had brought with him hither; and Camden relates, that he was shewn these arrows, which he thinks were such as the Romans used to shoot out of their engines, which were like to large crossbows. These last might, no doubt, though not Cæsar's, belong to the Romans of a later time; and the former might, perhaps, be part of the provisions and stores which king Henry VIII. laid in here, at a time when he passed from hence over sea to France. But for many years past it has not been known what is become of any of these things.
Others, averse to Cæsar's having built this castle, and yet willing to give the building of it to the empire of the Romans of a later time, suppose, and that perhaps with some probability, it was first erected by Arviragus, (or Arivog, as he is called on his coin) king of Britain, in the time of Claudius, the Roman emperor. (fn. 2)
That there was one built here, during the continuance of the Roman empire in Britain, must be supposed from the necessity of it, and the circumstances of those times; and the existence of one plainly appears, from the remains of the tower and other parts of the antient church within it, and the octagon tower at the west end, in which are quantities of Roman brick and tile. These towers are evidently the remains of Roman work, the former of much less antiquity than the latter, which may be well supposed to have been built as early as the emperor Claudius, whose expedition hither was about or immediately subsequent to the year of Christ 44. Of these towers, probably the latter was built for a speculum, or watch-tower, and was used, not only to watch the approach of enemies, but with another on the opposite hill, to point out the safe entrance into this port between them, by night as well as by day.
In this fortress, the Romans seem afterwards to have kept a garrison of veterans, as we learn from Pancirollus, who tells us that a company of soldiers under their chief, called Præpositus Militum Tungricanorum, was stationed within this fortess.
Out of the remains of part of the above-mentioned Roman buildings here, a Christian church was erected, as most historians write, by Lucius, king of Britain, about the year 161; but it is much to be doubted whether there ever was such a king in Britain; if there was, he was only a tributary chief to the Roman emperor, under whose peculiar government Britain was then accounted. This church was built, no doubt, for the use of that part of the garrison in particular, who were at that time believers of the gospel, and afterwards during the different changes of the Christian and Pagan religions in these parts, was made use of accordingly, till St. Augustine, soon after the year 597, at the request of king Ethelbert, reconsecrated it, and dedicated it anew, in honour of the blessed Virgin Mary.
¶His son and successor Eadbald, king of Kent, founded a college of secular canons and a provost in this church, whose habitations, undoubtedly near it, there are not the least traces of. These continued here till after the year 691; when Widred, king of Kent, having increated the fortifications, and finding the residence of the religious within them an incumbrance, removed them from hence into the town of Dover, to the antient church of St. Martin; in the description of which hereafter, a further account of them will be given.
DOVER does not seem to have been in much repute as a harbour, till some time after Cæsar's expedition hither; for the unfitness, as well as insecurity of the place, especially for a large fleet of shipping, added to the character which he had given of it, deterred the Romans from making a frequent use of it, so that from Boleyne, or Gessoriacum, their usual port in Gaul, they in general failed with their fleets to Richborough, or Portus Rutupinus, situated at the mouth of the Thames, in Britain, and thence back again; the latter being a most safe and commodious haven, with a large and extensive bay.
Notwithstanding which, Dover certainly was then made use of as a port for smaller vessels, and a nearer intercourse for passengers from the continent; and to render the entrance to it more safe, the Romans built two Specula, or watch-towers, here, on the two hills opposite to each other, to point out the approach to it, and one likewise on the opposite hill at Bologne, for the like purpose there; and it is mentioned as a port by Antoninus, in his Itinerary, in which, ITER III. is A Londinio ad Portum Dubris, i. e. from London to the port of Dover.
After the departure of the Romans from Britain, when the port of Bologne, as well as Richborough, fell into decay and disuse, and instead of the former a nearer port came into use, first at Whitsan, and when that was stopped up, a little higher at Calais, Dover quickly became the more usual and established port of passage between France and Britain, and it has continued so to the present time.
When the antient harbour of Dover was changed from its antient situation is not known; most probably by various occurrences of nature, the sea left it by degrees, till at last the farmer scite of it became entirely swallowed up by the beach. That the harbour was much further within land, even at the time of the conquest than it is at present, seems to be confirmed by Domesday, in which it is said, that at the entrance of it, there was a mill which damaged almost every ship that passed by it, on account of the great swell of the sea there. Where the scite of this mill was, is now totally unknown, though it is probable it was much within the land, and that by the still further accumulation of the beach, and other natural causes, this haven was in process of time so far filled up towards the inland part of it, as to change its situation still more to the south-west, towards the sea.
From the time of the Norman conquest this port continued the usual passage to the continent, and to confine the intercourse to this port only, there was a statute passed anno 4 Edward IV. that none should take shipping for Calais, but at Dover. (fn. 20) But in king Henry VII.'s time, which was almost the next reign, the harbour was become so swerved up, as to render it necessary for the king's immediate attention, to prevent its total ruin, and he expended great sums of money for its preservation. But it was found, that all that was done, would not answer the end proposed, without the building of a pier to seaward, which was determined on about the middle of Henry VIII.'s reign, and one was constructed, which was compiled of two rows of main posts, and great piles, which were let into holes hewn in the rock underneath, and some were shod with iron, and driven down into the main chalk, and fastened together with iron bands and bolts. The bottom being first filled up with great rocks of stone, and the remainder above with great chalk stones, beach, &c. During the whole of this work, the king greatly encouraged the undertaking, and came several times to view it; and in the whole is said to have expended near 63,000l. on it. But his absence afterwards abroad, his ill health, and at last his death, joined to the minority of his successor, king Edward VI. though some feeble efforts were made in his reign, towards the support of this pier, put a stop to, and in the end exposed this noble work to decay and ruin.
Queen Mary, indeed, attempted to carry it on again, but neither officers nor workmen being well paid, it came to nothing, so that in process of time the sea having brought up great quantities of beach again upon it, the harbour was choaked up, and the loss of Calais happening about the same time, threatened the entire destruction of it. Providentially the shelf of beach was of itself became a natural defence against the rage of the sea, insomuch, that if a passage could be made for ships to get safely within it, they might ride there securely.
To effect this, several projects were formed, and queen Elizabeth, to encourage it, gave to the town the free transportation of several thousand quarters of corn and tuns of beer; and in the 23d of her reign, an act passed for giving towards the repair of the harbour, a certain tonnage from every vessel above twenty tons burthen, passing by it, which amounted to 1000l. yearly income; and the lord Cobham, then lordwarden, and others, were appointed commissioners for this purpose; and in the end, after many different trials to effect it, a safe harbour was formed, with a pier, and different walls and sluices, at a great expence; during the time of which a universal diligence and public spirit appeared in every one concerned in this great and useful work. During the whole of the queen's reign, the improvement of this harbour continued without intermission, and several more acts passed for that purpose; but the future preservation of it was owing to the charter of incorporation of the governors of it, in the first year of king James I. by an act passed that year, by the name of the warden and assistants of the harbour of Dover, the warden being always the lord-warden of the cinque ports for the time being, and his assistants, his lieutenant, and the mayor of Dover, for the time being, and eight others, the warden and assistants only making a quorum; six to be present to make a session; at any of which, on a vacancy, the assistants to be elected; and the king granted to them his land or waste ground, or beach, commonly called the Pier, or Harbour ground, as it lay without Southgate, or Snargate, the rents of which are now of the yearly value of about three hundred pounds.
Under the direction of this corporation, the works and improvements of this harbour have been carried on, and acts of parliament have been passed in almost every reign since, to give the greater force to their proceedings.
From what has been said before, the reader will observe, that this harbour has always been a great national object, and that in the course of many ages, prodigious sums of money have been from time to time expended on it, and every endeavour used to keep it open, and render it commodious; but after all these repeated endeavours and expences, it still labours under such circumstances, as in a very great degree renders unsuccessful all that has ever been done for that purpose.
DOVER, as has been already mentioned, was of some estimation in the time of the Roman empire in Britain, on account of its haven, and afterwards for the castle, in which they kept a strong garrison of sol. diers, not only to guard the approach to it, but to keep the natives in subjection; and in proof of their residence here, the Rev. Mr. Lyon some years since discovered the remains of a Roman structure, which he apprehended to have been a bath, at the west end of the parish-church of St. Mary, in this town, which remains have since repeatedly been laid open when interments have taken place there.
This station of the Romans is mentioned by Antonine, in his Itinerary of the Roman roads in Britain, by the name of Dubris, as being situated from the station named Durovernum, or Canterbury, fourteen miles; which distance, compared with the miles as they are now numbered from Canterbury, shews the town, as well as the haven, for they were no doubt contiguous to each other, to have both been nearer within land than either of them are at present, the present distance from Canterbury being near sixteen miles as the road now goes, The sea, indeed, seems antiently to have occupied in great part the space where the present town of Dover, or at least the northwest part of it, now stands; but being shut out by the quantity of beach thrown up, and the harbour changed by that means to its present situation, left that place a dry ground, on which the town of Dover, the inhabitants following the traffic of the harbour, was afterwards built.
This town, called by the Saxons, Dofra, and Dofris; by later historians, Doveria; and in Domesday, Dovere; is agreed by all writers to have been privileged before the conquest; and by the survey of Domesday, appears to have been of ability in the time of king Edward the Confessor, to arm yearly twenty vessels for sea service. In consideration of which, that king granted to the inhabitants, not only to be free from the payment of thol and other privileges throughout the realm, but pardoned them all manner of suit and service to any of his courts whatsoever; and in those days, the town seems to have been under the protection and government of Godwin, earl of Kent, and governor of this castle.
Soon after the conquest, this town was so wasted by fire, that almost all the houses were reduced to ashes, as appears by the survey of Domesday, at the beginning of which is the following entry of it:
DOVERE, in the time of king Edward, paid eighteen pounds, of which money, king E had two parts, and earl Goduin the third. On the other hand, the canons of St. Martin had another moiety. The burgesses gave twenty ships to the king once in the year, for fifteen days; and in each ship were twenty and one men. This they did on the account that he had pardoned them sac and soc. When the messengers of the king came there, they gave for the passage of a horse three pence in winter, and two in summer. But the burgesses found a steerman, and one other assistant, and if there should be more necessary, they were provided at his cost. From the festival of St. Michael to the feast of St. Andrew, the king's peace was in the town. Sigerius had broke it, on which the king's bailiff had received the usual fine. Whoever resided constantly in the town paid custom to the king; he was free from thol throughout England. All these customs were there when king William came into England. On his first arrival in England, the town itself was burnt, and therefore its value could not be computed how much it was worth, when the bishop of Baieux received it. Now it is rated at forty pounds, and yet the bailiff pays from thence fifty-four pounds to the king; of which twenty-four pounds in money, which were twenty in an one, but thirty pounds to the earl by tale.
In Dovere there are twenty-nine plats of ground, of which the king had lost the custom. Of these Robert de Romenel has two. Ralph de Curbespine three. William, son of Tedald, one. William, son of Oger, one. William, son of Tedold, and Robert niger, six. William, son of Goisfrid, three, in which the guildhall of the burgesses was. Hugo de Montfort one house. Durand one. Rannulf de Colubels one. Wadard six. The son of Modbert one. And all these vouch the bishop of Baieux as the protector and giver of these houses. Of that plat of ground, which Rannulf de Colubels holds, which was a certain outlaw, they agree that the half of the land was the king's, and Rannulf himself has both parts. Humphry the lame man holds one plat of ground, of which half the forfeiture is the king's. Roger de Ostrabam made a certain house over the king's water, and held to this time the custom of the king; nor was a house there in the time of king Edward. In the entrance of the port of Dovere, there is one mill, which damages almost every ship, by the great swell of the sea, and does great damage to the king and his tenants; and it was not there in the time of king Edward. Concerning this, the grandson of Herbert says, that the bishop of Baieux granted it to his uncle Herbert, the son of Ivo.
And a little further, in the same record, under the bishop's possessions likewise:
In Estrei hundred, Wibertus holds half a yoke, which lies in the gild of Dover, and now is taxed with the land of Osbert, the son of Letard, and is worth per annum four shillings.
From the Norman conquest, the cities and towns of this realm appear to have been vested either in the crown, or else in the clergy or great men of the laity, and they were each, as such, immediately lords of the same. Thus, when the bishop of Baieux, to whom the king had, as may be seen by the above survey, granted this town, was disgraced. It returned into the king's hands by forfeiture, and king Richard I. afterwards granted it in ferme to Robt. Fitz-bernard. (fn. 21)
After the time of the taking of the survey of Domesday, the harbour of Dover still changing its situation more to the south-westward, the town seems to have altered its situation too, and to have been chiefly rebuilt along the sides of the new harbour, and as an encouragement to it, at the instance, and through favour especially to the prior of Dover, king Edward I. in corporated this town, the first that was so of any of the cinque ports, by the name of the mayor and commonalty. The mayor to be chosen out of the latter, from which body he was afterwards to chuse the assistants for his year, who were to be sworn for that purpose. At which time, the king had a mint for the coinage of money here; and by patent, anno 27 of that reign, the table of the exchequer of money was appointed to be held here, and at Yarmouth. (fn. 22) But the good effects of these marks of the royal favour were soon afterwards much lessened, by a dreadful disaster; for the French landed here in the night, in the 23d year of that reign, and burnt the greatest part of the town, and several of the religious houses, in it, and this was esteemed the more treacherousk, as it was done whilst the two cardinals were here, treating for a peace between England and France; which misfortune, however, does not seem to have totally impoverished it, for in the 17th year of the next reign of king Edward II it appears in some measure to have recovered its former state, and to have been rebuilt, as appears by the patent rolls of that year, in which the town of Dover is said to have then had in it twenty-one wards, each of which was charged with one ship for the king's use; in consideration of which, each ward had the privilege of a licensed packetboat, called a passenger, from Dover across the sea to Whitsan, in France, the usual port at that time of embarking from thence.
The state of this place in the reign of Henry VIII. is given by Leland, in his Itinerary, as follows:
"Dovar ys xii myles fro Canterbury and viii fro Sandwich. Ther hath bene a haven yn tyme past and yn taken ther of the ground that lyith up betwyxt the hilles is yet in digging found wosye. Ther hath bene found also peeces of cabelles and anchores and Itinerarium Antonini cawlyth hyt by the name of a haven. The towne on the front toward the se hath bene right strongly walled and embateled and almost al the residew; but now yt is parly fawlen downe and broken downe. The residew of the towne as far as I can perceyve was never waulled. The towne is devided into vi paroches. Wherof iii be under one rose at S. Martines yn the hart of the town. The other iii stand that yt hath be walled abowt but not dyked. The other iii stand abrode, of the which one is cawled S. James of Rudby or more likely Rodeby a statione navium. But this word ys not sufficient to prove that Dovar showld be that place, the which the Romaynes cawlled Portus Rutupi or Rutupinum. For I cannot yet se the contrary but Retesboro otherwise cawlled Richeboro by Sandwich, both ways corruptly, must neades be Rutupinum. The mayne strong and famose castel of Dovar stondeth on the loppe of a hille almost a quarter of a myle of fro the towne on the lyst side and withyn the castel ys a chapel, yn the sides wherof appere sum greate Briton brykes. In the town was a great priory of blacke monkes late suppressed. There is also an hospitalle cawlled the Meason dew. On the toppe of the hye clive betwene the towne and the peere remayneth yet abowt a slyte shot up ynto the land fro the very brymme of the se clysse as ruine of a towr, the which has bene as a pharos or a mark to shyppes on the se and therby was a place of templarys. As concerning the river of Dovar it hath no long cowrse from no spring or hedde notable that descendith to that botom. The principal hed, as they say is at a place cawled Ewelle and that is not past a iii or iiii myles fro Dovar. Ther be springes of frech waters also at a place cawled Rivers. Ther is also a great spring at a place cawled …… and that once in a vi or vii yeres brasted owt so abundantly that a great part of the water cummeth into Dovar streme, but als yt renneth yn to the se betwyxt Dovar and Folchestan, but nerer to Folchestan that is to say withyn a ii myles of yt. Surely the hedde standeth so that it might with no no great cost be brought to run alway into Dovar streame." (fn. 23)
Cougate Crosse-gate Bocheruy-gate stoode with toures toward the se. There is beside Beting-gate and Westegate.
Howbeyt MTuine tol me a late that yt hath be walled abowt but not dyked.
This was the state of Dover just before the time of the dissolution of religious houses, in Henry VIII.'s reign, when the abolition of private masses, obits, and such like services in churches, occasioned by the reformation, annillilated the greatest part of the income of the priests belonging to them, in this as well as in other towns, in consequence of which most of them were deserted, and falling to ruin, the parishes belonging to them were united to one or two of the principal ones of them. Thus, in this town, of the several churches in it, two only remained in use for divine service, viz. St. Mary's and St. James's, to which the parishes of the others were united.
After this, the haven continuting to decay more than ever, notwithstanding the national assistance afforded to it, the town itself seemed hastening to impoverishment. What the state of it was in the 8th year of queen Elizabeth, may be seen, by the certificate returned by the queen's order of the maritime places, in her 8th year, by which it appears that there were then in Dover, houses inhabited three hundred and fifty-eight; void, or lack of inhabiters, nineteen; a mayor, customer, comptroller of authorities, not joint but several; ships and crayers twenty, from four tons to one hundred and twenty.
¶This probable ruin of the town, however, most likely induced the queen, in her 20th year, to grant it a new charter of incorporation, in which the manner of chusing mayor, jurats, and commoners, and of making freemen, was new-modelled, and several surther liberties and privileges granted, and those of the charter of king Edward I. confirmed likewise by inspeximus. After which, king Charles II. in his 36th year, anno 1684, granted to it a new charter, which, however, was never inrolled in chancery, and in consequence of a writ of quo warranto was that same year surrendered, and another again granted next year; but this last, as well as another charter granted by king James II. and forced on the corporation, being made wholly subservient to the king's own purposes, were annulled by proclamation, made anno 1688, being the fourth and last year of his reign: but none of the above charters being at this time extant, (the charters of this corporation, as well as those of the other cinque ports, being in 1685, by the king's command, surrendered up to Col. Strode, then governor of Dover castle, and never returned again, nor is it known what became of them,) Dover is now held to be a corporation by prescription, by the stile of the mayor, jurats, and commonalty of the town and port of Dover. It consists at present of a mayor, twelve jurats, and thirty-six commoners, or freemen, together with a chamberlain, recorder, and town-clerk. The mayor, who is coroner by virtue of his office, is chosen on Sept. 8, yearly, in St. Mary's church, and together with the jurats, who are justices within this liberty, exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, and it has other privileges, mostly the same as the other corporations, within the liberties of the cinque ports. It has the privilege of a mace. The election of mayor was antiently in the church of St. Peter, whence in 1581 it was removed to that of St. Mary, where it has been, as well as the elections of barons to serve in parliament, held ever since. These elections here, as well as elsewhere in churches, set apart for the worship of God, are certainly a scandal to decency and religion, and are the more inexcusable here, as there is a spacious court-hall, much more fit for the purposes. After this, there was another byelaw made, in June, 1706, for removing these elections into the court-hall; but why it was not put in execution does not appear, unless custom prevented it—for if a decree was of force to move them from one church to another, another decree was of equal force to remove them from the church to the courthall. Within these few years indeed, a motion was made in the house of commons, by the late alderman Sawbridge, a gentlemand not much addicted to speak in favour of the established church, to remove all such elections, through decency, from churches to other places not consecrated to divine worship; but though allowed to be highly proper, yet party resentment against the mover of it prevailed, and the motion was negatived by a great majority.
The mayor is chosen by the resident freemen. The jurats are nominated from the common-councilmen by the jurats, and appointed by the mayor, jurats, and common-councilmen, by ballot.
THE CHURCH OF ST. Mary stands at some distance from the entrance into this town from Canterbury, near the market-place. It is said to have been built by the prior and convent of St. Martin, (fn. 47) in the year 1216; but from what authority, I know not.—Certain it is, that it was in king John's reign, in the gift of the king, and was afterwards given by him to John de Burgh; but in the 8th year of Richard II.'s reign, anno 1384, it was become appropriated to the abbot of Pontiniac. After which, by what means, I cannot discover, this appropriation, as well as the advowson of the church, came into the possession of the master and brethren of the hospital of the Maison Dieu, who took care that the church should be daily served by a priest, who should officiate in it for the benefit of the parish. In which state it continued till the suppression of the hospital, in the 36th year of king Henry VIII.'s reign, when it came into the hands of the crown, at which time the parsonage was returned by John Thompson, master of the hospital, to be worth six pounds per annum.
Two years after which, the king being at Dover, at the humble entreaty of the inhabitants of this parish, gave to them, as it is said, this church, with the cemetery adjoining to it, to be used by them as a parochial church; at the same time he gave the pews of St. Martin's church for the use of it; and on the king's departure, in token of possession, they sealed up the church doors; since which, the patronage of it, which is now esteemed as a perpetual curacy, the minister of it being licensed by the archbishop, has been vested in the inhabitants of this parish. Every parishioner, paying scot and lot, having a vote in the chusing of the minister, whose maintenance had been from time to time, at their voluntary option, more or less. It is now fixed at eighty pounds per annum. Besides which he has the possession of a good house, where he resides, which was purchased by the inhabitants in 1754, for the perpetual use of the minister of it. It is exempt from the jurisdiction of the archdeacon. (fn. 48)
There is a piece of ground belonging, as it is said, to the glebe of this church, rented annually at ten pounds, which is done by vestry, without the minister being at all concerned in it. In 1588 here were eight hundred and twenty-one communicants. This parish contains more than five parts out of six of the whole town, and a greater proportion of the inhabitants.
The church of St. Mary is a large handsome building of three isles, having a high and south chancel, all covered with lead, and built of flints, with ashler windows and door cases, which are arched and ornamented. At the west end is the steeple, which is a spire covered with lead, in which are eight bells, a clock, and chimes. The pillars in the church are large and clumsy; the arches low and semicircular in the body, but eliptical in the chancel; but there is no separation between the body and chancel, and the pews are continued on to the east end of the church. In the high chancel, at the eastern extremity of it, beyond the altar, are the seats for the mayor and jurats; and here the mayor is now chosen, and the barons in parliament for this town and port constantly elected.
In 1683, there was a faculty granted to the churchwardens, to remove the magistrates seats from the east end of the church to the north side, or any other more convenient part of it, and for the more decent and commodious placing the communion table: in consequence of which, these seats were removed, and so placed, but they continued there no longer than 1689, when, by several orders of vestry, they were removed back again to where they remain at present.
The mayor was antiently chosen in St. Peter's church; but by a bye-law of the corporation, it was removed to this church in 1583, where it has ever since been held. In 1706, another bye law was made, to remove, for the sake of decency, all elections from this church to the court-hall, but it never took place. More of which has been mentioned before.
From the largeness, as well as the populousness of this parish, the church is far from being sufficient to contain the inhabitants who resort to it for public worship, notwithstanding there are four galleries in it, and it is otherwise well pewed. This church was paved in 1642, but it was not ceiled till 1706. In 1742, there was an organ erected in it. The two branches in it were given, one by subscription in 1738, and the other by the pilots in 1742.
Thomas Toke, of Dover, buried in the chapel of St. Katharine, in this church, by his will in 1484, gave seven acres of land at Dugate, under Windlass-down, to the wardens of this church, towards the repairs of it for ever.
¶The monuments and memorials in this church and church yard, are by far too numerous to mention here. Among them are the following: A small monument in the church for the celebrated Charles Churchill, who was buried in the old church-yard of St. Martin in this town, as has been noticed before; and a small stone, with a memorial for Samuel Foote, esq. the celebrated comedian, who died at the Ship inn, and had a grave dug for him in this church, but was afterwards carried to London, and buried there. A monument and several memorials for the family of Eaton; arms, Or, a sret, azure. A small tablet for John Ker, laird of Frogden, in Twit dale, in Scotland, who died suddenly at Dover, in his way to France, in 1730. Two monuments for Farbrace, arms, Azure, a bend, or, between two roses, argent, seeded, or, bearded vert. A monument in the middle isle, to the memory of the Minet family. In the north isle are several memorials for the Gunmans, of Dover; arms,. … a spread eagle, argent, gorged with a ducal coronet, or. There are others, to the memory of Broadley, Rouse, and others, of good account in this town.
Day 92 of 365: a year in songs and photos
Song: Dead Milkmen, I Hate Myself
There are rules of etiquette for using the bathroom at work. Rule #1, in my book, is
DO NOT SPEAK TO ME WHILE I AM IN THE STALL.
Seriously. What makes you think I want to hear about your daughter's dance recital while I'm trying to pee? And I certainly don't want to listen to your conspiracy theories about Hilary Clinton while I'm changing my tampon. And for the love of god, I really don't want to have to hear you shout over the sound of your own pee stream while you are reciting a recipe for blueberry muffins.
The bathroom stall is a place of sanctity. It is not a living room parlor. It is not a coffeehouse. It is not a party room. It is a place where I perform the bodily function of elimination. It's not a chat room. If you want to talk to me while I'm washing my hands, that's all well and good. I'll just go ahead and nod and mhhmm you as if this wasn't the fourteenth time you were telling me the story about how your adorable little snowflake once saved the life of a cat who fell down a sewer. But I swear on my Star Wars figures that if you EVER again try to tell me that story while I am locked in the stall, I will wait until you get to the part where your kid gets a medal of honor from the town councilman and just as you start the phrase "standing ovation" I will let out the loudest fart you've ever heard in your life. It will leave you breathless and unable to finish your damn story.
I just want to pee in peace. Is that too much to ask?
Also: I don't know if you try to shake off like a dog when you're done or if you just have some weird aim thing going on with your hoo-ha, but if you get pee all over the seat, have the decency to wipe it off before the next person goes in there. Your new nickname around the office is Annie Sprinkles.
That said, I can't believe I took a photo of a toilet bowl.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
THE ELITE OF THE AV EXPOSED AS PAWNS IN A MI5 PSY-OPERATION.
UK Column News, the leading news source of the alternative view (AV) movement have become embroiled in an embarrassing smear campaign, following claims they have been pawns of a Mi5 sponsored psy-op to discredit the AV movement which they themselves proclaim to champion.
WHAT A JOKE?
Following a critical response to a UK Column news article written by Mike Robinson, from Matthew Daniel, the team at UK Column including the well respected Brian Gerrish and Lou Collins took it on themselves, (for some inextricable reason), to accredit the article to on-line journalist Matt Taylor.
READ THE DAMNING ARTICLE NOW.
THIS IS JUST UNBELIEVABLE.
And UK Column aren’t alone in assuming that because Matt Taylor’s name on his certificate reads MATTHEW DANIEL TAYLOR, that any article published by Matthew Daniel is evidently the work of Guerrilla Democracy New's editor Matt Taylor; whose got enough work of his own to get on with than writing bitchy letters to the UK Column about Mike Robinson’s journalist skills.
FFS- GIVE ME STRENGTH.
Spooks at Mi5 will be belly laughing in amusement to know they fooled the elite of the AV movement with a well timed article published to exacerbate divisions evident by the clashes between Matt Taylor, Ian R Crane and Brian Gerrish at the AV5 Truth conference.
Watch Matt Taylor clash with Brian Gerrish at AV5,
Watch Matt Taylor clash with Ian R Crane at AV5.
IT COULDN’T HAVE BEEN EASIER.
Proving they’ve been pawns in a secret Mi5 psy-operation, Mike Robinson from UK Column has refused to answer my question:
“You don't think I was the Matthew Daniel who wrote that critical piece about your Re-Set article, do you?”
Hench-man Darren Nesbitt, one of three Darren Nesbitt’s at AV5, answered the question which Mike Robinson has so far evaded to, “I am I am... you got me.”
MATTHEW DANIEL V’S MATT TAYLOR
Being a £15 a year subscriber of the UK Column newspaper, Matt Taylor read the article ‘Re-set,’ and thought the piece was a well written article, and rated Mike Robinson as a top on-line journalist.
“I remember watching Mike Robinson responding to the criticism he got live on air thinking, ‘cool at least it isn’t me he’s talking to.’ Then to my horror months on, I learn that he was in-fact talking to me, Matt Taylor all along!”
YOU CAN’T MAKE THIS SHIT UP!
The AV’s leading news team are make up of:
The two witches in the back-ground, (who cackled in disrespect during David Boyle’s break-thru speech at AV5)
Brian Gerrish, the AV's version of Jeremy Paxman.
Lou Collins, a radio DJ and the AV’s leading lady.
Mike Robinson.
Malcolm Massey.
These bunch of so called “leading AV” journalists put two and two together and came up with Matt Taylor.
“I should be flattered,” said Matt Taylor, “but I’m not. I’m insulted and shocked. I only write for Guerrilla Democracy News and no one else.”
Other than:
The British Association of Anger Management.
The Smart Gentleman.
The Shadow Sussex Police and Crime Commissioner.
If you want me to write your story because no one else will, then get in touch at:
Matt Taylor's News Service.
Defying journalistic logic, the UK Column news team has smeared another AV on-line journalist for no other reason than their own sheer stupidity and ego!
They have behaved like the sheep they proclaim not to be and blindly put two and two together and came up with Matt Taylor.
How on Earth can the work of Matthew Daniel be attributed to Matt Taylor, if not by idiots?
Everyone in the AV community who thought that Matt Taylor wrote Matthew Daniel’s article to the UK Column news is short of a screw.
WHERE IS THE PROOF?
They have all demonstrated to the Powers that Be what a bunch of stupid people they really are:
Ian R Crane:
Get a grip Matt Taylor . . . I think you need to take some time to consider which side of the fence you are sitting; ‘cos right now you are doing the establishment a massive favour!”
Yeah right Ian R Crane, you’ve just done the establishment a massive favour by rubbishing your own movement you fool!
Thomas Sherdian:
“Oh do shut up you hot shit, and think about poor me” or words to that effect because he has sensibly deleted all his comments in the likelihood I’d report them on Guerrilla Democracy News.
At least he had the decency to apologize to me upon realizing I wasn’t having a go at him but having a go at UK Column News.
Simon Welsh:
The next big talent to break into the big time diplomatically responded:
“I've told you I believe that you would not lie to me and you told me you didn't write it. I haven't even read the article. X”
To which Matt Taylor replied, “Cool because it means a lot to me to know that someone I've met and call a friend wouldn't think that I would scope so low to bitch about someone in such an insidious way.”
Though the most venomous of all doubters is Darren Nesbitt who wrote:
Fuck me you like a giant bisexual child running around on a playground telling tales because he has been reminded he's being a cock...
But as long as we are being honest ... from the moment mick and I met you at the bar, you told us you only had £5 stayed and sunk a dozen anyway and stored all juicy bits in the giant melon you call a head ...
Then every time someone semi recognized past you stuck the camera straight in there mush and asked the something controversial.
That's journalism is it... a friend of the show putting people on the spot.
You fucking retard.
Your just a rogue camera man hell bent on getting a reaction.
You paranoid cream puff.
A boy among men.
I repeat to the UK Column News editorial team, how did you come to the conclusion that I am Matthew Daniel?
WHERE IS YOUR PROOF?
Are the spooks belly-laughing in GHQ reading Guerrilla Democracy News knowing that a well timed article bruising the delicate ego’s of the UK Column team, was all it took to drive a wedge through the AV movement?
UK Column News has well and truly shown themselves up to be idiots. And Darren Nesbitt even worse, a bully!
This is either a case of the UK Column and other leading members of the AV elite falling foul of a black psy-op to discredit the good work of Guerrilla Democracy News or a journalistic fuck up by the UK Column news-team.
Either way it doesn’t look good, as Matt Taylor reacts to having his good name dragged through the mud…
“I want a full a public apology from UK Column News for accrediting me with Matthew Daniel's article criticizing Mike Robinson's ‘Re-Set’ article.
I also want an apology from Darren Nesbitt.
It would appear that they have all been pawns in a Mi5 sponsored psy-op against the AV movement.
And they call themselves Journalists!?! Didn't anyone think of asking me?
THIS GOES TO THE ‘AV’ ELITE TOO.
If anyone else in the AV Elite believed I wrote under the name Matthew Daniel then you owe me an apology too.
Ian R Crane
Brian Gerrish
Lou Collins
Thomas Sheridan
Guy Taylor
Roger Hayes
How many other people have the UK Column news team and Darren slagged Matt Taylor’s name off to?
Chris Spivey
Bill Maloney
Olga Raffa
Pippa King
Simon Welsh
Daisy Jones
Alex: G
Patrick Henningsen
Michael Doherty
Greg Nikolettos
HOW WOULD SIMON WELSH LIKE IT?
As Matt Taylor puts it, “It’s an insult to a writer to have another person called 'Matthew Daniel' accredited to you. How would you like it if someone wrote a shit poem and said Simon Welsh wrote it?”
HOW WOULD CHRIS SPIVEY LIKE IT?
How would any writer or any other creative person like an artist, photographer or musician like it if someone with another name put out a product and other people started a smear campaign believing that another party, (completely unconnected to the person except by part-name), of being that person.
I REPEAT TO UK COLUMN NEWS, WHERE IS YOUR PROOF?
“My name has been dragged through the mud due to the stupidity of UK Column News and the smear campaign they have waged, under the belief that I am the Matthew Daniel who bruised their delicate egos.”
“Its absurd and I’m considering taking legal action against them,” said Matt Taylor.
NOW IS THE TIME TO UNITE!
“Hey lets move on. We’ve had great news today that we are winning the fight against child-abuse in Great Britain. But now we must stop our squabbling and unite to save the children of Palestine.
You think the British establishment was bad raping our children. They are blowing children to bits in Gaza so that British Gas can exploit their land.
Please watch and share the video below, thank you. I am Matt Taylor, not Matthew Daniel.”
THIS IS IT – LET’S GO FOR IT.
Screen grabs from from a British Pathe 'Eve' piece about how to make a 'camisole' from two (man-size) handkerchiefs. Does the model put it on over her shift/camisole for reasons of cinematic decency or is that how it was meant to be worn? It's a bit like that secretary in 'Splash' who turns up for work with her bra on over her sweater. Although the mail order catalogue for 1926 shows a bra worn over a camisole I'm inclined to believe that this is a case of cinema decency: during the film it was stated that elastic was inserted in the bottom for added security. The only thing security would be necessary for was to stop things dropping out, which would not be much of a problem if it was worn over the camisole.
vid is at:
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Open since 1927, the Arts Theatre has a colourful and successful history as one of London's smallest theatres. It was originally used as a theatre club in order to circumvent the theatre laws on morality and decency, as administered by the Lord Chamberlain's office. Wikipedia gives full details here en.wikipedia.org/wiki/Arts_Theatre
For a short time in the 1960's it was known as The New Arts, as seen in the top picture, but reverted back to its original name in 1967. Also in the top picture is yet another Lyons tea shop situated alongside. And you might have expected to find the old telephone box in the top picture and not the 2012 view.
Who should turn up while I was lining up the 2012 shot, but a street sweeper with his barrow. I showed him the old photo, which amused him greatly and after a friendly chat, he kindly placed his barrow at the same spot.
N.B. This picture is part of a set showing how one of London's most famous streets used to look in the 20th century, before major demolition work started in the 1960's and more recently, due to the Crossrail development. To take a trip down the Charing Cross Road, starting at St Giles Circus in the north, click here www.flickr.com/photos/59082098@N05/sets/72157629469822347/ to see the Astoria when it was a Crosse & Blackwell pickle warehouse, the old Jacey news theatre and many other buildings, long since disappeared.
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)
Session Americana and Peter Wolf playing at the Lizard Lounge in Cambridge, MA.
en.wikipedia.org/wiki/Peter_Wolf
www.facebook.com/PeterWolfMusic?v=wall
Life and career
Wolf was born in the Bronx, New York. He planned a career as an artist, but he got a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Wolfa Goofa", sometimes expanded to "the Wolfa Goofa with the Green Teeth" (as mentioned in the intro to "Must of Got Lost" on the Blow Your Face Out album). Later as solo artist he called himself Woofa Goofa Mama Toofa. He formed a group called the Hallucinations who performed with The Velvet Underground, Howlin' Wolf, Muddy Waters, Van Morrison, John Lee Hooker, and Sun Ra. He then saw the J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. Wolf was known for his charismatic stage antics of fast-talking quips and "pole-vaulting" with the microphone stand. He and keyboard player Seth Justman were responsible for most of the songwriting. Creative differences followed their Freeze-Frame album, causing the J. Geils Band and Peter Wolf to part ways in 1983.
Peter Wolf with the J. Geils Band in Candlestick Park, San Francisco, California Photo: Catharine Anderson
Wolf became a solo artist for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist. They separated again, and Wolf began touring once more, as a solo act.
Wolf's first solo record, Lights Out (1984) was produced by Michael Jonzun of the Jonzun Crew, features Adrian Belew, and has a somewhat funky, electro sound. The eponymous single became a hit single the same year, peaking at #12 on the Billboard Hot 100. He recorded many duets with the likes of Aretha Franklin, Little Milton, John Lee Hooker, Don Covay, and Wilson Pickett to name just a few.
Long Line was co-produced with two musician friends, Johnny A. and a Bob Dylan backup band member, Stu Kimball. Tim Archibald (Bass) and Brian Maes (keys and backing vocals) who are both members of "Ernie And The Automatics", played on the record and Toured in support of "Long Line." His next two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless (2002) was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with such diverse people as Bruce Springsteen and Phil Lesh.
Wolf toured in 2008 with Kid Rock and Rev. Run on The Rock N Roll Revival Tour. He performed "Love Stinks" solo with Kid Rock's band. Then he joined Kid Rock for "Ain't Too Proud to Beg", "Musta Got Lost", "Centerfold" (from the J. Geils album Freeze Frame) and "For What It's Worth".
The J. Geils Band re-united for a series of shows in 2009, including opening night at the Boston House of Blues.
Wolf's 2010 album Midnight Souvenirs won Album of the Year at the Boston Music Awards.[2][3]
www.facebook.com/pages/Session-Americana/53199003969
www.myspace.com/sessionamericana
www.hi-n-dry.com/session_americana
www.exploitboston.com/music-musings/grab-new-music-from-s...
Session Americana - www.sessionamericana.com
This ad hoc acoustic supergroup started around a table at a small pub in Cambridge, Massachusetts, where Ry Cavanaugh, Billy Conway, Sean Staples, Dinty Child, Jim Fitting and other friends gathered to swap songs and stories. Their lively performances and inspired versions of tunes from the dusty backroads of America's past were such a hit with fans that they decided to take their musical conversation into the studio. The two-CD debut Tabletop People ups the ante with stellar appearances by folksinger Rose Polenzani, Twinemen's Laurie Sargent, Dennis Brennan, Asa Brebner, Merrie Amsterburg, Dan Kellar, Presidents of the United States' Chris Ballew, Jabe Beyer, Tim Gearon and other luminaries. And the 18 gritty, funny, soulful performances included span a gamut of emotions and tastes that should please both adult and younger listeners.
"Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard:...musicianship that sets the standard for the genre in Boston
and vocals that do the same"
— Performer Magazine
Session Americana sit tightly around a small cafe table, ambient mics tuned to catch the whole sound of the voices and instruments. A suit-case drum kit, an old electric bass, a bunch of acoustic instruments, a field organ: This format feels very theatrical and though the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all star cast of characters seated around the table. What keeps you coming back show after show is the same thing that any audience member longs for, great songs performed by a great band. The six core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from church coee houses to urban nightclubs to regional festival tents to large halls.
Band: Ry Cavanaugh, Billy Beard, Dinty Child, Jim Fitting, Sean Staples and Jon Bistline.
*Winner “2005 Best Folk Act” - The Boston Music Awards
*Winner “Best Roots Act 2006” - Improper Bostonian “Best of Boston” Issue
*Winner “Best CD” 2007 - Improper Bostonian
*Nominated “Best Roots Act” 2007 - WFNX/Boston Phoenix Best Music Poll
*Nominated Best Live Act 2007 - The Boston Music Awards
*Nominated Best Americana Act 2008 - The Boston Music Awards
“Genius ... Jaw-dropping vocals ... Session Americana is blessed in this regard: ...musicianship that sets the standard for the genre in Boston and vocals that do the same”
— NE Performer Magazine
“No egos, no big production, just some great songs stripped down to their bare essentials and performed with a real genuineness of spirit and emotional authenticity... it’s beautiful.” (Brian Mosher)
— The Noise
“An eclectic, swinging tour de force” — The Boston Globe
“[This] local country-folk megagroup’s double CD is one of the most loose, spontaneous, warm, and homespun acts of community and decency since the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken.”
— The Boston Phoenix
“the cream of the Somerville/Cambridge community" - No Depression (read less)