#nw: 1899

[honeyroastedpenis]

femboy from 1899 from 2024

modern au of our au :3

[divinidoles]

Dernières séries regardées ou en cours de visionnage. 🎬🤓🍿 #Wednesday #1899 #Dark #StrangerThings #Manifest #BlackMirror #Alma #TheWatcher #HouseOfTheDragon #SquidGame 🔺🔸🔷🔸🔻 @wednesdaynetflix @netflix1899 @darknetflix @strangerthingstv @manifestonnetflix @squidgamenetflix @houseofthedragonhbo 🔻🔹🔶🔹🔺 #Netflix #TV #TVShows #Watched #LastSeen #Culture #NetflixAndChill #NW #NowWatching #DarkNetflix #AlmaNetflix #1899Netflix #WednesdayNetflix #HOTD #GOT #TheWatcherNetflix #ManifestNetflix #StrangerThingsNetflix #BlackMirrorNetflix #SquidGameNetflix https://www.instagram.com/p/CmAZYqoNCYL/?igshid=NGJjMDIxMWI=

[stephensmithuk]

Charles Augustus Milverton

Published in 1904, this forms part of the Return collection.

Most chroniclers put this in 1899.

Milverton is seemingly inspired by Charles Augustus Howell, an art dealer and alleged blackmailer, who died in strange circumstances in 1890: https://en.wikipedia.org/wiki/Charles_Augustus_Howell

Hampstead is located four miles NW of Charing Cross. Known for attracting a lot of artistic and intellectual people, it has some very expensive houses and a lot of millionaires. Notable residents past and present are numerous indeed, including Sting, Agatha Christie, Emilia Clarke, Muhammed Ali Jinnah, Florence Nightingale.

The area had began to expand with the arrival of what is now known as the North London line of London Overground, which operated services into Broad Street until that station closed in 1986. The now-Northern Line would reach there in 1907 and Hampstead station, beneath a steep hill has the deepest platforms on the Tube, at 192 feet below street level. The station also is one of those designed by Leslie Green, with the distinctive oxblood red tiles he liked to use on the outside.

The "Evil One" is an archaic term for the Devil.

Débutantes seem to have typically been 17 or 18.

"Lady" is a courtesy title for the daughters of dukes, marquesses and earls.

Mr. Pickwick refers to the titular character of Charles Dickens' The Pickwick Papers, originally serialised in 19 parts between 1836 and 1837. It might be good for a mailing group.

With telephones going through human-operated exchanges and telegrams being rather expensive, letters were the most secure way of sending romantic messages. Unless the servants got hold of them. Notably, all the correspondence from Queen Victoria to her Indian teacher Abdul Karim was burnt after her death on the orders of Edward VII.

£7,000 would be around £740,000 at today's prices.

Astrakhan are the pelts of fetal or newborn Karakul sheep. So, yeah...

Revolvers were the normal handguns at the time. Self-loading semi-automatics had just begun to enter the scene in large numbers, with the Mauser C96 (aka Han Solo's blaster) available by 1899.

Hampstead Heath is a 790-acre park with views over the city centre from Parliament Hill that are legally protected. The "bloofer lady" scene from Dracula takes place there and a number of movies, such as Notting Hill have filmed there.

The Heath also was - and still is - a popular location for gay men to engage in "cruising" i.e. anonymous hookups, or just hang out. The locals know which bits to avoid at night and these days the police are tolerant unless someone complains, although fines were issued for lockdown breaches. (Public sex is legal if no-one not involved sees it or is likely to, unless in a public toilet)

In the past, it was a very different matter and a Tory MP had to resign his seat in 1992 after being caught on the Heath with another man.

"Court dress" was the regulated outfits worn when attending the British royal court at the time for those not entitled to a uniform. This included wearing breeches and stockings for men, along with a cocked hat. For women this included a white or cream evening gown with lace. It fell somewhat out of use after the Second World War with the 1953 Coronation being the last occasion it was worn in large numbers, However, it is still worn by judges, King's Counsel (senior lawyers) and some Lord Mayors - the royals will wear it sometimes as well. A 1921 guide can be found here: https://archive.org/details/dressinsigniawor00greauoft/page/n113/mode/2up

[dankusner]

100-degrees in Big D

SUMMER SOLSTICE

Bracing for the heat

North Texans await first triple-digit days

As heavy storms ravaged Dallas-Fort Worth at the end of May and scattered storms rolled on through June, residents began to get a taste of extreme weather.

But as the storm clouds clear, a familiar question rises along with the sweltering Texas summer sun: When are we going to have our first 100-degree day?

As with almost all other weather predictions, National Weather Service officials say it’s hard to give a definite answer.

“Even though we’re the meteorologists, we don’t really know any better than anyone else sometimes with these things, particularly when it’s something that could be weeks or months away,” said Daniel Huckaby, a meteorologist at the National Weather Service in Fort Worth.

According to the weather service, the average date of the first 100-degree day is July 1.

This average is based on data dating back to 1899.

However, Huckaby estimated the excessive rain of this spring will likely push the first 100-degree day to after July 1 because wet ground and healthy vegetation usually reduce daytime temperatures.

Even so, it is possible the first 100-degree day could occur sooner.

A weather phenomenon known as ridging aloft — which is high pressure two to five miles above the ground — fuels excessive heat in the summer, Huckaby said.

It typically occurs around the time of the June solstice — June 20 this year.

If this occurs on schedule, he said, then it is possible for the first 100-degree day to occur in June.

Triple-digit days

On average, Dallas-Fort Worth hits triple digits 17 days per year.

This average is based on the same data set dating back to 1899, but data from more recent time frames reflect an uptick in 100-degree days and warm temperatures.

Fifty years ago, D-FW had an average of 15 100-degree days per year, according to Huckaby.

In the 30-year span between 1991 and 2020, there was an average of 20 days per year that reached 100 degrees.

In 2023, temperatures reached 100 degrees 55 times.

For summer 2024, the NWS has issued a warmer-than-normal outlook, as there has been a trend of warmer summers over the past few years, Huckaby said.

Last year’s summer was the second hottest in Dallas’ history, and the third hottest for Dallas-Fort Worth.

These hot summers are in part due to climate change, but they are also due to positive feedback loops that reinforce warm temperatures, he said.

Warm temperatures can strengthen some weather patterns — such as ridging aloft and droughts — that already cause warm weather, leading to even more warming.

“The weather that happens today is related to both yesterday and tomorrow,” Huckaby wrote in an email. “That correlation can be extended to longer time scales. If it were random like a game in Vegas, you’d expect that after several warm summers, a cooler one is bound to happen. But that’s not how climate works … because it’s specifically not random.”

First-day delay

While summers are getting hotter with more 100-degree days, the onset of these high temperatures seems to be delayed, Huckaby said.

One hundred years ago, the first 100 degree-day average varied from June 23 to 26. Huckaby said the lack of data played a role, but the past 50 years have been more steady.

During this time, the average shifted from June 29 to July 1.

The 30-year average from 1991-2020 places the first 100-degree even later at July 3.

“At first glance, I’m not sure why this is the opposite of what we’d expect, but it may have something to do with our trend toward wetter springs,” he said.

John Nielsen-Gammon, a professor of atmospheric sciences at Texas A&M University, helped author a report that examined past and future weather trends in Texas from 1900 to 2036.

The original report was published in 2021, but it has been updated in 2024 with additional data to refine the report’s predictions.

To examine 100-degree days, the report tracked trends across four regions of the state: coastal, northwest, northeast and south central.

Over the past 50 years, the number of days over 100 degrees has just about tripled in three of four regions across Texas, the report says.

The northeast region — which includes Dallas-Fort Worth — did not follow this trend, but that is because the region experienced heat earlier on, Nielsen-Gammon wrote in an email.

The future trends in the northeast region are expected to be similar to the other regions of the state, he said.

More common

According to the report, triple-digit days are going to be about four times as common by 2036 than they were in the 1970s and 1980s.

Urban areas are also expected to experience a greater frequency of 100-degree days due to the heat island effect, Nielsen-Gammon said.

Urban areas are often hotter than surrounding rural areas because city infrastructure retains heat. Similarly, urban areas have less exposed soil and vegetation to cool down the surrounding air.

Some steps to staying healthy in high heat include avoiding overexertion and drinking plenty of water, Nielsen-Gammon said. A greater concern arises for those who spend much of their day outdoors.

“It’s important for workers to be able to take extended breaks from the heat and have plenty of water available,” he said.

Nielsen-Gammon also noted challenges for those who do not have air conditioning.

Cooling off at night allows the body to recover from the heat and can prevent major health problems.

For those who do not have access to air conditioning, cooling centers can help people get through the heat and avoid heat-related health problems.

[wikiuntamed]

On this day in Wikipedia: Friday, 29th March

Welcome, vitajte, ongi etorri, ողջու՜յն (voġčuyn) 🤗 What does @Wikipedia say about 29th March through the years 🏛️📜🗓️?

29th March 2023 🗓️ : Death - Vivan Sundaram Vivan Sundaram, Indian contemporary artist (b. 1943) "Vivan Sundaram (28 May 1943 – 29 March 2023) was an Indian contemporary artist. He worked in many different medias, including painting, sculpture, printmaking, photography, installation, and video art, and his work was politically conscious and highly intertextual in nature. His work constantly..."

Image licensed under CC BY 3.0? by George Quasha

29th March 2019 🗓️ : Death - Agnès Varda Agnès Varda, French film director (b. 1928) "Agnès Varda (French: [aɲɛs vaʁda] ; born Arlette Varda; 30 May 1928 – 29 March 2019) was a Belgian-born film director, screenwriter, photographer, and artist with French and Greek origins. Varda's work employed location shooting in an era when the limitations of sound technology made it easier and..."

Image by Unknown authorUnknown author

29th March 2014 🗓️ : Event - Same-sex marriage in the United Kingdom The first same-sex marriages in England and Wales took place following the passage of the Marriage (Same Sex Couples) Act 2013. "Same-sex marriage is legal in all parts of the United Kingdom. As marriage is a devolved legislative matter, different parts of the United Kingdom legalised at different times; it has been recognised and performed in England and Wales since March 2014, in Scotland since December 2014, and in..."

29th March 1974 🗓️ : Event - Shaanxi A group of farmers in the Chinese province of Shaanxi discovered a vast collection of terracotta statues (pictured) depicting the armies of Qin Shi Huang, the first emperor of China. "Shaanxi is a landlocked province of China. Officially part of Northwest China, it borders the province-level divisions of Shanxi (NE, E), Henan (E), Hubei (SE), Chongqing (S), Sichuan (SW), Gansu (W), Ningxia (NW) and Inner Mongolia (N). Shaanxi covers an area of over 205,000 km2 (79,151 sq mi) with..."

Image licensed under CC BY-SA 4.0? by N509FZ

29th March 1924 🗓️ : Death - Charles Villiers Stanford Charles Villiers Stanford, Irish composer and conductor (b. 1852) "Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Anglo-Irish composer, music teacher, and conductor of the late Romantic era. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and..."

Image by Bassano Ltd

29th March 1824 🗓️ : Birth - Ludwig Büchner Ludwig Büchner, German physiologist, physician, and philosopher (d. 1899) "Friedrich Karl Christian Ludwig Büchner (29 March 1824 – 30 April 1899) was a German philosopher, physiologist and physician who became one of the exponents of 19th-century scientific materialism...."

Image by Unknown authorUnknown author

29th March 🗓️ : Holiday - Boganda Day (Central African Republic) "This is a list of public holidays in the Central African Republic..."

[yegarts]

New public artwork documenting Indigenous relation to the land installed this week downtown

Sipikiskisiw (Remembers Far Back) by Michelle Sound. Archival photo and map on paper, embroidery thread, rick rack, vintage beads, bugle beads, glass seed beads, caribou tufting, porcupine quills.

Indigenous relation to the land in amiskwaciwâskahikan (Edmonton) is the subject of a new artwork, Sipikiskisiw (Remembers Far Back) by Michelle Sound, which is being installed this week at the Edmonton Transit Service (ETS) shelter located at 10020-100 Street NW. The transit shelter was recently renewed as the City of Edmonton works toward creating more safe, inclusive, and attractive public spaces for transit riders and the public.

Like Sound’s artwork often does, Sipikiskisiw (Remembers Far Back) explores her Cree and Métis identity from a personal experience rooted in family, place and history. Her artwork for the ETS shelter takes torn copies of archival images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken prior to 1907 of Indigenous men and tipis on the grounds of Fort Edmonton. The artist then mended the torn imagery using embroidery thread, caribou tufting, porcupine quills, and beadwork.

The rips in the images are meant to “show the colonial violence that Indigenous people have experienced, including residential schools, intergenerational trauma, loss of language, and displacement from our territories,” explains the artist in a written statement about the work. The mending of the images doesn’t fully obscure the rips, shares Sound, just as “the loss, grief, longing, and memory cannot be fully mended and the resiliency required to survive colonialism is also messy and fragile. These losses can never be fully healed but we can process our histories and realities through art, culture and stories.”

Sipikiskisiw (Remembers Far Back) by Michelle Sound is currently being installed at the ETS shelter located at 10020-100 Street NW

Commissioned in 2022 under the City of Edmonton’s new Public Art Policy, the Edmonton Arts Council worked with three local Indigenous artists/curators to select an artist for this project. Edmonton Arts Council's Public Art Director David Turnbull said of the new policy, “it allows us to be flexible, responsive, and use curatorially-driven approaches to intentionally grow and develop a public art collection that is high quality, accessible, relevant, and representative of Edmonton’s diverse communities.”

Last fall 2022 we asked one of the curators of ETS shelter project, Emily Riddle, to reflect on the process and the significance of the public artwork by Michelle Sound in a guest article for the YEGArts blog. Click here to read the article.

[aboutmercy]

onto episode 2 of the 1899, knowing this is sci fi my current theories are:

1. they’re stuck in a time loop

2. they’re passengers on the prometheus

3. the letters the captain and maura got are from people that used to be in the same position they are in right now, urging them to remember the events that led to the prometheus becoming what it is now

4. also the triangles everywhere? hmm. intriguing

[wrong-brothers]

Eagle Roller-Mill Company: A Historical Overview

In the most recent series of photos, our subject has been what is now the Farmers Co-op of Hanska’s New Ulm branch.  While the complex is a lot different from when it was run by the ERMC, some of the most interesting parts (like the power plant) remain from that period.

The ERMC was founded in 1856 according to the plaque on the power building, though digitized documentation going back that far isn’t really available.  The earliest Sanborn Fire Map created for New Ulm is from 1884, which shows a relatively modest operation served by the Chicago and North Western Railroad.  The operation expanded with each new map created, as can be seen in the animation I put together of all of the fire maps aligned, with the buildings of the ERMC highlighted.  The surviving power plant was built in 1920 and appears on the 1922 fire map, and the large storage silos to the north (Elevator E) were built in 1910.  Between 1899 and 1905, the Minneapolis and St. Louis Railroad connected to the mill as well, which today has melded into the former C&NW tracks that are used to serve the mill.  Beyond that, the only surviving buildings I know of are the 1908 flour warehouse to the south of the power plant and the small house to the north that once served as an office.

The Eagle Roller-Mill Company went out of business in 1952, with operations being taken over by the Burdick Grain Company in Minneapolis.  One source claims that the 1910 storage silos were rebuilt by Burdick, but given their configuration remains the same as in the Sanborn maps and aerial photography never shows a point at which the section was leveled, this seems unlikely.  Rather, aerial photography shows that Elevator D (which is the focus of ERMC VII/VIII) was replaced at some point between 1946 and 1955, so that’s likely what the original source was referring to.  Burdick continued to operate the mill until at least 1975, and it appears the elevator was sold to a new company by 1983.  Exactly when the FCoH bought the elevator isn’t clear, but it has operated it since then as the Burdick Division.

I’m really glad I had the chance to get these photos when I did, because this summer (July, 2021 for future reference) there was a substantial explosion in Elevator E that damaged the head house (apparently that’s the term) and superstructure, including the ���Welcome to New Ulm” sign.  Articles on it have been limited, but at least some of Elevator E is to be demolished due to the damage, perhaps all of it.  We can hope that some of it will survive, but who knows with a structure that old.  On the upside, my researching also showed that at least engine 123 is sill in operation doing switching there.

[lettermessageeqaz-blog]

Letter To ANSI’s Joe Bhatia Demands Apology From CP Russ Chaney’s Threatening &Discriminating Message.

ANSI Joe Bhatia-CEO Washington, DC. Headquarters 1899 L Street, NW, 11th Floor Washington, DC 20036

Mr. Bhatia

DEMAND FOR APOLOGY

This letter is to formally inform you of a disturbing voicemail message I received from an ANSI Board Member CP Russ Chaney. I found Mr. Chaney's message to be insulting and threatening.

As a Jewish business owner and Journalist on Youtube, I've been a target of anonymous callers leaving me voicemail messages of being a "dirty Jew," and "Christ killer" among other racial slurs in which I care not to repeat at this time. I'm not sure if any of these phone calls came from members of your organization. However, I find it highly suspicious I received a disgusting anti-Semitic message from an unlisted number just minutes before Chaney's call. Coincidence?

Further, Chaney's voicemail message which portrayed I have some form of genital disfigurement was played on speaker phone (in error) in the presence of a client. This was not only deeply embarrassing, but harmful to my reputation as a quality professional.

Sequel to the above, you are requested to submit a draft letter of a clear and unqualified apology and retraction, to be copied to Mr. Chaney and all attached to this email.

TAKE NOTICE that in the event of your failure / refusal to comply with the above mentioned demands within 14 days of your receipt of this letter, the matter will be forwarded to my legal counsel.

Letter To ANSI’s Joe Bhatia Demands Apology From CP Russ Chaney’s Threatening &Discriminating Message. https://youtu.be/fXZ8B_-Eua4

Regards, Daryl Guberman

#Federal Contract 19AQMM18R0131 Reveals Collusion, Cronyism, Treason Part-1 https://youtu.be/MSHMV-MpNa  

#Federal Contract 19AQMM18R0131 Reveals Collusion, Cronyism, Treason Part-2 https://youtu.be/Id65yN1ce2g  

Educating A2LA's Ashley Morton on ANSI's Accreditation FAKE Oversight https://youtu.be/XnEVOLcTQKw

The ANSI-ANAB, IAF Accreditation Scheme Is 'Pay To Play' Prove Me Wrong https://youtu.be/ggRdrBzYQHc

Why Anti-American Companies Call American Patriots 'Conspiracy Theorist' https://youtu.be/Ql_AifsaNA4

ANSI-ANAB Operates An Anti-American Accreditation Scam! Prove Me Wrong https://youtu.be/JZKAojQRZ-E

The Strategic Threat To U.S. Tech Companies, Under The Guise Of ANSI  and The Quality Sham. https://youtu.be/2Kc9cXena8U

IAAC, ANAB, IAF and NIST Probed for Crony Capitalism, Accreditation Fraud, and Antitrust Violations https://www.einpresswire.com/article/384402696/iaac-anab-iaf-and-nist-probed-for-crony-capitalism-accreditation-fraud-and-antitrust-violations

#New Antitrust Committee Must Breakup The ANSI-ANAB, NIST-MEP Monopoly. Part 1 https://youtu.be/42Qm0RPNB80  

New Antitrust Committee Must Breakup The ANSI-ANAB, NIST-MEP Monopoly. Part 2 https://youtu.be/EGLPKNjfbp0  

New Antitrust Committee Must Breakup The ANSI-ANAB, NIST-MEP Monopoly. Part 3 https://youtu.be/YrdEtaF-s6s  

#New Antitrust Committee Must Breakup The ANSI-ANAB, NIST-MEP Monopoly. Part 4 https://youtu.be/0BncKCSwC6o  

#New Antitrust Committee Must Breakup The ANSI-ANAB, NIST-MEP Monopoly. Part 5 https://youtu.be/Hw_6ZlVreHA

USA vs China: The Oxymoron of ANSI-ANAB "Certificate Mill" Shills https://youtu.be/Ds3rIkhfo1w

The NIST-MEP Program Is A Ponzi Scheme Unknowingly Funded By Taxpayers https://youtu.be/nEHTvNA629Q

ANSI-ANAB's Cozy Relationship With State Sponsors of Terrorism https://youtu.be/1NvYrKy-Nck

Federal Agencies Under China-led IAF Oversight Puts U.S. Security At Risk https://youtu.be/ydegIC4rMiE

F35 In Trouble? Dispute With Lockheed Means No U.S. Deliveries QA Expert Daryl Guberman Explains Why https://youtu.be/D09_45R9LhU

ANSI ANAB Pollutes Fed. Agencies Like U.S. DHHS With China-Iran, And Other Questionable Oversight https://youtu.be/xi1MNQJrXWs

CIA Accused Huawei Of Receiving Funding From CNSC & PLA (CHINA)-QA Expert Daryl Guberman Explains https://youtu.be/Iw3rrsFUEQw

[formallettererqwaz-blog]

UPDATE: ANSI-ANAB Joe Bhathia's Apology For Russ Chaney's Harassing Call

Letter To ANSI’s Joe Bhatia Demands Apology From CP Russ Chaney’s Threat https://youtu.be/fXZ8B_-Eua4

Letter To ANSI’s Joe Bhatia Demands Apology From CP Russ Chaney’s Threatening &Discriminating Message.

ANSI Joe Bhatia-CEO Washington, DC. Headquarters 1899 L Street, NW, 11th Floor Washington, DC 20036

Mr. Bhatia

DEMAND FOR APOLOGY

This letter is to formally inform you of a disturbing voicemail message I received from an ANSI Board Member CP Russ Chaney. I found Mr. Chaney's message to be insulting and threatening.

As a Jewish business owner and Journalist on Youtube, I've been a target of anonymous callers leaving me voicemail messages of being a "dirty Jew," and "Christ killer" among other racial slurs in which I care not to repeat at this time. I'm not sure if any of these phone calls came from members of your organization. However, I find it highly suspicious I received a disgusting anti-Semitic message from an unlisted number just minutes before Chaney's call. Coincidence?

Further, Chaney's voicemail message which portrayed I have some form of genital disfigurement was played on speaker phone (in error) in the presence of a client. This was not only deeply embarrassing, but harmful to my reputation as a quality professional.

Sequel to the above, you are requested to submit a draft letter of a clear and unqualified apology and retraction, to be copied to Mr. Chaney and all attached to this email.

TAKE NOTICE that in the event of your failure / refusal to comply with the above mentioned demands within 14 days of your receipt of this letter, the matter will be forwarded to my legal counsel.

Letter To ANSI’s Joe Bhatia Demands Apology From CP Russ Chaney’s Threatening & Discriminating Message. https://youtu.be/fXZ8B_-Eua4

Regards, Daryl Guberman

[packedwithpackards]

Seminar on the Packard family in Ohio

Of course, its not the Packard family going all the way back to Samuel, but is undoubtedly related, I'd say. The article in The Vindicator says that

The National Packard Museum, 1899 Mahoning Ave. NW, will present a seminar titled “The Packards of Ohio: Pioneers of Transportation” at noon today. Part of the museum’s educational seminar series, it is open to the public with a paid admission to the museum. Thomas Packard was the first Packard in Ohio, settling in Austintown Township in 1801. As an elected supervisor of highways for the Youngstown District, he was responsible for improving old Indian paths and blazing trails through the wilderness. Thomas probably never imagined that his great-grandsons Will and Ward Packard would build a machine in Warren that would blaze a new path across the continent 100 years later. The seminar will shed light on five generations of Packards, their triumphs and tragedies and their lasting impact on transportation. After the seminar concludes, guests are encouraged to experience the museum’s 18th annual Antique Motorcycle Exhibit, “The Motor,” which runs through May 20. For information, go to packardmuseum.org or call 330-394-1899.

Note: This was originally posted on November 9, 2018 on the main Packed with Packards WordPress blog (it can also be found on the Wayback Machine here). My research is still ongoing, so some conclusions in this piece may change in the future.

© 2018-2022 Burkely Hermann. All rights reserved.

[kientrucsutiennguyen]

Ansi là gì

Nhắc đến các tiêu chuẩn Mỹ thì tiêu chuẩn ANSI là tiêu chuẩn được rất nhiều người nhắc đến mỗi ngày. Vậy ANSI là gì? Thành viên và nhiệm vụ của ANSI như thế nào? Tất cả những thông tin này sẽ được Sắt thép Xây dựng SDT giải đáp trong chia sẻ dưới đây. Cùng theo dõi bài viết nhé!

ANSI là gì?

Trụ sở của ANSI được đóng tại 1899 L street, NW 11th Floor Washington, D.C. Các thành viên sáng lập tiêu chuẩn ANSI là ba cơ quan của Chính phủ Hoa Kỳ và 5 Hiệp hội xây dựng.

Bạn đang xem: Ansi là gì

ANSI không được thành lập với mục đích xây dựng tiêu chuẩn, mà nó chỉ giúp thúc đẩy công tác phát triển các Tiêu chuẩn Quốc gia của Mỹ (ANS). 

Mục đích này được thực hiện bằng cách công nhận các quy trình của các tiêu chuẩn quốc gia Hoa Kỳ. Các tổ chức tiêu chuẩn này sẽ cùng nhau phối hợp hoạt động để xây dựng nên những tiêu chuẩn quốc gia một cách đồng thuận và tự nguyện.

Các quy trình của tổ chức tiêu chuẩn được áp dụng để xây dựng tiêu chuẩn quốc gia Mỹ. Nó chỉ được công nhận khi đáp ứng được các nhu cầu thiết yếu của ANSI về tính công khai, công bằng, đồng thuận và đúng trình tự.

ANSI từ lâu đã là tiếng nói cho toàn hệ thống tiêu chuẩn Mỹ. Đây là hệ thống đánh giá tính phù hợp cũng như luôn cho phép các thành viên của mình và các tổ chức được ủy quyền một vị thế vững vàng trên thị trường Hoa Kỳ. ANSI được thành lập dưới nền kinh tế thế giới với một mục tiêu duy nhất: hướng đến việc đảm bảo an toàn sức khỏe của người dân; đồng thời bảo vệ và giữ gìn tài nguyên thiên nhiên.

Tiêu chuẩn ANSI của Mỹ là gì?

ANSI có hàng nghìn những hướng dẫn và quy tắc có tác động và ảnh hưởng trực tiếp đến hoạt động kinh doanh của mọi lĩnh vực. Từ công cụ và thiết bị xây dựng đến các sản phẩm bơ sữa, thiết bị âm thanh, nông nghiệp, công nghiệp, chăn nuôi hay năng lượng… thì ANSI đều có những tiêu chuẩn phù hợp. Điều này giúp đảm bảo đánh giá đúng năng lực cạnh tranh cũng như xác định được sự phù hợp đối với chất lượng sản phẩm.

Ngày nay, ANSI rất tích cực tham gia vào công tác tiêu chuẩn hóa quốc tế nhằm nâng cao vị thế của mình. Trong các tổ chức tiêu chuẩn hóa khu vực hay quốc tế, ANSI đóng vai trò rất quan trọng để đánh giá các sản phẩm. Tiêu chuẩn ANSI từ lâu đã gây ảnh hưởng vô cùng lớn với các tổ chức quốc tế này.

Xem thêm: Scam Là Gì – Những ý Nghĩa Của Scam

Không những thế, ANSI là một trong những thành viên sáng lập và cũng là đại diện của Hoa Kỳ trong tổ chức ISO. Trong IEC (Ủy ban Kỹ thuật Điện Quốc tế), ANSI là đại diện trong các diễn đàn về tiêu chuẩn hóa. Từ đó, Mỹ có thể tiếp cận dễ dàng hơn với các quá trình phát triển tiêu chuẩn IEC và ISO.

Nhiệm vụ của ANSI là gì?

Tiêu chuẩn ANSI được thành lập với nhiệm vụ đặc biệt. ANSI giúp tăng cường khả năng cạnh tranh toàn cầu của các doanh nghiệp tại Hoa Kỳ, giúp dễ dàng đánh giá và so sánh các sản phẩm này. Nhờ tiêu chuẩn ANSI mà chất lượng cuộc sống của người dân Hoa Kỳ được nâng cao. Tổ chức này cũng giúp thúc đẩy và tạo điều kiện cho các tiêu chuẩn đồng thuận tự nguyện, cũng như hệ thống đánh giá sự phù hợp và bảo vệ tính toàn vẹn.

ANSI giúp điều phối hệ thống tiêu chuẩn đồng thuận tự nguyện. Họ cung cấp một diễn đàn trung lập để tiến hành phát triển các chính sách về tiêu chuẩn. ANSI đóng vai trò là cơ quan giám sát cho các chương trình, quy trình đánh giá sự phù hợp và phát triển tiêu chuẩn.

ANSI cung cấp các tiêu chuẩn về xếp hạng, kích thước, ký hiệu hay thuật ngữ, an toàn cho nhân viên, phương pháp thử nghiệm và các yêu cầu về hiệu suất, sản phẩm, hệ thống và dịch vụ của hàng trăm ngành công nghiệp trong và ngoài nước Mỹ. Chính tổ chức này đã giúp cải thiện sự an toàn của hàng triệu sản phẩm lớn nhỏ nhằm bảo vệ người tiêu dùng

Thành viên của ANSI là ai?

ANSI ngày nay được điều phối bởi gần 1.000 doanh nghiệp. Các thành viên của ANSI gồm hiệp hội thương mại và hiệp hội nghề nghiệp, cơ quan chính phủ, nhà phát triển tiêu chuẩn, viện và người tiêu dùng và lợi ích lao động. Tất cả những thành viên này cùng hợp sức và hợp tác để phát triển các tiêu chuẩn đồng thuận quốc gia tự nguyện.

Hơn 100 năm qua, sức mạnh tạo nên ANSI của ngày hôm nay chính là chuyên môn của các thành viên. Là những đại diện tiêu biểu từ hầu hết các ngành công nghiệp của Hoa Kỳ, các thành viên ANSI có cơ hội tạo nên thành công trong hoạt động của công ty hoặc tổ chức ở cấp quốc gia và quốc tế.

Xem thêm: Silo Là Gì – 6 Bước Tạo Cấu Trúc Silo Cho Website

Hy vọng với những thông tin mà Sắt Thép Xây Dựng SDT truyền tải đến bạn trong bài viết hôm nay. Bạn đọc đã hiểu được khái niệm tiêu chuẩn ANSI là gì cũng như nhiệm vụ và thành viên trong ANSI gồm những ai. Mọi thắc mắc, hãy để lại bình luận phía dưới bài viết. Chúng tôi sẽ hỗ trợ, giải đáp nhanh nhất cho bạn.

Chuyên mục: Hỏi Đáp

from Sửa nhà giá rẻ Hà Nội https://ift.tt/3e1lVUx Blog của Tiến Nguyễn https://kientrucsunguyentien.blogspot.com/

[blackkudos]

Duke Ellington

Edward Kennedy (Duke) Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and bandleader of a jazz orchestra, which he led from 1923 until his death in a career spanning over fifty years.

Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward, and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Though widely considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle, and referred to his music as part of the more general category of American Music, rather than to a musical genre such as jazz.

Some of the musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz. Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians.

Often collaborating with others, Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, with many of his works having become standards. Ellington also recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", and "Perdido", which brought a Spanish tinge to big band jazz. After 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scoring several, and composed stage musicals.

Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and charisma, Ellington is generally considered to have elevated the perception of jazz to an art form on a par with other more traditional musical genres. His reputation continued to rise after he died, and he was awarded a special posthumous Pulitzer Prize for music in 1999.

Early life

Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs and James preferred operatic arias. They lived with his maternal grandparents at 2129 Ida Place (now Ward Place), NW, in the West End neighborhood of Washington, D.C. Duke's father was born in Lincolnton, North Carolina, on April 15, 1879, and moved to Washington, D.C. in 1886 with his parents. Daisy Kennedy was born in Washington, D.C., on January 4, 1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy. When Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D.C. worked to protect their children from the era's Jim Crow laws.

At the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington's childhood friends noticed that his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman, and began calling him "Duke." Ellington credited his chum Edgar McEntree for the nickname. "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke."

Though Ellington took piano lessons, he was more interested in baseball. "President Roosevelt (Teddy) would come by on his horse sometimes, and stop and watch us play", he recalled. Ellington went to Armstrong Technical High School in Washington, D.C. He gained his first job selling peanuts at Washington Senators baseball games.

In the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, "Soda Fountain Rag" (also known as the "Poodle Dog Rag"). He created the piece by ear, as he had not yet learned to read and write music. "I would play the 'Soda Fountain Rag' as a one-step, two-step, waltz, tango, and fox trot", Ellington recalled. "Listeners never knew it was the same piece. I was established as having my own repertoire." In his autobiography, Music is my Mistress (1973), Ellington wrote that he missed more lessons than he attended, feeling at the time that playing the piano was not his talent.

Ellington started sneaking into Frank Holiday's Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington's love for the instrument, and he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, and Harvey Brooks.

Ellington began listening to, watching, and imitating ragtime pianists, not only in Washington, D.C., but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months. Dunbar High School music teacher Henry Lee Grant gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, and improve his technique. Ellington was also inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. Later in New York he took advice from Will Marion Cook, Fats Waller, and Sidney Bechet. Ellington started to play gigs in cafés and clubs in and around Washington, D.C. His attachment to music was so strong that in 1916 he turned down an art scholarship to the Pratt Institute in Brooklyn. Three months before graduating he dropped out of Armstrong Manual Training School, where he was studying commercial art.

Working as a freelance sign-painter from 1917, Ellington began assembling groups to play for dances. In 1919 he met drummer Sonny Greer from New Jersey, who encouraged Ellington's ambition to become a professional musician. Ellington built his music business through his day job: when a customer asked him to make a sign for a dance or party, he would ask if they had musical entertainment; if not, Ellington would offer to play for the occasion. He also had a messenger job with the U.S. Navy and State departments, where he made a wide range of contacts. Ellington moved out of his parents' home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, "The Duke's Serenaders" ("Colored Syncopators", his telephone directory advertising proclaimed). He was also the group's booking agent. His first play date was at the True Reformer's Hall, where he took home 75 cents.

Ellington played throughout the Washington, D.C. area and into Virginia for private society balls and embassy parties. The band included childhood friend Otto Hardwick, who began playing the string bass, then moved to C-melody sax and finally settled on alto saxophone; Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, a rarity in the segregated society of the day.

Music career

Early career

When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.

In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club – 49th and Broadway – and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).

Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members.

Cotton Club engagement

In October 1926, Ellington made an agreement with agent-publisher Irving Mills, giving Mills a 45% interest in Ellington's future. Mills had an eye for new talent and published compositions by Hoagy Carmichael, Dorothy Fields, and Harold Arlen early in their careers. After recording a handful of acoustic titles during 1924–26, Ellington's signing with Mills allowed him to record prolifically, although sometimes he recorded different versions of the same tune. Mills often took a co-composer credit. From the beginning of their relationship, Mills arranged recording sessions on nearly every label including Brunswick, Victor, Columbia, OKeh, Pathê (and its Perfect label), the ARC/Plaza group of labels (Oriole, Domino, Jewel, Banner) and their dime-store labels (Cameo, Lincoln, Romeo), Hit of the Week, and Columbia's cheaper labels (Harmony, Diva, Velvet Tone, Clarion) labels which gave Ellington popular recognition. On OKeh, his records were usually issued as The Harlem Footwarmers, while the Brunswick's were usually issued as The Jungle Band. Whoopee Makers and the Ten Black Berries were other pseudonyms.

In September 1927, King Oliver turned down a regular booking for his group as the house band at Harlem's Cotton Club; the offer passed to Ellington after Jimmy McHugh suggested him and Mills arranged an audition. Ellington had to increase from a six to eleven-piece group to meet the requirements of the Cotton Club's management for the audition, and the engagement finally began on December 4. With a weekly radio broadcast, the Cotton Club's exclusively white and wealthy clientele poured in nightly to see them. At the Cotton Club, Ellington's group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illegal alcohol. The musical numbers were composed by Jimmy McHugh and the lyrics by Dorothy Fields (later Harold Arlen and Ted Koehler), with some Ellington originals mixed in. (Here he moved in with a dancer, his second wife Mildred Dixon). Weekly radio broadcasts from the club gave Ellington national exposure, while Ellington also recorded Fields-JMcHugh and Fats Waller–Andy Razaf songs.

Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington's sound. As an early exponent of growl trumpet, Miley changed the sweet dance band sound of the group to one that was hotter, which contemporaries termed Jungle Style. In October 1927, Ellington and his Orchestra recorded several compositions with Adelaide Hall. One side in particular, "Creole Love Call", became a worldwide sensation and gave both Ellington and Hall their first hit record. Miley had composed most of "Creole Love Call" and "Black and Tan Fantasy". An alcoholic, Miley had to leave the band before they gained wider fame. He died in 1932 at the age of 29, but he was an important influence on Cootie Williams, who replaced him.

In 1929, the Cotton Club Orchestra appeared on stage for several months in Florenz Ziegfeld's Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Ruby Keeler, and with music and lyrics by George Gershwin and Gus Kahn. Will Vodery, Ziegfeld's musical supervisor, recommended Ellington for the show, and, according to John Hasse's Beyond Category: The Life and Genius of Duke Ellington, "Perhaps during the run of Show Girl, Ellington received what he later termed ' valuable lessons in orchestration from Will Vodery.' In his 1946 biography, Duke Ellington, Barry Ulanov wrote:

From Vodery, as he (Ellington) says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources. It has become customary to ascribe the classical influences upon Duke – Delius, Debussy and Ravel – to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery.

Ellington's film work began with Black and Tan (1929), a nineteen-minute all-African-American RKO short in which he played the hero "Duke". He also appeared in the Amos 'n' Andy film Check and Double Check released in 1930. That year, Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, "America's foremost ballroom". Australian-born composer Percy Grainger was an early admirer and supporter. He wrote "The three greatest composers who ever lived are Bach, Delius and Duke Ellington. Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke". Ellington's first period at the Cotton Club concluded in 1931.

The early 1930s

Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. By 1932 his orchestra consisted of six brass instruments, four reeds, and a four-man rhythm section. As a bandleader, Ellington was not a strict disciplinarian; he maintained control of his orchestra with a combination of charm, humor, flattery and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself.

Ellington signed exclusively to Brunswick in 1932 and stayed with them through late 1936 (albeit with a short-lived 1933–34 switch to Victor when Irving Mills temporarily moved him and his other acts from Brunswick).

As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933. Ivie Anderson was hired as their featured vocalist in 1931. She is the vocalist on "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932) among other recordings. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Radio exposure helped maintain Ellington's public profile as his orchestra began to tour. The other records of this era include: "Mood Indigo" (1930), "Sophisticated Lady" (1933), "Solitude" (1934), and "In a Sentimental Mood" (1935)

While the band's United States audience remained mainly African-American in this period, the Ellington orchestra had a significant following overseas, exemplified by the success of their trip to England and Scotland in 1933 and their 1934 visit to the European mainland. The British visit saw Ellington win praise from members of the serious music community, including composer Constant Lambert, which gave a boost to Ellington's interest in composing longer works.

Those longer pieces had already begun to appear. He had composed and recorded Creole Rhapsody as early as 1931 (issued as both sides of a 12" record for Victor and both sides of a 10" record for Brunswick), and a tribute to his mother, "Reminiscing in Tempo", took four 10" record sides to record in 1935 after her death in that year. Symphony in Black (also 1935), a short film, featured his extended piece 'A Rhapsody of Negro Life'. It introduced Billie Holiday, and won an Academy Award as the best musical short subject. Ellington and his Orchestra also appeared in the features Murder at the Vanities and Belle of the Nineties (both 1934).

For agent Mills the attention was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South in 1934, they avoided some of the traveling difficulties of African-Americans by touring in private railcars. These provided easy accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.

Competition was intensifying though, as swing bands like Benny Goodman's, began to receive popular attention. Swing dancing became a youth phenomenon, particularly with white college audiences, and danceability drove record sales and bookings. Jukeboxes proliferated nationwide, spreading the gospel of swing. Ellington's band could certainly swing, but their strengths were mood, nuance, and richness of composition, hence his statement "jazz is music, swing is business".

The later 1930s

From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.

After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.

Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Ellington in the early to mid-1940s

Some of the musicians who joined Ellington at this time created a sensation in their own right. The short-lived Jimmy Blanton transformed the use of double bass in jazz, allowing it to function as a solo/melodic instrument rather than a rhythm instrument alone. Terminal illness forced him to leave by late 1941 after only about two years. Ben Webster, the Orchestra's first regular tenor saxophonist, whose main tenure with Ellington spanned 1939 to 1943, started a rivalry with Johnny Hodges as the Orchestra's foremost voice in the sax section.

Trumpeter Ray Nance joined, replacing Cootie Williams who had defected to Benny Goodman. Additionally, Nance added violin to the instrumental colors Ellington had at his disposal. Recordings exist of Nance's first concert date on November 7, 1940, at Fargo, North Dakota. Privately made by Jack Towers and Dick Burris, these recordings were first legitimately issued in 1978 as Duke Ellington at Fargo, 1940 Live; they are among the earliest of innumerable live performances which survive. Nance was also an occasional vocalist, although Herb Jeffries was the main male vocalist in this era (until 1943) while Al Hibbler (who replaced Jeffries in 1943) continued until 1951. Ivie Anderson left in 1942 after eleven years: the longest term of any of Ellington's vocalists.

Once again recording for Victor (from 1940), with the small groups recording for their Bluebird label, three-minute masterpieces on 78 rpm record sides continued to flow from Ellington, Billy Strayhorn, Ellington's son Mercer Ellington, and members of the Orchestra. "Cotton Tail", "Main Stem", "Harlem Airshaft", "Jack the Bear", and dozens of others date from this period. Strayhorn's "Take the "A" Train" a hit in 1941, became the band's theme, replacing "East St. Louis Toodle-Oo". Ellington and his associates wrote for an orchestra of distinctive voices who displayed tremendous creativity. Mary Lou Williams, working as a staff arranger, would briefly join Ellington a few years later.

Ellington's long-term aim though was to extend the jazz form from that three-minute limit, of which he was an acknowledged master. While he had composed and recorded some extended pieces before, such works now became a regular feature of Ellington's output. In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington. The first of these, "Black, Brown, and Beige" (1943), was dedicated to telling the story of African-Americans, and the place of slavery and the church in their history. Ellington debuted Black, Brown and Beige in Carnegie Hall on January 23, 1943, beginning an annual series of concerts there over the next four years. While some jazz musicians had played at Carnegie Hall before, none had performed anything as elaborate as Ellington's work. Unfortunately, starting a regular pattern, Ellington's longer works were generally not well received.

A partial exception was Jump for Joy, a full-length musical based on themes of African-American identity, debuted on July 10, 1941, at the Mayan Theater in Los Angeles. Hollywood luminaries such as actors John Garfield and Mickey Rooney invested in the production, and Charlie Chaplin and Orson Welles offered to direct. At one performance though, Garfield insisted Herb Jeffries, who was light-skinned, should wear make-up. Ellington objected in the interval, and compared Jeffries to Al Jolson. The change was reverted, and the singer later commented that the audience must have thought he was an entirely different character in the second half of the show.

Although it had sold-out performances, and received positive reviews, it ran for only 122 performances until September 29, 1941, with a brief revival in November of that year. Its subject matter did not make it appealing to Broadway; Ellington had unfulfilled plans to take it there. Despite this disappointment, a Broadway production of Ellington's Beggar's Holiday, his sole book musical, premiered on December 23, 1946. under the direction of Nicholas Ray.

The settlement of the first recording ban of 1942–43, leading to an increase in royalties paid to musicians, had a serious effect on the financial viability of the big bands, including Ellington's Orchestra. His income as a songwriter ultimately subsidized it. Although he always spent lavishly and drew a respectable income from the Orchestra's operations, the band's income often just covered expenses.

Early post-war years

World War II brought about a swift end to the big band era as musicians went off to serve in the military and travel restrictions made touring difficult. When the war ended, the focus of popular music shifted towards crooners such as Frank Sinatra and Jo Stafford, so Ellington's wordless vocal feature "Transblucency" (1946) with Kay Davis was not going to have a similar reach. With inflation setting in after 1945, the cost of hiring big bands went up and club owners preferred smaller jazz groups who played in new styles such as bebop. Dancing in clubs also subjected club owners to a new wartime tax which continued for many years after, which made small bands more cost-effective for club owners.

Ellington continued on his own course through these tectonic shifts. While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between April 6 and June 30, 1950, with the orchestra playing 74 dates over 77 days. During the tour, according to Sonny Greer, the newer works were not performed, though Ellington's extended composition, Harlem (1950) was in the process of being completed at this time. Ellington later presented its score to music-loving President Harry Truman. Also during his time in Europe, Ellington would compose the music for a stage production by Orson Welles. Titled Time Runs in Paris and An Evening With Orson Welles in Frankfurt, the variety show also featured a newly discovered Eartha Kitt, who performed Ellington's original song "Hungry Little Trouble" as Helen of Troy.

In 1951, Ellington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown, and most importantly Johnny Hodges left to pursue other ventures, although only Greer was a permanent departee. Drummer Louie Bellson replaced Greer, and his "Skin Deep" was a hit for Ellington. Tenor player Paul Gonsalves had joined in December 1950 after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November 1951.

During the early 1950s, Ellington's career was at a low point with his style being generally seen as outmoded, but his reputation did not suffer as badly as some artists. André Previn said in 1952: "You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, Oh, yes, that's done like this. But Duke merely lifts his finger, three horns make a sound, and I don’t know what it is!" However, by 1955, after three years of recording for Capitol, Ellington lacked a regular recording affiliation.

Career revival

Ellington's appearance at the Newport Jazz Festival on July 7, 1956 returned him to wider prominence and introduced him to a new generation of fans. The feature "Diminuendo and Crescendo in Blue" comprised two tunes that had been in the band's book since 1937 but largely forgotten until Ellington, who had abruptly ended the band's scheduled set because of the late arrival of four key players, called the two tunes as the time was approaching midnight. Announcing that the two pieces would be separated by an interlude played by tenor saxophonist Paul Gonsalves, Ellington proceeded to lead the band through the two pieces, with Gonsalves' 27-chorus marathon solo whipping the crowd into a frenzy, leading the Maestro to play way beyond the curfew time despite urgent pleas from festival organizer George Wein to bring the program to an end.

The concert made international headlines, led to one of only five Time magazine cover stories dedicated to a jazz musician, and resulted in an album produced by George Avakian that would become the best-selling LP of Ellington's career. Much of the music on the vinyl LP was, in effect, simulated, with only about 40% actually from the concert itself. According to Avakian, Ellington was dissatisfied with aspects of the performance and felt the musicians had been under rehearsed. The band assembled the next day to re-record several of the numbers with the addition of artificial crowd noise, none of which was disclosed to purchasers of the album. Not until 1999 was the concert recording properly released for the first time. The revived attention brought about by the Newport appearance should not have surprised anyone, Johnny Hodges had returned the previous year, and Ellington's collaboration with Strayhorn had been renewed around the same time, under terms more amenable to the younger man.

The original Ellington at Newport album was the first release in a new recording contract with Columbia Records which yielded several years of recording stability, mainly under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.

In 1957, CBS (Columbia Records' parent corporation) aired a live television production of A Drum Is a Woman, an allegorical suite which received mixed reviews. His hope that television would provide a significant new outlet for his type of jazz was not fulfilled. Tastes and trends had moved on without him. Festival appearances at the new Monterey Jazz Festival and elsewhere provided venues for live exposure, and a European tour in 1958 was well received. Such Sweet Thunder (1957), based on Shakespeare's plays and characters, and The Queen's Suite (1958), dedicated to Britain's Queen Elizabeth II, were products of the renewed impetus which the Newport appearance helped to create, although the latter work was not commercially issued at the time. The late 1950s also saw Ella Fitzgerald record her Duke Ellington Songbook (Verve) with Ellington and his orchestra—a recognition that Ellington's songs had now become part of the cultural canon known as the 'Great American Songbook'.

Ellington at this time (with Strayhorn) began to work directly on scoring for film soundtracks, in particular Anatomy of a Murder (1959), with James Stewart, in which Ellington appeared fronting a roadhouse combo, and Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians. Detroit Free Press music critic Mark Stryker concludes that the work of Billy Strayhorn and Ellington in Anatomy of a Murder a trial court drama film directed by Otto Preminger, is "indispensable, [although] . . . too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal."

Film historians have recognized the soundtrack "as a landmark – the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band." The score avoided the cultural stereotypes which previously characterized jazz scores and rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the '60s". Ellington and Strayhorn, always looking for new musical territory, produced suites for John Steinbeck's novel Sweet Thursday, Tchaikovsky's Nutcracker Suite and Edvard Grieg's Peer Gynt.

In the early 1960s, Ellington embraced recording with artists who had been friendly rivals in the past, or were younger musicians who focused on later styles. The Ellington and Count Basie orchestras recorded together. During a period when he was between recording contracts, he made records with Louis Armstrong (Roulette), Coleman Hawkins, John Coltrane (both for Impulse) and participated in a session with Charles Mingus and Max Roach which produced the Money Jungle (United Artists) album. He signed to Frank Sinatra's new Reprise label, but the association with the label was short-lived.

Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Brown in 1960 and Cootie Williams in 1962.

"The writing and playing of music is a matter of intent.... You can't just throw a paint brush against the wall and call whatever happens art. My music fits the tonal personality of the player. I think too strongly in terms of altering my music to fit the performer to be impressed by accidental music. You can't take doodling seriously."

He was now performing all over the world; a significant part of each year was spent on overseas tours. As a consequence, he formed new working relationships with artists from around the world, including the Swedish vocalist Alice Babs, and the South African musicians Dollar Brand and Sathima Bea Benjamin (A Morning in Paris, 1963/1997).

Ellington wrote an original score for director Michael Langham's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, 1963. Langham has used it for several subsequent productions, including a much later adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works.

Last years

Ellington was a Pulitzer Prize for Music nominee in 1965 but no prize was awarded that year. Then 66 years old, he said: "Fate is being kind to me. Fate doesn't want me to be famous too young." In 1999 he was posthumously awarded a special Pulitzer Prize (not the Music prize), "commemorating the centennial year of his birth, in recognition of his musical genius, which evoked aesthetically the principles of democracy through the medium of jazz and thus made an indelible contribution to art and culture."

In September 1965, he premiered the first of his Sacred Concerts. He created a jazz Christian liturgy. Although the work received mixed reviews, Ellington was proud of the composition and performed it dozens of times. This concert was followed by two others of the same type in 1968 and 1973, known as the Second and Third Sacred Concerts. These generated controversy in what was already a tumultuous time in the United States. Many saw the Sacred Music suites as an attempt to reinforce commercial support for organized religion, though Ellington simply said it was "the most important thing I've done". The Steinway piano upon which the Sacred Concerts were composed is part of the collection of the Smithsonian's National Museum of American History. Like Haydn and Mozart, Ellington conducted his orchestra from the piano – he always played the keyboard parts when the Sacred Concerts were performed.

Despite his advancing age (he turned 65 in the spring of 1964), Ellington showed no sign of slowing down as he continued to make vital and innovative recordings, including The Far East Suite (1966), New Orleans Suite (1970), Latin American Suite (1972) and The Afro-Eurasian Eclipse (1971), much of it inspired by his world tours. It was during this time that he recorded his only album with Frank Sinatra, entitled Francis A. & Edward K. (1967).

Although he made two more stage appearances before his death, Ellington performed what is considered his final full concert in a ballroom at Northern Illinois University on March 20, 1974.

The last three shows Ellington and his orchestra performed were one on March 21, 1973 at Purdue University's Hall of Music and two on March 22, 1973 at the Sturges-Young Auditorium in Sturgis, Michigan.

Personal life

Ellington married his high school sweetheart, Edna Thompson (d. 1967), on July 2, 1918, when he was 19. The next spring, on March 11, 1919, Edna gave birth to their only son, Mercer Kennedy Ellington.

Ellington was joined in New York City by his wife and son in the late twenties, but the couple soon permanently separated. According to her obituary in Jet magazine, she was "homesick for Washington" and returned. In 1928, Ellington became the companion of Mildred Dixon, who traveled with him, managed Tempo Music, inspired songs at the peak of his career, and reared his son Mercer.

In 1938 he left his family (his son was then 19) and moved in with Beatrice "Evie" Ellis, a Cotton Club employee. Their relationship, though stormy, continued after Ellington met and formed a relationship with Fernanda de Castro Monte in the early 1960s. Ellington supported both women for the rest of his life.

Ellington's sister Ruth (1915–2004) later ran Tempo Music, his music publishing company. Ruth's second husband was the bass-baritone McHenry Boatwright, whom she met when he sang at her brother's funeral. As an adult, son Mercer Ellington (d. 1996) played trumpet and piano, led his own band, and worked as his father's business manager.

Ellington died on May 24, 1974, of complications from lung cancer and pneumonia, a few weeks after his 75th birthday. At his funeral, attended by over 12,000 people at the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion, "It's a very sad day. A genius has passed." He was interred in the Woodlawn Cemetery, the Bronx, New York City.

Legacy

Memorials

Numerous memorials have been dedicated to Duke Ellington, in cities from New York and Washington, D.C. to Los Angeles. Ellington is buried in Woodlawn Cemetery in The Bronx, New York City.

In Ellington's birthplace, Washington, D.C., the Duke Ellington School of the Arts educates talented students, who are considering careers in the arts, by providing intensive arts instruction and strong academic programs that prepare students for post-secondary education and professional careers. Originally built in 1935, the Calvert Street Bridge was renamed the Duke Ellington Bridge in 1974.

In 1989, a bronze plaque was attached to the newly named Duke Ellington Building at 2121 Ward Place, NW. In 2012, the new owner of the building commissioned a mural by Aniekan Udofia that appears above the lettering "Duke Ellington".

In 2010 the triangular park, across the street from Duke Ellington's birth site, at the intersection of New Hampshire and M Streets, NW was named the Duke Ellington Park. Ellington's residence at 2728 Sherman Avenue, NW, during the years 1919–1922, is marked by a bronze plaque.

On February 24, 2009, the United States Mint launched a new coin featuring Duke Ellington, making him the first African American to appear by himself on a circulating U.S. coin. Ellington appears on the reverse (tails) side of the District of Columbia quarter. The coin is part of the U.S. Mint's program honoring the District and the U.S. territories and celebrates Ellington's birthplace in the District of Columbia. Ellington is depicted on the quarter seated at a piano, sheet music in hand, along with the inscription "Justice for All", which is the District's motto.

Ellington lived for years in a townhouse on the corner of Manhattan's Riverside Drive and West 106th Street. After his death, West 106th Street was officially renamed Duke Ellington Boulevard. A large memorial to Ellington, created by sculptor Robert Graham, was dedicated in 1997 in New York's Central Park, near Fifth Avenue and 110th Street, an intersection named Duke Ellington Circle.

A statue of Ellington at a piano is featured at the entrance to UCLA's Schoenberg Hall. According to UCLA Magazine:

When UCLA students were entranced by Duke Ellington's provocative tunes at a Culver City club in 1937, they asked the budding musical great to play a free concert in Royce Hall. 'I've been waiting for someone to ask us!' Ellington exclaimed.

On the day of the concert, Ellington accidentally mixed up the venues and drove to USC instead. He eventually arrived at the UCLA campus and, to apologize for his tardiness, played to the packed crowd for more than four hours. And so, "Sir Duke" and his group played the first-ever jazz performance in a concert venue.

The Essentially Ellington High School Jazz Band Competition and Festival is a nationally renowned annual competition for prestigious high school bands. Started in 1996 at Jazz at Lincoln Center, the festival is named after Ellington because of the large focus that the festival places on his works.

Tributes

After Duke died, his son Mercer took over leadership of the orchestra, continuing until his own death in 1996. Like the Count Basie Orchestra, this "ghost band" continued to release albums for many years. Digital Duke, credited to The Duke Ellington Orchestra, won the 1988 Grammy Award for Best Large Jazz Ensemble Album. Mercer Ellington had been handling all administrative aspects of his father's business for several decades. Mercer's children continue a connection with their grandfather's work.

Gunther Schuller wrote in 1989

Ellington composed incessantly to the very last days of his life. Music was indeed his mistress; it was his total life and his commitment to it was incomparable and unalterable. In jazz he was a giant among giants. And in twentieth century music, he may yet one day be recognized as one of the half-dozen greatest masters of our time.

Martin Williams said: "Duke Ellington lived long enough to hear himself named among our best composers. And since his death in 1974, it has become not at all uncommon to see him named, along with Charles Ives, as the greatest composer we have produced, regardless of category."

In the opinion of Bob Blumenthal of The Boston Globe in 1999: "[i]n the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington."

In 2002, scholar Molefi Kete Asante listed Duke Ellington on his list of 100 Greatest African Americans.

While his compositions are now the staple of the repertoire of music conservatories, they have been revisited by artists and musicians around the world both as a source of inspiration and a bedrock of their own performing careers.

Dave Brubeck dedicated "The Duke" (1954) to Ellington and it became a standard covered by others, both during Ellington's lifetime (such as by Miles Davis on Miles Ahead, 1957) and posthumously (such as George Shearing on I Hear a Rhapsody: Live at the Blue Note, 1992). The album The Real Ambassadors has a vocal version of this piece, "You Swing Baby (The Duke)", with lyrics by Iola Brubeck, Dave Brubeck's wife. It is performed as a duet between Louis Armstrong and Carmen McRae. It is also dedicated to Duke Ellington.

Miles Davis created his half-hour dirge "He Loved Him Madly" (on Get Up with It) as a tribute to Ellington one month after his death.

Stevie Wonder wrote the song "Sir Duke" as a tribute to Ellington in 1976.

Joe Jackson interpreted Ellington's work on The Duke (2012) in new arrangements and with collaborations from Iggy Pop, Sharon Jones and Steve Vai.

There are hundreds of albums dedicated to the music of Duke Ellington and Billy Strayhorn by artists famous and obscure. Sophisticated Ladies, an award-winning 1981 musical revue, incorporated many tunes from Ellington's repertoire. A second Broadway musical interpolating Ellington's music, Play On!, debuted in 1997.

Wikipedia

[officialvirago]

St. Joachim’s Church Église Saint-Joachim • The beginnings of this church go back to 1854 when Father Albert Lacombe O.M.I. built a house-chapel inside Fort Edmonton. In 1859, the Hudson’s Bay Company constructed a chapel next to it. In 1877, that company requested that the building be removed and hence another church was erected on Groat’s Estate (121 Street at 103 Avenue). In 1883, a third one was started, this time just northwest of the present site. Finally, in 1899, under the guidance of Father Hippolyte Leduc O.M.I. the actual church was built. Source: Edmonton Historical Board Plaque on site 9924-110th Street NW, Edmonton, Alberta, Canada. • Paroisse Saint-Joachim Église Catholique • St. Joachim's Roman Catholic Church is a red-brick church situated on a portion of two lots in Edmonton's Oliver neighbourhood. Completed in 1899, the building manifests the strong influence of late nineteenth century French-Canadian church architecture. Prominent features of the red-brick church include a symmetrical front facade, gable roof, projecting central tower flanked by shorter corner towers, round-arched windows, and stone keystones, stringcourses, and sills. Additional Source: https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=8356. #StJoachimsRomanCatholicChurch #FotoQuartet #wanderlust #globalgypsy #godisinthedetails #wandering #details #heritagebuilding #adventure #Edmonton #Alberta #Canada #YEG #architecture #catholic #ÉgliseSaintJoachim #EgliseSaintJoachim (at St. Joachim Catholic Church) https://www.instagram.com/p/CFpVs60naGv/?igshid=1cqks3v90k2so

[marmarinou]

Caption:

Burlington Northern Railroad E9Am 9914 at about Canal Street in Chicago, Illinois on March 23, 1983. Kodachrome by Chuck Zeiler

Built as Chicago Burlington and Quincy E9 9989B January 1956 ( c/n 20542 ) on Order 2071, it had the distinction of being the last E9 ( in fact the last E-unit ) delivered to the CB&Q.

. . . about the rails passing overhead with the C&NW boxcars. This was known as the Saint Charles Air Line, the east-west line of the Illinois Central, and by this date, the ICG. It passed over the south throat of Union Station, as well as the former Dearborn Street Station. It came back down to earth about a half mile to the left in this photo. The Air Line designation was an early turn of the century ( 1899-1900 ) term used to describe a railroad built straight as an arrow, with few curves, as if a line was drawn in the air.

(via BN E9Am 9914)

[aboutmercy]

started watching 1899. finished the first episode and the cinematography is breathtaking