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4045252

https://en.wikipedia.org/wiki/The%20Outrage

The Outrage

The Outrage is a 1964 American Western film directed by Martin Ritt and starring Paul Newman, Laurence Harvey, Claire Bloom, Edward G. Robinson and William Shatner. It is a remake of Akira Kurosawa's 1950 Japanese film Rashomon, based on stories by Ryūnosuke Akutagawa. Like Kurosawa's film, four people give contradictory accounts of a rape and murder. Ritt utilizes flashbacks to provide these contradictory accounts. Plot Three disparate travelers — a disillusioned preacher, an unsuccessful prospector, and a larcenous, cynical con man — meet at a decrepit railroad station in the 1870s Southwest United States. The prospector and the preacher were witnesses at the rape and murder trial of the notorious bandit Juan Carrasco. The bandit duped an aristocratic Southerner, Colonel Wakefield, into believing he knew the location of a lost Aztec treasure. While the greedy "gentleman" was bound to a tree and gagged, Carrasco assaulted his wife Nina. These events lead to the stabbing of the husband. Carrasco was tried, convicted, and condemned for the crimes. Everyone's account on the witness stand differed dramatically. Carrasco claimed that Wakefield was tied up with ropes while Nina was assaulted, after which he killed the colonel in a duel. The newlywed wife contends that she was the one who killed her husband because he accused her of leading on Carrasco and causing the rape. The dead man "testifies" through a third witness, an old Indian shaman, who said that neither of those accounts was true. The shaman insists that the colonel used a jeweled dagger to commit suicide after the incident. There was a fourth witness, the prospector, one with a completely new view of what actually took place. But can his version be trusted? Cast Paul Newman as Juan Carrasco Laurence Harvey as Colonel Wakefield Claire Bloom as Nina Wakefield Edward G. Robinson as Con Man William Shatner as Preacher Howard Da Silva as Prospector Albert Salmi as Sheriff Thomas Chalmers as Judge Paul Fix as Indian Home media The Outrage was released to DVD by Warner Home Video on February 17, 2009 in a Region 1 widescreen DVD. See also List of American films of 1964 The Outrage, 2011 film References External links 1964 films 1964 Western (genre) films Adaptations of works by Akira Kurosawa American Western (genre) films 1960s English-language films Films scored by Alex North Films about rape in the United States Films directed by Martin Ritt Metro-Goldwyn-Mayer films American remakes of Japanese films Films based on adaptations Films based on short fiction Films based on works by Ryūnosuke Akutagawa 1960s American films

4045253

https://en.wikipedia.org/wiki/House%20of%20Horrors

House of Horrors

House of Horrors is a 1946 American horror film released by Universal Pictures, starring Rondo Hatton as a madman named "the Creeper". Plot Struggling sculptor Marcel de Lange (Martin Kosleck) is depressed about events in his life, and decides to commit suicide. Just as he is about to kill himself, he sees a madman known as "the Creeper" (Rondo Hatton) in the process of drowning and saves him. Taking the disfigured man into his care, he makes him the subject of his next sculpture and calls it his best creation. When critics denigrate Marcel's work, he has the Creeper start killing them. Marcel becomes obsessed with Joan, a beautiful female reporter who believes the deaths are related. When Marcel invites her over and she sees Marcel's sculpture of the Creeper, she suspects that Marcel knows the killer. Later, Marcel decides that Joan knows too much and commands the Creeper to kill her. The Creeper is reluctant to do so, however, when he discovers that Marcel plans to turn him over to the police. The Creeper kills Marcel, and is about to kill Joan when he is shot by the police. Cast Production On November 8, 1944, an article in The Hollywood Reporter stated that producer Ben Pivar was relieved of all his lower-budget films on his shooting schedule and was going to focus on a larger budget film featuring new horror characters. This included a series featuring actor Rondo Hatton as "the Creeper". The authors of Universal Horrors suggested this report of a higher budget was either fabricated or the state of the production changed when House of Horrors was developed, it did not have a larger budget than the average Universal B-film production. Initial shooting for House of Horrors began on September 11. Initially Kent Taylor was selected to play the part of Police Lt. Larry Brooks, but on the fourth day of production, before he was shot in any scenes, he was replaced by Bill Goodwin. Taylor stated years later that he did play the role in the film, but disliked how the picture exploited actor Rondo Hatton, and demanded to be taken off the film. The assistant director's daily reports suggest that this story was a lie, stating that Goodwin was the only person to play Brooks on set. Actress Virginia Christine recalled her brief role in the film, stating "I needed the money [laughs] – all actors need money!". Her only other recollection of the film was that to get a cat to follow her, they put anchovies or sardines on the back of her heel. The scene with the cat is not in the final film. Martin Kosleck was asked to audition for the role while on the Universal lot. He received the script to study during the lunch hour for an audition, and was offered the part immediately after. Kosleck was particularly proud of his performance in the film, stating he received fan mail for it and he "loved that part". Filming ended on September 25, 1945. Release House of Horrors was shown in New York on February 22, 1946 and received wider release by Universal Pictures on March 29. A series of Creeper films was planned, and the second one, The Brute Man, was filmed in 1946. Hatton died of complications from acromegaly before either film was released. House of Horrors was released on DVD by the Willette Acquisition Corp. on Sep 27, 2013. It was released on Blu-ray by Shout! Factory on March 17, 2020 as the fourth volume in their Universal Horror Collection. The set also included Night Key, Night Monster and The Climax. Reception From contemporary reviews, many critics commented on Rondo Hatton, with George H. Spires stating that his "Neanderthal features suffice without the aid of make up [...] and his ape-like appearance on the screen brings a gasp to the audience", while Edmond J. Bartnett of The New York Times said Hatton was "properly scary". Otis L. Guernsey, Jr. of The New York Herald-Tribune found the Creeper to be "not in the best of taste". As for the picture overall, a reviewer in Harrison's Reports wrote that "little about the proceedings to horrify one unless the fact that murders are committed by a half-witted giant can be considered horrendous rather than unpleasant". From retrospective reviews, the authors of the book Universal Horrors found that, despite Rondo Hatton's acting and characters in the film being cliches, House of Horrors "rates as the best shocker in this last grap of Universal Horrors. It boasts creepy, atmospheric, film-noirish settings, evocative camerawork and is seldom dull". In Leonard Maltin's film guide, the film was awarded two out of four stars, criticizing the script as "laughable" and moderate acting, calling it "[a] slightly below average horror meller". See also List of Universal Pictures films (1940–1949) List of horror films of the 1940s References Footnotes Sources External links 1946 films 1946 horror films 1940s serial killer films American black-and-white films Films directed by Jean Yarbrough American monster movies Universal Pictures films Films scored by William Lava 1940s American films

4045254

https://en.wikipedia.org/wiki/Vampire%27s%20Kiss

Vampire's Kiss

Vampire's Kiss is a 1989 American black comedy horror film directed by Robert Bierman and written by Joseph Minion. Starring Nicolas Cage, María Conchita Alonso, Jennifer Beals, and Elizabeth Ashley, the film tells the story of a literary agent who falls in love with a vampire. It was a box office failure but went on to become a cult film. Plot Peter Loew is a driven literary agent and a narcissistic and greedy yuppie; he works all day and club hops at night, with little in his life but alcohol, cocaine, one-night stands with numerous women, and the pursuit of money and supposed prestige. However, he is slowly going insane and sees a therapist frequently. During these sessions, his declining mental health becomes clear through a series of increasingly bizarre rants which eventually begin to scare the psychiatrist. After taking home a girl named Jackie from a club, a bat flies in through his window, scaring them both. At his next session he mentions to his therapist that the struggle with the bat aroused him. While visiting an art museum with Jackie the next day, he ditches her, and she later leaves an angry message on his phone. Peter meets Rachel at a night club, and seemingly takes her home. As they make love, she pins him down, exposing vampire fangs, and bites him on the neck. The following morning, Peter is seen with an uninjured neck, serving coffee and making conversation with a non-existent Rachel, casting doubt on the reality of the previous night's events. Peter cuts his neck shaving and applies a bandage to the spot, thereafter believing it to be the location of his vampire bite. He soon believes that he is turning into a vampire. He fails to see his reflection in mirrors and wears dark sunglasses indoors. When his fangs fail to develop, he purchases a pair of cheap plastic novelty fangs. All the while, he has delusions of Rachel visiting him nightly to feed on his blood. Shortly after, Peter experiences severe mood swings and calls Jackie back apologetically, asking to meet her at a bar. As he is about to leave, a jealous Rachel appears and beckons him back inside. A dejected Jackie eventually leaves the bar and leaves an angry note on his door asking him to leave her alone. Peter constantly torments a secretary working at his office named Alva Restrepo, typically by forcing her to search through an enormous paper file for a contract. When Alva fails to find the contract, Peter at first browbeats and humiliates her, then visits her at home and tricks her into returning to work, and finally attacks and attempts to bite her at the workplace after hours. She pulls out a gun, and Peter begs her to shoot him. Since it is only loaded with blanks, she fires at the floor to scare him off. He eventually overpowers her, ripping her shirt open, pinning her to the floor as he attempts to bite her neck, while hallucinating that she is Rachel. Afterwards, overcome by despair, he takes the gun and fires it into his mouth, but is not harmed, attributing it to his supposed transformation. Thinking he is a vampire, Peter goes out to a club wearing his novelty fangs and moves around erratically like the character Orlok from the film Nosferatu with a crazed look in his eyes. He begins to seduce a woman, but when he gets too grabby she slaps him, making Peter even more unhinged. He overpowers her and bites her neck, having taken out the fangs and using his real teeth, leaving the woman unconscious and bloody. He hallucinates another encounter with a disdainful Rachel. Afterwards, Peter encounters the real Rachel dancing with another man on the dance floor. She appears to recognize him, but gives the impression that they have not been in contact for a long time. Peter attempts to manhandle her into revealing her fangs as her date fights him off. He screams that he loves her and accuses her of being a vampire as he is dragged off and expelled from the club by security. Alva wakes up with her shirt ripped open, possibly thinking she was raped, and eventually tells her brother Emilio who is enraged and goes after Peter with Alva to seek revenge. Meanwhile, Peter is wandering the streets, disheveled in a blood-spattered business suit from the previous night, excitedly talking to himself. Standing on a street corner, he has a hallucinatory exchange with his therapist, claiming that he raped someone and murdered someone else; a nearby newspaper headline confirms the latter. As Peter returns to his now-destroyed apartment, Alva points him out to Emilio, who pursues him inside the apartment block with a tire iron. In the midst of an abusive argument with an imaginary romantic interest (supposedly a patient of his psychiatrist), Peter begins to retch again from the blood he had swallowed, then crawls under his upturned sofa on the floor, as though it were a coffin. Emilio finds Peter and upturns the sofa. Peter holds a large broken piece of wood to his chest as a makeshift stake, repeating the gesture he had made earlier to strangers on the street when he had asked them to kill him. Emilio pushes down on the wood and it pierces Peter's chest in a gruesome manner. Emilio flees the apartment. As Peter dies, he envisions the vampire Rachel staring at him one last time. Cast Nicolas Cage as Peter Loew, a literary agent whose outlandish descent into madness leaves him increasingly isolated María Conchita Alonso as Alva Restrepo, secretary to Peter and constant victim to his rants and impatience Jennifer Beals as Rachel, the seductive vampire that initially haunts Peter and pushes him into his vampire-like state, eventually falling in love with him Kasi Lemmons as Jackie, a romantic interest of Peter which he later stands up in favor of a night with Rachel Bob Lujan as Emilio, the protective brother of Alva who supplies her with a gun and blank ammunition Elizabeth Ashley as Dr. Glaser, the therapist in Peter's real and imaginary worlds In addition, Jessica Lundy plays Sharon, the patient his therapist sets Peter up with, Cage's brother Marc Coppola briefly appears as the joke guy, and the musical group ESG has a cameo performing in a club. Production Written "as darkly comic and deft as its bizarre premise", Joseph Minion wrote the film as he grappled with depression. In an interview with Zach Schonfeld of The Ringer, Minion said that while on vacation in Barbados with his then-girlfriend, Barbara Zitwer, he wrote the screenplay as a response to his "toxic relationship" with her. Dealing with themes of isolation, loneliness, and domination, Zitwer, who would come on as a producer for the film, found the final product to be "horrifying". The story was extremely emblematic of their relationship together, and Minion's depiction of Zitwer as a "vampire and destroying him" was clear foreshadowing to their end of their relationship during production. Known previously for having written After Hours, directed by Martin Scorsese, Minion sought to keep the "grim view of the Manhattan nightlife" found in the aforementioned film central to his newest work. Originally intent on taking the helm of directing the project, Minion soon gave the position up stating that the "darkness of it", was too much for him to bear. Instead, the film was led by British newcomer Robert Bierman, who held previous experience working on commercials and short films such as The Rocking Horse Winner (1983) and The Dumb Waiter (1979). This sudden departure however also prompted the then-cast Nicolas Cage to drop out after his agent pressured him stating "this was not a good movie to make after Moonstruck". His departure was short-lived however, and Cage's "outrageously unbridled performance" was destined for the screen. Cage described the story as being about "a man whose loneliness and inability to find love literally drives him insane". The role of Peter Loew was originally given to Dennis Quaid, then passed on to Cage after the former dropped out to do Innerspace. Cage and Beals reportedly did not get along on set, with their friction most likely stemming from the part of Rachel going to Beals rather than Cage's then-girlfriend, Patricia Arquette. Going purposefully against the method acting technique, Cage "took a highly surrealistic approach" to Loew. Apart from his "pseudo-Transylvanian dialect", scenes of Cage screaming the alphabet, eating cockroaches, and ranting "I'm a vampire!" shocked viewers and critics alike. The original script called for Loew to eat a raw egg but Cage decided a cockroach would be more effective claiming it would "shock the audience". This shock was further extended to a couple of real homeless people whom Cage ran into on the streets of Manhattan as he pleaded with them to drive a stake through his heart as Bierman and crew shot from afar. Physicality played a central role in the creation of this character for Cage who in several terrifying scenes sought to see "how big [he] could get [his] eyes". This was then furthered with scenes of Cage jumping on tables, sprinting across the office, and many frantic hand gestures which he claims were "extremely choreographed". While many such as Hal Hinson of The Washington Post criticized this style of "scorched-earth acting", it cemented the film as a cult classic and become the source of many Internet memes. Release Vampire's Kiss was released June 2, 1989. It grossed $725,131 in the U.S. It was released on home video in August 1990. MGM released it on DVD in August 2002, and Scream Factory released it on Blu-ray in February 2015. It was subsequently re-released on Blu-Ray through the MVD Rewind label in June, 2022. Reception Vampire's Kiss was considered a commercial flop upon its initial release but has developed a cult following since that time. Metacritic assigned the film a weighted average score of 30 out of 100, based on 11 critics, indicating "generally unfavorable reviews". Variety wrote, "Cage's over-the-top performance generates little sympathy for the character, so it's tough to be interested in him as his personality disorder worsens." Caryn James of The New York Times wrote, "[T]he film is dominated and destroyed by Mr. Cage's chaotic, self-indulgent performance." Kevin Thomas of the Los Angeles Times called it "a sleek, outrageous dark comedy that's all the funnier for constantly teetering on the brink of sheer tastelessness and silliness." Hal Hinson of The Washington Post called the film "stone-dead bad, incoherently bad", but said that Cage's overacting must be seen to be believed. Carrie Rickey of The Philadelphia Inquirer called it an "imaginative, if warped, black comedy" that "succeeds as a wicked allegory of What Men Want". Rolling Stone critic Peter Travers wrote that the film needs "a stake through the heart". Reviewing the film on Blu-ray, Anthony Arrigo of Bloody Disgusting wrote, "The film may not work very well as a comedy, but there's enough of a dark derangement present to make it almost unsettling." See also Vampire film References External links 1989 films 1989 independent films 1989 black comedy films 1989 comedy horror films American black comedy films American comedy horror films Vampire comedy films Films set in New York City Films shot in New York City Films set in the 1980s Films scored by Colin Towns 1989 directorial debut films 1989 comedy films American psychological horror films American exploitation films 1980s English-language films Films directed by Robert Bierman 1980s American films

4045261

https://en.wikipedia.org/wiki/What%27s%20Wrong%20with%20This%20Picture%3F%20%28Lee%20Harding%20album%29

What's Wrong with This Picture? (Lee Harding album)

What's Wrong with This Picture? is the debut studio album by the Australian Idol third season third-place finisher, Lee Harding.The album was released in February 2006 and peaked at number 3 on the ARIA Charts. Track listing "Wasabi" – 3:00 "Let's Not Go to Work" – 2:59 "Anything for You" – 3:02 "Just Another Love Song" – 4:01 "L Is for Loser" – 3:30 "Call the Nurse" – 3:43 "You Could Have Anyone" – 2:35 "Change the World" – 3:41 "Try Tonight" – 2:55 "Eye of the Tiger" – 2:45 Enhanced CD "Wasabi" (Video) Inside Wasabi (Behind the Scenes of the Video) Inside Anything for You (Behind the Scenes of the Video) Charts Weekly charts Year-end charts Certifications Release history References 2006 debut albums Lee Harding albums Sony Music Australia albums

4045269

https://en.wikipedia.org/wiki/The%20Place%20of%20the%20Lion

The Place of the Lion

The Place of the Lion is a work of supernatural fiction written by Charles Williams. The book was first published in 1931 by Victor Gollancz. Summary Platonic archetypes begin to manifest themselves outside a small Hertfordshire town, wreaking havoc and drawing to the surface the spiritual strengths and flaws of individual characters. Their focus is the home of Mr Berringer, the leader of a group interested in magical symbolism who falls into a coma after contact with the first archetype unloosed, the lion of the title. Other powers follow this one and cut off the town from the rest of the world that they will inevitably absorb and reshape. Among those overcome and destroyed by the raw powers they encounter are two members of the group, Mr Foster and Miss Wilmot, whose motivation is ultimately selfish. A chance visitor to the group, the academic author Damaris Tighe, narrowly escapes the same fate but is saved at the last moment by her cousin and fiancé, Anthony Durrant. She then sets out to locate Anthony’s friend, Quentin Sabot, who had been with Anthony when the lion first appeared and has now fled into the countryside, overcome with terror. Meanwhile, with the help of another group member, Mr Richardson, who also has the inner strength to withstand the angelical archetypes, Anthony is enabled to understand the process that has been unleashed by Berringer. Together they plan to counter it and reverse the threat. Its next phase has already started and some of the town’s buildings begin to collapse as Berringer’s house is swallowed in a column of unquenchable flame. Armed with the secret names of the archetypes from a grimoire, Anthony summons them back to their point of focus while Richardson neutralizes the fire by walking into it. Critical reception T. S. Eliot described Williams' novels in this genre as "supernatural thrillers". J.R.R. Tolkien and C.S. Lewis had found the book inspirational and it is often cited as a major work that altered their own writings and helped them both become novelists. Anthony Boucher and J. Francis McComas, in their survey of fantasy fiction, called The Place of the Lion "one of the most daringly conceived and stunningly visualized of all Williams’ novels". Similarly, for Glen Cavaliero in his study of Williams' work, "plot, themes and literary treatment coalesce in an artistic unity that makes The Place of the Lion the most technically flawless of the novels, and thus a more satifyingly integrated fable than its predecessors". Over the years the novel has been the subject of a number of other academic studies. References External links Project Gutenberg of Australia (text version) Supernatural fiction Victor Gollancz Ltd books

4045276

https://en.wikipedia.org/wiki/Golden-fronted%20bowerbird

Golden-fronted bowerbird

The golden-fronted bowerbird (Amblyornis flavifrons) is a medium-sized, approximately 24 cm long, brown bowerbird. The male is rufous brown with an elongated golden crest extending from its golden forehead, dark grey feet and buffish yellow underparts. The female is an unadorned olive brown bird. An Indonesian endemic, the male builds a tower-like "maypole-type" bower decorated with colored fruit. Originally described in 1895 based on trade skins, this elusive bird remained a mystery for nearly a hundred years, until 31 January 1981 when the American ornithologist Jared Diamond discovered the home ground of the golden-fronted bowerbird at the Foja Mountains in the Papua province of Indonesia. In December 2005, an international team of eleven scientists from the United States, Australia and Indonesia led by Bruce Beehler traveled to the unexplored areas of Foja Mountains and took the first photographs of the bird. References External links BirdLife Species Factsheet Amblyornis Birds of Western New Guinea golden-fronted bowerbird Endemic birds of Indonesia

4045277

https://en.wikipedia.org/wiki/Felgemaker%20Organ%20Company

Felgemaker Organ Company

The Felgemaker Organ Company was a manufacturer of pipe organs based out of Erie, Pennsylvania, in the late 19th and early 20th centuries. History It was founded in Buffalo, New York in 1865 but relocated to Erie, Pennsylvania. In 1872, the company was known as the Derrick and Felgemaker Pipe Organ Company. During the 1870s, the company employed over 55 workers and had $75,000 worth of capital. The firm produced between 15 and 20 organs per week. Specialties of the company included church organs and portable pipe organs for small churches, schools and residential parlors. By 1878 the company was renamed as the A.B. Felgemaker Company, relocating the factory to larger facilities in 1888 and 1890. At the invitation of Mr. Felgemaker, German organ maker Anton Gottfried moved to Erie in 1894, where he leased space from the Felgemaker plant. Amid booming business, in 1911 the Erie factory underwent major renovations, adding open two-story factory floor space, renovating the offices, electrifying, and adding an electric travelling crane. The A.B. Felgemaker Company remained in business until 1917. Several workers from the Felgemaker Company, including Gottfried, joined to form the Organ Supply Industries in Erie, which is today North America's largest pipe organ manufacturer and supply house. The company produced organs until 1918, when it ceased operations. The company's service agreements and pending contracts were then assumed by the Tellers-Kent Organ Company. Surviving organs Organs produced by the company are still in use at Lawrence University, Appleton Wisconsin, St. John's Lutheran Church, Erie, Pennsylvania, Crawford Memorial United Methodist Church, Bronx, New York, Trinity Episcopal Church, Iowa City, Iowa, St. John's Episcopal Church, Canandaigua, New York, First Congregational Church, St. Johns, Michigan, First Christian Church (Disciples of Christ), Elizabeth City, North Carolina, Sacred Heart Music Center, Duluth, Minnesota, Spencerport United Methodist Church, Spencerport, New York, and Prince of Peace Evangelical Lutheran Church, Bangor, Pennsylvania, Zion Evangelical Lutheran Church, Minersville, Pennsylvania has a A.B. Felgemaker that was installed in 1906, Zion Lutheran Church, Everett, Pennsylvania has a A.B. Felgemaker Organ that was installed in 1903. An additional organ exists at Emmanuel Lutheran in Pottstown, Pennsylvania, however, the organ has been rebuilt four times since Felgemaker's presence and its remaining extent is indeterminant. Capitol Hill Seventh-day Adventist Church in Washington, DC maintains one of the original Felgemaker pipe organs, produced before 1917. Two still exist in Buffalo at the former St. Agnes RC Church (relocated from Sacred Heart RC in Buffalo) and Emmanual Temple SDA, originally St. Stephen's Evangelical. Trinity Evangelical Lutheran Church in Taneytown, Maryland, has a Felgemaker pipe organ built in 1897. It was completely restored in 1987 by the Columbia Organ Works and is still in weekly Sunday service. Emmanuel Catholic Church in Dayton, Ohio originally dedicated its three-division Felgemaker pipe organ in 1887. Since then, the organ has undergone multiple major renovations and additions, most recently in 2015. Formal re-dedication of the Emmanuel Felgemaker organ is scheduled for November 11, 2016. Freemasons' Hall in Indianapolis has 6 matching Felgamaker Pipe Organs installed in 1908. They are all in unrestored, playable condition. The pipe organ at Holy Cross Catholic Church in Santa Cruz, CA is based on an A. B. Felgemaker Co. organ (Opus 506, 1889) with additional pipes and Zimbelstern added by Stuart Goodwin & Co. (Opus 10, 1988) after moving it from its previous home in Ohio. The organ is in active use at the 5:00 Saturday and 7:00 and 8:30 Sunday Masses. An A.B. Felgemaker still exists in working order at the former M.E. Richmond Ave. Church at West Ferry Street & Olmsted Circle and will be cleaned and remain in working order. A.B. Felgemaker Organ Co. built an organ in 1882 for a Lutheran church in Manitowoc, Wisconsin. After 1905 the organ was moved to St. Cecilia's Catholic Church, Hubbell, Michigan. In 2011 the organ was rebuilt and moved to St. Albert the Great Catholic University Parish, Houghton, Michigan, where it is in regular use for mass, organ instruction, and recitals. St. Mary Parish in Taylor, Texas founded in 1886, has a rare one of only two-of-its-kind in the state of Texas. In 1902, William Kielihar donated an A. B. Felgemaker Pipe Organ Opus 770 to St. Mary; its value then was $3,600. It's ivory keys, pulls, and stops played full melodic sounds every Sunday, wedding, and funeral until the church was torn down in November 1954. Otto Hoffman, an organ builder from Austin, Texas, disassembled the organ for storage until the new church was built. When the new St. Mary of the Assumption Catholic church was completed in 1955, Hoffman cleaned and re-built the organ in the present church, where it is still used today. Oddly, when the organ was reassembled in the present church, it was placed in a room to the right of the altar instead of upstairs in the balcony. If it had been placed in the balcony, the acoustics of the current church would make the organ's music even more heavenly. In 2020, St. Mary of the Assumption reviewed renovation options to relocate the historic organ to the balcony. References Companies based in Erie, Pennsylvania Defunct manufacturing companies based in Pennsylvania Pipe organ building companies Manufacturing companies disestablished in 1918 1918 disestablishments in Pennsylvania Manufacturing companies established in 1865 1865 establishments in New York (state) Musical instrument manufacturing companies of the United States American companies disestablished in 1918 American companies established in 1865

4045288

https://en.wikipedia.org/wiki/Akeake

Akeake

Akeake is the name of at least three New Zealand species of tree: Dodonaea viscosa, akeake Olearia avicenniifolia, mountain akeake or tree daisy Olearia traversiorum, Chatham Island akeake or Chatham Island tree daisy The species are small trees. The name goes back to pre-European times when it was used in different areas of New Zealand. In post-European times it is used most frequently, but not exclusively, for Dodonaea viscosa. Trees of New Zealand

4045298

https://en.wikipedia.org/wiki/Lieuwe%20Dirk%20Boonstra

Lieuwe Dirk Boonstra

Lieuwe Dirk Boonstra (1905 – 1975) was a South African palaeontologist whose work focused on the therapsida|mammal-like reptiles]] of the Middle (Tapinocephalus Assemblage Zone) and Late Permian, whose fossil remains are common in the South African Karoo. He was the author of a large number of papers on Therapsids and Pareiasaurs, and described and revised a number of species. Work In 1927 Boonstra was appointed Assistant Palaeontologist of the South African Museum and promoted to Palaeontologist in 1931. He remained at the museum until his retirement in 1972. He was the sole curator of the museum's Karoo vertebrate fossil collection for 45 years. Awards He was awarded the Queen Victoria Scholarship by the University of Stellenbosch and received the Havenga prize for Biology from Suid-Afrikaanse Akademie vir Wetenskap en Kuns in 1959. Publications Volume 64 of the Annals of the South African Museum (1974) was dedicated to Boonstra. The 88 publications and books he wrote between 1928 and 1969 are listed in it. References External links South African Museum - Dr. Boonstra's Publications Brief biography of Lieuwe Dirk Boonstra South African paleontologists 1905 births 1975 deaths

4045319

https://en.wikipedia.org/wiki/Orli%20Shaham

Orli Shaham

Orli Shaham (born 5 November 1975) is an American pianist, born in Jerusalem, Israel, the daughter of two scientists, Meira Shaham (nee Diskin) and Jacob Shaham. Her brothers are the violinist Gil Shaham and Shai Shaham, who is the head of the Laboratory of Developmental Genetics at Rockefeller University. She is a graduate of the Horace Mann School in Riverdale, New York, and of Columbia University. She also studied at the Juilliard School, beginning in its Pre-college Division and continuing while a student at Columbia. Orli Shaham performs recitals and appears with major orchestras throughout the world. She was awarded the Gilmore Young Artist Award in 1995 and the Avery Fisher Career Grant in 1997. Her appearances with orchestras include the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra, Detroit and Atlanta Symphonies, Orchestre National de Lyon, National Symphony Orchestra of Taiwan, Cleveland Orchestra, Houston Symphony, St. Louis Symphony, Florida Orchestra, Rochester Philharmonic, Orchestra of La Scala (Milan), Orchestra della Toscana (Florence), and the Malaysian Philharmonic Orchestra. In November 2008, she began her tenure as artistic advisor to the Pacific Symphony and curator of their "Cafe Ludwig" chamber music series. In 2020, Orli Shaham was named as Regular Guest Host and Creative for NPR’s “From the Top”, the nationally broadcast radio program featuring performances and conversations with teenage musicians. She also served as the host of America’s Music Festivals in 2012 and 2013, and from 2005-2008 she was host of The Classical Public Radio Network’s "Dial-a-Musician", in which she called expert colleagues to answer listener questions. For this program she interviewed more than forty artists, including John Adams, Emanuel Ax, Natalie Dessay, Christine Brewer, Colin Currie, and others. In 2003, Shaham married David Robertson, then Music Director of the St. Louis Symphony Orchestra, and became stepmother to his sons, Peter and Jonathan. Shaham and Robertson are the parents of twin sons Nathan Glenn and Alex Jacob, born in 2007 in New York City. Discography Mozart Piano Concertos (with SLSO and David Robertson) (2019) Letters from Gettysburg (2019) Alberto Ginastera: One Hundred (with Gil Shaham, violin) (2016) Brahms Inspired (2015) American Grace: Piano Music from Steve Mackey and John Adams (with pianist Jon Kimura Parker, Los Angeles Philharmonic, and conductor David Robertson) (2015) Nigunim: Hebrew Melodies (with violinist Gil Shaham) (2013) Chamber Music for Horn (with Richard King, horn) (2012) Behold the Bold Umbrellaphant (with pianist Jon Kimura Parker and San Diego Symphony) (2011) Mozart in Paris (with violinist Gil Shaham) (2008) Mozart: Violin Sonatas (with violinist Gil Shaham) (DVD; 2006) Prokofiev: works for violin and piano (with violinist Gil Shaham) (2004) Dvorak for Two (with violinist Gil Shaham) (1997) References External links Orli Shaham's website Profile page on her agent's website Orli Shaham, Co-Host/Creative on From The Top American classical pianists American women classical pianists Jewish classical pianists Jewish American classical musicians Columbia University alumni Horace Mann School alumni Artists from Jerusalem 1975 births Living people 21st-century American women musicians 21st-century American Jews

4045361

https://en.wikipedia.org/wiki/G.%20R.%20S.%20Mead

G. R. S. Mead

George Robert Stow Mead (22 March 1863 in London – 28 September 1933 in London) was an English historian, writer, editor, translator, and an influential member of the Theosophical Society, as well as the founder of the Quest Society. His works dealt with various religious and philosophical texts and traditions, including Neoplatonism, Hermeticism and Gnosticism. Birth and family Mead was born in Peckham, Surrey, England, to British Army Colonel Robert Mead and his wife Mary (née Stow), who had received a traditional education at Rochester Cathedral School. Education at Cambridge University Mead began studying mathematics at St John's College, Cambridge. Eventually shifting his education towards the study of Classics, he gained much knowledge of Greek and Latin. In 1884 he completed a BA degree; in the same year he became a public school master. He received an MA degree in 1926. Activity with the Theosophical Society While still at Cambridge University Mead read Esoteric Buddhism (1883) by Alfred Percy Sinnett, which presumably prompted his initial interest in Theosophy and led him to join Helena Petrovna Blavatsky's Theosophical Society in 1884. After becoming Blavatsky's private secretary in 1889, Mead was elected as the general secretary (jointly with Bertram Keightley) of the Esoteric Section of the Theosophical Society as well as one of twelve members of its Inner Group. Mead met Laura Mary Cooper (later to become his wife) in the latter group, and attended all but one of the total of twenty meetings held for its members. Together with Annie Besant, Mead was the last editor of the Theosophical magazine Lucifer (renamed The Theosophical Review in 1897) and served as the magazine's sole editor between 1907 and 1909, when it became defunct due to Mead leaving the Theosophical Society. As of February 1909, Mead and some 700 members of the British Section of the Theosophical Society's British Section resigned in protest of Annie Besant's reinstatement of Charles Webster Leadbeater to membership in the society. Leadbeater had been a prominent member of the Theosophical Society until he was accused in 1906 of teaching masturbation to, and sexually touching, the sons of some American Theosophists under the guise of occult training. While this prompted Mead's resignation, his frustration at the dogmatism of the Theosophical Society may also have been a major contributor to his break after 25 years. The Quest Society In March 1909 Mead founded the Quest Society, composed of 150 defectors of the Theosophical Society and 100 other new members. This new society was planned as an undogmatic approach to the comparative study and investigation of religion, philosophy, and science. The Quest Society presented lectures at the old Kensington Town Hall in central London but its most focused effort was in its publishing of The Quest: A Quarterly Review which ran from 1909 to 1931 with many historically important contributors. Influence Notable persons influenced by Mead include Ezra Pound, W.B. Yeats, Hermann Hesse, Kenneth Rexroth, and Robert Duncan. The influence of G.R.S. Mead on Carl Gustav Jung has been suggested by Gnosticism scholar and a friend of Jung's, Gilles Quispel, and the issue has been further discussed by a number of scholars. Being the first individual to provide an English translation of the Gnostic text Pistis Sophia, Mead played an important role in the popularization of the notion of "Gnosis" as an important facet of ancient Gnosticism, as well as general concept in religions across time and space. Works Address read at H.P. Blavatsky's cremation (1891) Simon Magus (London: Theosophical Publ. Soc'y, 1892) The Word-Mystery: Four Essays (London: Theosophical Publ. Soc'y, 1895), revised as The Word-Mystery: Four Comparative Studies in General Theosophy (London: Theosophical Publ. Soc'y, 1907) Select Works of Plotinus (Lonson: George Bell, 1896) Orpheus (London: Theosophical Publ. Soc'y, 1896) Pistis Sophia: The Book of the Saviour (London: J.M. Watkins, 1896; revised 2nd ed. 1921) Fragments of a Faith Forgotten (London: Theosophical Publ. Soc'y 1900) Apollonius of Tyana (London: Theosophical Publ. Soc'y, 1901) Did Jesus Live 100 BC? (London: Theosophical Publ. Soc'y, 1903) "Concerning H.P.B.: Stray Thoughts on Theosophy", The Theosophical Review (April 15, 1904), pp. 131–44 The Corpus Hermeticum (1905) Thrice Greatest Hermes: Studies in Hellenistic Theosophy and Gnosis (London: Theosophical Publ. Soc'y, 1906) Volume 1 Volume 2 Volume 3 Echoes from the Gnosis (11-part series published at London by The Theosophical Publ. Soc'y): Volume I: The Gnosis of the Mind (1906) Volume II: The Hymns of Hermes (1906) Volume III: GRS Mead: The Vision Of Aridæus (1907) Volume IV: The Hymn of Jesus (1907) Volume V: The Mysteries Of Mithra (1907) Volume VI: A Mithraic Ritual (1907) Volume VII: The Gnostic Crucifixion (1907) Volume VIII: The Chaldæan Oracles Vol. 1 (1907) Volume IX: The Chaldæan Oracles Vol. 2 (1907) Volume X: The Hymn of the Robe of Glory (1907) Volume XI: The Wedding Song of Wisdom (1907) Some Mystical Adventures (London: John M. Watkins, 1910) Quests Old and New (London: Watkins, 1913) Doctrine of the Subtle Body in Western Tradition (London: J.M. Watkins, 1919) Gnostic John the Baptizer: Selections from the Mandæan John-Book (London: Watkins, 1924) COLLECTION G.R.S. Mead: Essays and Commentaries ed. S.N. Parsons (Adeptis Press, 2016) See also Poemandres Gospel of Marcion Pistis Sophia Thomas Taylor Hermetica Acts of John Mandaeanism Marcionism Mohini Mohun Chatterji Hymn of the Pearl Footnotes External links Extensive on-line collection of the writings of GRS Mead (at the Gnosis Archive) Brief bio with poor picture Same picture, but much larger and clearer Later Picture with no text Long biography 1863 births 1933 deaths Alumni of St John's College, Cambridge Christ myth theory English historians English Theosophists Esoteric Christianity Historians of Gnosticism People educated at King's School, Rochester Scholars of Mandaeism

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https://en.wikipedia.org/wiki/Dodonaea%20viscosa

Dodonaea viscosa

Dodonaea viscosa, also known as the broadleaf hopbush, is a species of flowering plant in the Dodonaea (hopbush) genus that has a cosmopolitan distribution in tropical, subtropical and warm temperate regions of Africa, the Americas, southern Asia and Australasia. Dodonaea is part of Sapindaceae, the soapberry family. This species is notable for its extremely wide distribution, which it achieved only over the last 2 million years (from its region of origin in Australia) via oceanic dispersal. Harrington and Gadek (2009) referred to D. viscosa as having "a distribution equal to some world’s greatest transoceanic dispersers". Common names The common name hopbush is used for D. viscosa specifically and also for the genus as a whole. In the south Indian state of Tamil Nadu, this plant is called virāli (விராலி). Australian common names include: broad leaf hopbush, candlewood, giant hopbush, narrow leaf hopbush, sticky hopbush, native hop bush, soapwood, switchsorrel, wedge leaf hopbush, and native hop. The Wiradjuri people of New South Wales use the name Bururr. Additional common names include: aalii and ‘a‘ali‘i-ku ma kua and ‘a‘ali‘i ku makani in the Hawaiian language; akeake (New Zealand); lampuaye (Guam); mesechelangel (Palau); chirca (Uruguay, Argentina); Xayramad (Somalia); romerillo (Sonora, Mexico); jarilla (southern Mexico); hayuelo (Colombia); ch'akatea (Bolivia); casol caacol (Seri); ghoraskai (Afghanistan). Taxonomy Phylogenetic evidence supports D. viscosa being the sister species to D. camfieldii, a species endemic to a small portion of coastal New South Wales in Australia. Subspecies and synonyms There are several subspecies as follows: Dodonaea viscosa subsp. angustifolia Dodonaea viscosa subsp. angustissima Dodonaea viscosa subsp. arizonica Dodonaea viscosa subsp. cuneata Dodonaea viscosa subsp. elaeagnoides Dodonaea viscosa subsp. mucronata Dodonaea viscosa subsp. spatulata Dodonaea viscosa subsp. viscosa Botanical synonyms D. eriocarpa Sm. D. sandwicensis Sherff D. stenocarpa Hillebr. Systematics It has been identified that D. viscosa split into two intraspecific groups, known as groups I and II, in the Pleistocene, about 1.1–2.1 Ma (million years ago) (95% Highest Posterior Density, HPD). These two intraspecific groups are distributed differently within Australia. Group I plants are strandline shrubs growing from north-eastern Queensland to the New South Wales border. This clade has a number of genetically divergent lineages (I:a,b,c,d,e,f,g,). It is identified that subclade Ib shared a last common ancestor with subclade Ia in the mid-Pleistocene, 0.5–1.2 Ma. Group I a: D. viscosa Pagan, D. viscosa ssp viscosa Yorkeys Knob Beach, D. viscosa ssp viscosa Trinity Beach, D. viscosa ssp viscosa Clifton Beach, D. viscosa ssp viscosa Wonga Beach, D. viscosa Tanzania2, D. viscosa ssp viscosa Airlie Beach, D. viscosa Virgin Islands. Group I b: D. viscosa Maui Ulupalakua, D. viscosa, Hawaii Pohakuloa, D. viscosa Maui PoliPoli, D. viscosa Hawaii Kona, D. viscosa Hawaii Kauai. Group I c: D. viscosa Arizona 1, D. viscosa Arizona 2, D. viscosa Mexico, D. viscosa Brazil, D. viscosa Columbia, D. viscosa Bolivia Group I d: D. viscosa Taiwan 1, D. viscosa Taiwan 2, D. viscosa Japan, D. viscosa China, D. viscosa Tanzania1. Group I e: D. viscosa Oman, D. viscosa South Africa1, D. viscosa India Group I f: D. viscosa South Africa 3, D. viscosa South Africa 4, D. South Africa 2, D. viscosa New Caledonia 1, D. viscosa New Caledonia 2, D. viscosa Papua New Guinea Group I g: D. viscosa ssp burmanniana 1, D. viscosa ssp burmanniana 2 The Group II of D. viscosa is present almost everywhere on the continent. Group II has at least three evolutionary lineages (II a, b and c), which distributions generally overlap. According to West these subspecies have morphological intergradation, particularly in the higher-rainfall regions of Australia, but not in the arid zone, where they generally overlap. There is also a hypothesis of ongoing gene flow between D. procumbens and D. viscosa's Group II resulting from hybridization events of two populations in central regions of South Australia. The Group II members are believed to have dispersed in the mid-Pleistocene (0.5–1.2 Ma) from mainland Australia to New Zealand. Group II a: D. viscosa New Zealand South Island 2, D. viscosa New Zealand South Island 3, D. viscosa New Zealand South Island 1, D. viscosa New Zealand North Island 4, D. viscosa ssp angustissima 1, D.viscosa ssp angustissima 3, D. viscosa ssp angustissima 2. Group II b: D. viscosa ssp spatulata, D. viscosa ssp cuneata, D. viscosa ssp angustifolia, D. procumbens, D. procumbens 2. Group II c: D. biloba, D. viscosa ssp mucronata. Description D. viscosa is a shrub growing to tall, rarely a small tree to tall. The leaves are variable in shape: generally obovate but some of them are lanceolate, often sessile, long and broad, alternate in arrangement, and secrete a resinous substance. Many specimens have a pointed or rounded apex. Leaf base is extended. Leaf texture is leathery, tough, but also pliable. Midribs are medium becoming less visible close to the apex. Secondary veins are thin, generally indistinct; Veins: often 6 to 10 pairs, indifferently opposite, subopposite, and alternate, camptodrome. Venation branches from the midrib at different angles, which may vary from 12° to 70°. The basal veins are very ascending in some plants: the angle of divergence may be close to 45°. The basal secondary venation branches from a point near the base of the main vein and becomes parallel with the leaf margin, with the distance of 1 millimeter to 2 millimeters from the edges. Margins are usually toothed or undulating. The remaining secondary veins lay at regular intervals with flowers usually growing at the branches’ ends. The flowers are yellow to orange-red and produced in panicles about in length. The flowers may be only male or female ones, and one plant bears either male or female flowers. However, sometimes they are observed to bear flowers of both sexes. The pollen is transported by anemophily. It is believed that the flowers lack petals during evolution to increase exposure to the wind. The fruit is a capsule broad, red ripening brown, with two to four wings. Uses The wood is extremely tough and durable. In New Zealand, where it is the heaviest of any native wood, the Māori have traditionally used it for making weapons, carved walking staves, axe-handles, and weights on drill shafts. D. viscosa is used by the people from the western part of the island of New Guinea, Southeast Asia, West Africa and Brazil for house building and as firewood. Its leaves may also be used as plasters for wounds. Native Hawaiians made pou (house posts), laau melomelo (fishing lures), and ōō (digging sticks) from aalii wood and a red dye from the fruit. The cultivar 'Purpurea', with purple foliage, is widely grown as a garden shrub. Dodonaea viscosa easily occupies open areas and secondary forest, and is resistant to salinity, drought and pollution. It can be used for dune stabilization, remediation of polluted lands and for reforestation. The plant is tolerant to strong winds, and therefore is commonly used as hedge, windbreak, and decorative shrub. The Seri use the plant medicinally. It was also used to stimulate lactation in mothers, as a dysentery treatment, to cure digestive system disorders, skin problems and rheumatism in Africa and Asia. In New Guinea, people use it as incense for funerals. In the past D. viscosa was used instead of hops for beer brewing by Australians (as reflected in the name “hopbush”). Cultivation Dodonaea viscosa can be grown from seeds. However, pre-treatment of the seed in very hot water may be needed. The plant can also be cultivated by taking cuttings. Sometimes this method is also used to obtain female plants with their winged fruits for the aesthetic value. Hopbush can survive long dry periods and is easily cultivated without heavy feeding. References External links Dodonaea viscosa. Bermuda Dept. of Conservation Services. viscosa Trees of Australia Flora of Tasmania Trees of New Zealand Trees of the Southwestern United States Flora of California Trees of the Southeastern United States Trees of Hawaii Trees of Mexico Flora of Northwestern Mexico Trees of South Africa Flora of the Tubuai Islands Trees of Bermuda Rosids of Western Australia Flora of the Northern Territory Flora of Queensland Flora of New South Wales Flora of South Australia Sapindales of Australia Plants described in 1760 Taxa named by Nikolaus Joseph von Jacquin Garden plants of Australasia Garden plants of North America Ornamental trees Shrubs Drought-tolerant plants

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https://en.wikipedia.org/wiki/Church%20of%20the%20Transfiguration%2C%20Episcopal%20%28Manhattan%29

Church of the Transfiguration, Episcopal (Manhattan)

The Church of the Transfiguration, also known as the Little Church Around the Corner, is an Episcopal parish church located at 1 East 29th Street, between Madison and Fifth Avenues in the NoMad neighborhood of Manhattan, New York City. The congregation was founded in 1848 by George Hendric Houghton and worshiped in a home at 48 East 29th Street until the church was built and consecrated in 1849. The church was designed in the early English Neo-Gothic style; the architect has not been identified. The sanctuary is set back from the street behind a garden which creates a facsimile of the English countryside and which has long been an oasis for New Yorkers, who relax in the garden, pray in the chapel, or enjoy free weekday concerts in the main church. The complex has grown somewhat haphazardly over the years, and for this reason it is sometimes called the "Holy Cucumber Vine". The sanctuary had a guildhall, transepts, and a tower added to it in 1852, and the lych-gate, designed by Frederick Clarke Withers, was built in 1896. Chapels were added in 1906 (lady chapel) and 1908 (mortuary chapel). The Edwin Booth memorial stained glass window (1898) is by John LaFarge. Other stained glass windows are by Karl Stecher. In 1967, the church was designated a New York City landmark, and it was listed on the National Register of Historic Places in 1973. Early years The church has been a leader of the Anglo-Catholic movement within the Episcopal Church from its founding. While this movement is often associated with elaborate worship, it also has stressed service to the poor and oppressed from its earliest days. In 1863, during the Civil War Draft Riots, Houghton gave sanctuary to African Americans who were under attack, filling up the church's sanctuary, schoolroom, library and vestry. When rioters showed up at the church, Houghton turned them away and dispersed them by saying, "You white devils, you! Do you know nothing of the spirit of Christ?" Ties to the theater Actors were among the social outcasts whom Houghton befriended. In 1870, William T. Sabine, the rector of the nearby Church of the Atonement, which is no longer extant, refused to conduct funeral services for an actor named George Holland, suggesting, "I believe there is a little church around the corner where they do that sort of thing." Joseph Jefferson, a fellow actor who was trying to arrange Holland's burial, exclaimed, "If that be so, God bless the little church around the corner!" and the church began a longstanding association with the theater. P. G. Wodehouse, when living in Greenwich Village as a young writer of novels and lyrics for musicals, married his wife Ethel at the Little Church in September 1914. Subsequently, Wodehouse would set most of his fictionalized weddings at the church; and the hit musical Sally that he wrote with Jerome Kern and Guy Bolton ended with the company singing, in tribute to the Bohemian congregation: "Dear little, dear little Church 'Round the Corner / Where so many lives have begun, / Where folks without money see nothing that's funny / In two living cheaper than one." In 1923, the Episcopal Actors' Guild held its first meeting at Transfiguration. Such theatrical greats as Basil Rathbone, Tallulah Bankhead, Peggy Wood, Joan Fontaine, Rex Harrison, Barnard Hughes, and Charlton Heston have served as officers or council members of the guild. The Little Church's association with the theatre continued in the 1970s, when it hosted the Joseph Jefferson Theatre Company, which gave starts to actors such as Armand Assante, Tom Hulce, and Rhea Perlman. As well as being a guild officer, Sir Rex Harrison was memorialized at the church upon his death in 1990. Maggie Smith, Brendan Gill, and Harrison's sons, Carey and Noel, spoke at the service. Recent history The Little Church Around the Corner is known for the long service of its rectors: in the 150 years from its founding to 1998, there were only five. The Reverend Jackson Harvelle Randolph Ray (June 11, 1886 – June 1963), for instance, was rector from 1923 to 1963. The parish is currently under the rectorate of Father John David van Dooren, who was called as rector in 2017. In 2021, the church reported 193 members, average attendance of 56, and $231,772 in plate and pledge income. Music program The church has long been associated with a program of free music performances. The Anglican tradition of a men's and boys' choir has been maintained with special music for concerts and summer services provided by a choir of mixed voices. In 1988, the Arnold Schwartz Memorial organ, a new tracker pipe organ, was built and installed at the church by C. B. Fisk, Inc. In popular culture A key scene—a wedding between characters played by Neil Hamilton and Mary Brian—in the 1925 Herbert Brenon–directed silent film The Street of Forgotten Men was shot at the church. The church is alluded to at least twice in James Joyce's Finnegans Wake, as "tin choorch round the coroner" (67.13) and "ye litel church rond ye corner" (533.23–4). In 1986, the church was featured in an episode of The Equalizer titled "Shades of Darkness". In Woody Allen's Hannah and Her Sisters, Allen attends a concert in the main sanctuary while attempting to convert to Catholicism. Gallery References External links 1848 establishments in New York (state) 19th-century Episcopal church buildings Anglo-Catholic church buildings in the United States Churches completed in 1849 Churches in Manhattan Episcopal church buildings in New York City Gothic Revival church buildings in New York City Murray Hill, Manhattan New York City Designated Landmarks in Manhattan Church of the Transfiguration Religious organizations established in 1848

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https://en.wikipedia.org/wiki/List%20of%20highest-income%20urban%20areas%20in%20the%20United%20States

List of highest-income urban areas in the United States

The following is a list of the highest-income urban areas in the United States. The U.S. Census Bureau defines two types of urban areas. They are listed below, along with their Census definitions. Urbanized Area (UA), an area consisting of a central place(s) and adjacent territory with a general population density of at least 1,000 people per square mile of land area that together have a minimum residential population of at least 50,000 people. The Census Bureau uses published criteria to determine the qualification and boundaries of UAs. Urban Cluster (UC), a densely settled territory that has at least 2,500 people but fewer than 50,000. Urban areas ranked by per capita income Urban areas of any population Urban areas with at least 100,000 inhabitants Sources Statistics derived from U.S. Census Bureau data; U.S. Department of Commerce, Bureau of Economic Analysis, Survey of Current Business; and DataQuick Information Systems, a public records database company located in La Jolla, San Diego, CA. References United States demography-related lists Income in the United States