Question: Which member of the South Side Writers Group was not only a poet and activist but a businessman as well?
Context: Loose Parts is a daily single panel comic strip drawn by Dave Blazek since 2001.  It is similar in tone, content, and style to "The Far Side", drawn by Gary Larson, involving Theatre of the Absurd-style themes and characters.  "Loose Parts" is syndicated by The Washington Post Writers Group and appears in newspapers across the country and overseas.  "Loose Parts" was nominated for Best Newspaper Panel Cartoon division award in the 2010 National Cartoonists Society Reuben Awards. Mona Mansour is an American playwright of Middle Eastern descent.  She has been a member of the Public Theater's Emerging Writers Group and a Playwrights' Center Core Writer.  She is currently a resident playwright at New Dramatists.  Mansour often writes about the Middle East, and she has frequently collaborated with English director Mark Wing-Davey.  In addition to her theater work, Mansour has written for the television shows Queens Supreme and Dead Like Me. David Orme is a children's writer and poet from England.  He has written or edited more than 250 books.  His recent work has been specifically aimed at reluctant readers or children with learning difficulties and includes the Boffin Boy series of manga-style graphic novels. Orme lives in Winchester, Hampshire, England and was the chair of the Education Writers Group of the Society of Authors.  With Helen Orme he has volunteered to assist in literacy programs.  He was director of the Schools Poetry Association (SPA). The hill rises about 250 feet above the level of the plateau, which itself constitutes the summit of the Mahadev range at this point.  The cone with the walls on it is seen from a great distance and appears very small indeed.  But on near approach it is seen to be but the inner citadel of a place of considerable size and strength for the times in which it was built.  On the south-west the outer wall or enceinte is entered by a rude gateway of a single pointed arch about eight feet high and five feet broad.  As usual there is a curtain of solid masonry inside.  The gate lies about 150 yards east of the edge of the plateau, which there terminates in an almost unbroken vertical precipice of several hundred feet in height and receding in a north-easterly direction.  No wall was built along about three hundred yards of this part which is absolutely unscalable, but for the rest of the way the walling is continued along the edge of the cliff in a north-east direction for about another three hundred yards.  Here it turns still following the cliff to the south-east for another seven hundred yards, and then gradually rounds to the westward covering four hundred and fifty yards more till it meets the gateway.  But for the break of the inaccessible precipice this outer wall would form a nearly equilateral triangle with the corners rounded off, the side being of some six hundred and fifty yards.  Facing nearly north, about fifty yards from the north-east angle, is a gateway with a couple of curtains in solid masonry.  This entrance is cut in the sides of the cliff about twenty feet below the top which is reached by some dozen steps.  It consisted as usual of a pointed arch, the top fallen in, about ten feet high by five broad.  It leads out to the path down to Girvi, a village in the plains below and it probably formed the communication with Phaltan.  This road winds down the face of the range for some five hundred feet till it hits the shoulder of a spur which it then follows to the base.  The walling on the south side, from the edge of the cliff to some hundred yards east of the southern gate, is not more than a couple of feet in thickness and consists of all-fitting stones unmortared.  The rest is massive and well mortared and still fairly preserved.  The average height is from seven to ten feet.  In the south-east angle is a rude temple of Bhairavnath and a few houses with the remains of Man y more.  On the right side of the southern gate is a well preserved stone pond about thirty yards square with steps leading down to it.  Next to and on the north of Bhairavnath's temple is another pond.  The way up to the fort proper or upper and lower citadels is from the north side.  The path up the hill side, which is steep but with grass and soil left in Man y places, is almost destroyed.  About 150 feet up is the outer citadel built on a sort of shoulder of the hill and facing almost due west.  It contains two massive bastions of excellent masonry looking north-west and south-west so that guns planted on them could comMan d respectively the north and south gateways.  This citadel was connected with the main wall by a cross wall running across the whole breadth of the fort from east to west.  Its entrance lies close below that to the upper citadel.  A masonry curtain projects so as to hide the arch itself, which is not more than seven feet high by three broad, and has to be entered from due east.  On the south side the walls are carried right up to the scarp of the upper citadel and are some ten feet high, so that to take the lower citadel in rear or flank must have been difficult.  The upper citadel is above a vertical scarp some thirty feet high.  The entrance to it lies some thirty feet above that to the lower citadel, and is cut in the rock about eight feet wide.  There is a gateway of a pointed arch with the top fallen in and twenty odd steps leading up to it and ten more cut out of the rock, and winding up past the inside curtain on to the top.  The walls of this upper citadel are still in tolerable preservation.  They were originally about ten feet high and built of fair masonry.  There is a large turret on the south-west corner, evidently meant to comMan d the southern gate.  About ten yards to the east of this turret is a new looking building which was the headquarters or sadar.  Immediately east of this and below it is a great pit about thirty feet square and equally deep roughly cut in the rock and said by the people to be a dungeon.  Next to it on the south is a small pond evenly cut and lined with mortar used for storing water.  There are some remains of sepoys' houses, and, near the turret, a small stone wheel said to belong to a gun.  The outer walls east of the gates have bastions at every turn of the cliffs, and the masonry here is particularly strong and well preserved.  It would appear that attacks were dreaded chiefly from the plain below.  The assailants could either come up the spur towards the north entrance or they might attempt the spurs on the other side of the eastern ravine and attack the southern gateway.  Hence apparently the reason for strengthening the walls of the enceinte on this side.  After passing the southern gateway the assailants would be commanded Maan, Maharashtra from the lower citadel.  They Would then be encountered by the cross wall.  If that obstacle was overcome the besieged would run round the east side and into the two citadels.  The appearance from the fort of the plain in the north is most formidable.  The Panvan plateau completely commands Maan, Maharashtra and almost overhangs it.  The fort is believed to have been built by Shivaji to resist the Moghals whose attacks he must have dreaded from the plain below.  The Karkhanis or Superintendent of the fort was a Prabhu.  The fort garrison consisted of 200 Ramoshis, Mahars, and other hereditary Gadkaris besides sepoys.  It was surrendered in 1818 to Vitthal Pant Phadnis of the Raja of Satara left in charge of the town.  He detached 200 men to take possession, being part of a force then raised to protect the town from the enterprizes of Bajirav's garrisons then in the neighbourhood.  [Elphinstone in Pendhari and Maratha War Papers, 245.] Michael Abramson (1948–2011) was a Chicago photographer who produced a large body of artistic and commercial photography.  He earned a Bachelor's degree from the Wharton School of Business, but his life took a different direction when he was accepted at the Institute of Design at the Illinois Institute of Technology in Chicago, and subsequently earned a Masters in 1977.  His thesis, "Black Night Clubs of Chicago's South Side," was a reflection and analysis of the photographs he took of patrons and performers in nightclubs on Chicago's south side during the mid-1970s.  Abramson's work has often been compared to the 1920s Paris photographer Brassaï (1899-1984).  Many of Abramson's south side prints were later published in a photography book / 2 LP record set entitled "Light on the South Side" (2009), by Chicago music recording company Numero Group.  The collection of music featured on the LPs are blues songs by mostly Chicago recording artists, and reflect what was actually playing on the jukeboxes in these clubs at the time.  A slideshow was created using Abramson's photographs and the music from the LP. Marianne de Pierres (born 1961) is an Australian science fiction author.  Born in Western Australia, she did her undergraduate studies at Curtin University in Perth and later studied a Postgraduate Certificate of Arts in Writing, Editing and Publishing at the University of Queensland.  She has been actively involved in promoting Speculative Fiction in Australia and is the co-founder of the Vision Writers Group, and ROR – wRiters on the Rise, a critiquing group for professional writers.  She was also involved in the early planning stage of Clarion South. The Chicago Black Renaissance (also known as the Black Chicago Renaissance) was a creative movement that blossomed out of the Chicago Black Belt on the city's South Side and spanned the 1930s and 1940s before a transformation in art and culture in the mid-1950s through the turn of the century.  The movement included such famous African-American writers as Richard Wright, Margaret Walker, Gwendolyn Brooks, Arna Bontemps, and Lorraine Hansberry, as well as musicians Thomas A. Dorsey, Louis Armstrong, and Earl Hines.  During the Great Migration, which brought tens of thousands of African-Americans to Chicago's South Side, African-American writers, artists, and community leaders began promoting racial pride and a new black consciousness, similar to that of the Harlem Renaissance in New York City.  Unlike the Harlem Renaissance, the Chicago Black Renaissance did not receive the same amount of publicity on a national setting.  This was due to several factors, including the lower profile participants in the movement, the lack of wealthy patrons investing in the movement, and a geographical distance from New York as a publishing center. Frank Marshall Davis (December 31, 1905 – July 26, 1987) was an American journalist, poet, political and labor movement activist, and businessman. The South Side Writers Group (occasionally called South Side Writers' Group) was a circle of African-American writers and poets formed in the 1930s in Chicago, which included Richard Wright, Arna Bontemps, Margaret Walker, Fenton Johnson, Theodore Ward, Garfield Gordon, Frank Marshall Davis, Julius Weil, Dorothy Sutton, Russell Marshall, Robert Davis, Marion Perkins, Arthur Bland, Fern Gayden, and Alberta Sims .  Consisting of some twenty authors, the group championed the New Realism movement and Social realism.  The group met at the Abraham Lincoln Centre on South Cottage Grove Avenue near the Bronzeville District. The South Side Flats is a neighborhood in Pittsburgh, Pennsylvania's South Side area.  It is located just south of the Monongahela River.  The neighborhood has one of the City of Pittsburgh’s largest concentrations of 19th-century homes, which has prompted outsiders to call the neighborhood the City’s Georgetown.  It includes many bars and restaurants as well as residences.  The main throughway in the South Side Flats is East Carson Street.  This street is home to a significant portion of Pittsburgh's nightlife.
Answer: Frank Marshall Davis