Biography – BRAITHWAITE, CHARLES – Volume XIII (1901-1910) – Dictionary of Canadian Biography
BRAITHWAITE, CHARLES, farmer, agrarian leader, and office holder; b. in 1850 and baptized on 18 February in Foston on the Wolds, England, eldest son of the eight children of William Braithwaite and Mary —; m. first 23 Nov. 1872 Mary Ware; m. secondly 11 Feb. 1885 Louisa Emma Green in Portage la Prairie, Man.; m. thirdly 1886 Georgiana Green, and they had two daughters; d. 9 June 1910 in Chilliwack, B.C.
Charles Braithwaite, a farmer’s son with little formal education, left England in the early 1870s. He went first to Durham, Ont., before moving to western Canada during the boom of 1881 created by the arrival of the railway. Initially, he and his brother William settled in Portage la Prairie; they then homesteaded in the Qu’Appelle valley in 1882. Charles moved to Winnipeg in 1883, working briefly as a postal clerk there before returning to Portage la Prairie to farm.
In 1883 a depression began in western Canada, one which would increase in severity after 1890. Braithwaite soon became aware that western farmers faced economic problems beyond their control. In 1891 he joined the Farmers’ Institute, an educational organization, and he would encourage its members to use the institute to lobby for special freight rates and the erection of a farmer-owned flour-mill. Meanwhile, he had joined one of the five lodges of the Patrons of Industry that had been established in the area of Portage la Prairie in the spring of 1891. In November of that year, at the first provincial convention of Patrons’ organizations, he was elected grand president, a position he would hold until January 1897.
The Patrons of Industry was originally an American fraternal organization whose members held discussions on economic and scientific topics. It spread to Ontario in 1887 and the movement, in both the United States and Canada, rapidly became an instrument for organized protest [see George Weston Wrigley]. Farmers in the developing west received low prices for their wheat but faced high interest and freight rates and a high tariff on farm supplies as a result of the National Policy instituted by the Conservative government of Sir John A. Macdonald* in 1879. Their discontent first manifested itself in the Manitoba and North-West Farmers’ Co-operative and Protective Union, established in 1883 [see George Purvis*], and the Patrons were able to build on the foundation laid by that failed institution. The growing appeal of the Patrons in Manitoba was due in large measure to the efforts of Braithwaite. Although barely literate, he was a “spell-binding orator” with incredible energy, who travelled the province widely, pitching the slogan “Manitoba for Manitobans.” He preached that Manitobans needed to “mutually agree as farmers and employees to band ourselves together for self protection and for the purpose of obtaining a portion of the advantages that are now almost exclusively enjoyed by the financial, commercial and manufacturing classes, who by a system of combines and monopolies are exacting from us an undue proportion of the fruits of our toil.”
Initially, the organization emphasized cooperation, establishing in 1892 the Patrons Commercial Union, an incorporated company which sold agricultural supplies and implements to farmers by mail order at reduced cost and which acted as an agency for the sale of farm produce. The company enjoyed some success in supplying farmers with commodities such as binder twine before poor management destroyed its reputation; its attempts to market the grain of Patrons totally failed because farmers were unwilling to commit the large quantities needed to attract contracts from flour-mills.
At the annual provincial convention of the Patrons in Brandon in January 1894 Braithwaite offered his resignation, criticizing the membership for not supporting the organization’s cooperative activities. His leadership was reconfirmed and the membership endorsed a platform supporting his recommendation of political action. Unsuccessful in obtaining redress of farmers’ grievances by lobbying, Braithwaite, originally a Liberal himself, suggested that the Patrons field their own candidates in federal and provincial elections “to protest the prevailing corruption in politics.” His call for farmer candidates to represent farmer constituents alienated many local newspapers which had traditionally supported one of the two major political parties. Thereafter they ignored most of the Patrons’ activities, publishing only unfavourable references, such as accusations that the leaders were lining their pockets. The Patrons had established their own newspaper, the Patrons Reporter and Advocate (later the Patrons Advocate) in Rapid City shortly after their first provincial convention in 1891. The hotheadedness of its editor, the Patrons’ grand secretary, Henry Clay Clay, further strained relations between the Patrons and the provincial press and Clay’s disagreements with Braithwaite over editorial policy were disastrous for the Manitoba Patrons. Its membership had also been upset by the fact that the executive had awarded the publishing contract to Clay without tender and then had raised membership fees to cover the costs of publication, all without consulting them.
In 1894 Braithwaite again toured the province, lashing out at high freight rates, calling for the completion of a railway to Hudson Bay, and raging against the high tariff which benefited eastern manufacturers at the expense of the majority of western Canadians. Through his efforts membership was expanded in Manitoba to an estimated 5,000 in 330 lodges by the end of that year. In anticipation of a general election federal candidates were nominated in all but two Manitoba constituencies, and a provincial candidate, John Forsyth, was elected in a by-election in 1894. He would soon disgrace himself, however, by using a railway pass, a privilege of elected office disapproved of by the Patrons, and he would be expelled from the organization in October 1895. Other difficulties emerged. Clay’s editorial policy had destroyed all the goodwill Braithwaite had managed to create by wooing leading local citizens such as Senator Charles Arkoll Boulton*, whose newspaper was one of the few that still supported the Patrons. In early 1895 Clay was removed as editor of the organization’s newspaper. That spring Braithwaite travelled to Toronto to help create a national platform which would appeal to reformers, prohibitionists, and those advocating women’s suffrage.
It was the Manitoba school question [see Thomas Greenway] which destroyed the hopes of the Manitoba Patrons in both the provincial and the federal elections of 1896. Many Catholic Patrons were alienated by the organization’s acceptance of the stand taken by the provincial government against denominational schools. Only two of the Patrons’ candidates were elected to the Legislative Assembly in January 1896. Braithwaite had accepted the nomination for the federal riding of Macdonald where, in spite of “bullying to withdraw” and leave the field to a Liberal candidate, he ran on a platform of non-sectarian schools, reform of the electoral system and the civil service, recognition of agriculture as the west’s primary industry, free trade, public ownership of utilities, universal suffrage for men and women, and prohibition. Many of these same planks would reappear in the western platform of the Progressive party in 1919.
The Patrons were relying on support from Conservative farmers but the Conservative party under Sir Charles Tupper* revealed a program that met many of the Patrons’ demands. The election of June 1896 left little room for third party candidates as the Liberals under Wilfrid Laurier* swept to power. In Manitoba, however, the Conservatives won four of the seven seats; all the Patrons’ candidates went down to defeat.
Although the battered organization of the Patrons limped on for another year, a disappointed and defeated Charles Braithwaite resigned as grand president and accepted a position as a provincial weed inspector; he would serve from 1897 to 1901. He returned to farming in Portage la Prairie in 1901. Undoubtedly feeling restless in a Manitoba that remained little changed in spite of his efforts, Braithwaite moved his family to the area of Chilliwack, B.C., three years later. In the small community of Camp Slough, he became the first postmaster. He died in nearby Chilliwack at age 60.
Karen Nicholson
ACC, Diocese of Rupert’s Land Arch. (Winnipeg), DRL-84-83. B.C., Ministry of Health (Victoria), Vital statistics, death certificate. Church of Jesus Christ of Latter-day Saints (Salt Lake City, Utah), International geneal. index. NA, RG 31, C1, 1871, Durham, Ont.; 1881, 1891, Portage-la-Prairie, Man. UCC, Manitoba and Northwestern Ontario Conference Arch. (Winnipeg), Portage la Prairie Methodist Church, RBMB. Patrons Advocate (Rapid City, Man.), 1894–96. Portage la Prairie Weekly Review, 1891–1910. Directory, Man. and N.W.T., 1881–1905. In the shadow of Mt. Cheam: a history of Rosedale, Popkum and Camp River, British Columbia ([Rosedale, B.C.], 1988). B. R. McCutcheon, “The Patrons of Industry in Manitoba, 1890–1898,” Historical essays on the Prairie provinces, ed. Donald Swainson (Toronto and Montreal, 1970), 142–65. Man., Dept. of Agriculture and Immigration, Annual report (Winnipeg), 1897–1901.
Philanthropists and Social Reformers
Agriculture – Farmers
Europe – United Kingdom – England
North America – Canada – Manitoba
North America – Canada – British Columbia – Mainland
GREENWAY, THOMAS (Vol. 13)BOULTON, CHARLES ARKOLL (Vol. 12)LAURIER, Sir WILFRID (baptized Henry-Charles-Wilfrid) (Vol. 14)MACDONALD, Sir JOHN ALEXANDER (Vol. 12)PURVIS, GEORGE (Vol. 12)TUPPER, Sir CHARLES (Vol. 14)WRIGLEY, GEORGE WESTON (Vol. 13)OLIVER, FRANK (Francis Robert Bowsfield, Bossfield, or Bousfield) (Vol. 16)
BOULTON, CHARLES ARKOLL
GREENWAY, THOMAS
TUPPER, Sir CHARLES
LAURIER, Sir WILFRID (baptized Henry-Charles-Wilfrid)
OLIVER, FRANK (Francis Robert Bowsfield, Bossfield, or Bousfield)
Karen Nicholson, “BRAITHWAITE, CHARLES,” in Dictionary of Canadian Biography, vol. 13, University of Toronto/Université Laval, 2003–, accessed January 17, 2020, http://www.biographi.ca/en/bio/braithwaite_charles_13E.html.
Permalink: http://www.biographi.ca/en/bio/braithwaite_charles_13E.html
Author of Article: Karen Nicholson
Title of Article: BRAITHWAITE, CHARLES


Macy’s Consolidating?
By Lauren Crighton	• Published at 10:03 am on November 17, 2008
Norwalk Police Department
Right, so remember how we unabashedly passed along a rumor about a major department store potentially folding after we heard about Macy's shocking third-quarter loss this year? ($44 million, compared to earnings of $33 million last year.) Well, now WWD reports even more paralyzing news: The New York institution may be considering merging its four divisions into two. According to the article, Macy's could potentially fold Macy's Central (Atlanta) and Macy's Florida (Miami) into its two bi-coastal locations—Macy's East in New York, and Macy's West in San Francisco. Needless to say, WWD points out that the decision to consolidate would affect hundreds of employees, let alone hordes of shoppers. When asked about the rumor, spokesman Jim Sluzewski told WWD: "We can’t comment on rumors, but we are fully focused on running the business for holiday.” Especially since Miley Cyrus is headlining the Macy's Thanksgiving Day Parade ...


R&B, Soul
Who was/is Jerry Jackson - BCD15481 ? - CDs, Vinyl LPs, DVD and more
Jerry Jackson - BCD15481
When it came to recording techniques at the dawn of the 1960s in New York, bigger was definitely better. Producer s and arrangers crafted lavish orchestral backdrops for singers with huge, powerful voices. Jerry Jackson fit that bill perfectly. He made a series of '60s singles for Top Rank, Kapp, Columbia, and Parkway that might be described as stirring uptown soul, though Jackson isn't fond of such classifications or being compared to other singers.
"I'm none of those people. I'm Jerry Jackson. I'm individual. I'm very unique, because God made me that way, you know?" he says. "I'm a singer, and I sing from my spirit, from my heart."
Today, Jerry Jackson sings in praise of God. In 1991, he established Jacob J. Jackson Bibleway Ministries in Florida's Tampa Bay region, ministering to many people by providing organically homegrown vegetables to the needy, visiting the elderly in nursing homes, and reaching out to others through prayers and Bible study. "Now, through my music ministry, I want to leave a legacy which will reveal God's truth and hopefully encourage many listeners and believers to surrender their lives to God," he says.
Born Jacob Jackson (Jerry is his middle name) in Hartford, Connecticut, he was brought up in a Christian family headed by his preacher father and a mother who loved to sing. "He was an evangelist, really," says Jerry. "My mother had one of those great voices. And it just traveled throughout our whole family. As a child of nine and ten years old, I used to sing. Mahalia Jackson was one of my favorites and greatest influences, in addition to my mother.
"As a kid, we had a quartet," he says. "At nine years old, I was the lead singer in the quartet. My sisters and brothers were older, but they chose to put me as the lead singer. God developed my voice very early. I was on the radio when I was nine years old. It was WTIC in Hartford. They caught me downtown singing on the street, and somebody noticed it. They said, 'Hey, get this kid on the radio!' So I did acappella stuff on the radio as a kid."
Jerry Jackson proceeded to pursue other musical activities, including a fan club run by a Mr. Sweep when he was about 12 years old. "He was out of Meriden, Connecticut. He put on talent shows. I was involved in a lot of talent shows. I always seemed to be very successful in getting the first prize," says Jackson. "I was a young African-American kid, and all the kids I was competing against were Caucasian. And I still got first prize every time. That was kind of telling me that I must have had some special talent.
"I was in Providence, Rhode Island, when I was about 16. Paul Filippi of the Celebrity Club was really taking me under his wing, and I studied voice at the conservatory in Rhode Island for a period of time. And he sponsored me there. I was singing with all the bands that were coming in, and Paul Filippi really thought a lot of me, and my singing. He was very encouraging. Paul even took the time to contact me and let me know that Roy Hamilton was appearing there, and he wanted me to come there and have Roy listen to me. I did like Roy Hamilton very, very much. I also greatly admired and respected Nat Cole and Tony Bennett.
"I was kind of like a rolling stone, and I didn't know what I wanted to do. Because I knew that I wanted to sing, but I wanted to do so many things," says Jerry Jackson, who at one point hitchhiked all the way to Cleveland with a friend. While there, he made his first recording. "I did a demo over there of 'Lucky Old Sun' and another song I had," he says. "I used that demo when I ultimately went to New York. I remember first I went to Jaguar Records. They were in New York at the time. They were going to move to California. And they were interested in me, but for some reason I didn't get back in touch with them.
"Maybe a few months went by, and I just kept going to New York. The second place I went to, Buddy Kaye was sitting in his office. I just knocked on doors. And I knocked on his door, and I talked with him, and we had a conversation. Then he played the demo that I had, and he liked it right away. And he promised me a recording contract within six months if I'd sign a contract with him. So that's how our association really started."
With offices at 1650 Broadway (across and just up the street from the better-known Brill Building at 1619) in midtown Manhattan, Kaye was well-equipped to manage the promising newcomer. The Tin Pan Alley veteran had written hits for Perry Como and Frank Sinatra, sometimes adapting classical melodies to his lyrics. Kaye landed Jerry Jackson a deal with Top Rank Records, a pop label of British origin that launched a New York-based U.S. arm in 1959.
Under the production aegis of former Coral and Dot A&R man Sonny Lester, Jerry Jackson cut four songs for Top Rank at Bell Sound Studios on West 54th Street that comprised his first two singles in 1960. "The first thing I recorded was a song that I had wrote, 'A Chance To Prove My Love,'" he says. "I was a teenager when I wrote that. My sister, she and her husband were having kind of a problem. And I lent my mind to what they were going through, and that's what it came from." For Each One There's Someone sat on the flip; Bill Sanford, a former pianist for the Ravens, did the arrangements. Top Rank coupled the other two songs from the session, Meaning Of My Life and Jerry's Everytime You Kiss Me, as his encore.
After that, Kaye and composing partner Phil Springer, who co-wrote Eartha Kitt's slinky Santa Baby and Frankie Laine's Moonlight Gambler prior to hooking up with Kaye, penned Time for Jerry Jackson and escorted him into Regent Sound on West 56th Street on April 3, 1961 to record it, along with their lighthearted charmer Se Habla Espanol.
"To me, it was a great record," says Jerry of Time. "It was a great performance. It was a great song. Phil Springer did a fantastic job on the arrangement." Springer's adventurous strings cleverly replicate the ticking of a clock on the intro, his arrangement beautifully framing Jackson's vocal. "Edwin H. Morris Publishing, they put up the money for 'Time' and 'Se Habla Espanol.' And Buddy Kaye gave them the publishing," says Jerry Jackson. Kaye found a good home for the promising single: Kapp Records, another pop label launched in 1954 by Dave Kapp.
"Every record company that I was connected with, Buddy made the contacts. He was a good person in that area," says Jackson. "I know that when I went to the studio, I wasn't with Kapp Records then. That was brought to Kapp Records. Phil Skaff is the one that dealt with it at Kapp Records, and he was the one that was overly excited about Jerry Jackson. There was really a lot of excitement there."
Surprisingly, Time didn't crack the U.S. hit parade. "It stayed out for about eight weeks or 10 weeks, and they pulled it. To me, that was like not even giving the thing a chance to even catch on, especially with an unknown artist," says Jerry Jackson. "With 'Time' being the A side and 'Se Habla Espanol' being the B, that should have been a hit." Over in England, Craig Douglas' cover, ironically out on Top Rank, crashed the Top Ten that summer.
"I never heard his record, and I'm not sounding conceited, but I know what I put into things that I did. And I know my performances. I doubt his performance was like mine was. Because if it was, it would have spilled over into this country, and it would have been on the charts here," says Jerry. "It's a great song, but the performance made the song. Because I didn't sing the song the way the song was written. I improvised so much. The song was written straight. I didn't do it nearly that way."
It was back to Regent on July 10. Kaye and Springer were again behind the glass and wrote both sides of Jerry's Kapp encore. Springer's violin-enriched arrangement enhances the dramatic I Don't Play Games, and the seductive mid-tempo flip You Might Be There With Him strikes a similar tone. Cut at the same date was half of Jerry Jackson's third Kapp platter, Till The End Of Time, written by Kaye and Ted Mossman. It was an adaptation of a Frederic Chopin polonaise that had been crooner Perry Como's first major hit. "It was a great song, but I think Perry Como's recording the song added a great deal to the song's success too," says Jerry Jackson. "I mean, he was like the top singer at that time. Certainly it was a very great blessing for Buddy Kaye to get Perry Como to record that song, because it established Buddy Kaye and the writer that co-wrote the song with him.
"I learned a lot from Buddy Kaye. I remember one time we were going to have a recording session the next morning. I was living in Connecticut, so I came to New York, and we stayed in a hotel over night. And I remember at night, for some reason, he woke up, and he nudged me to wake up. And he was mentioning to me some things about some changes in a song that he had written.
"At another point, he mentioned to me that when you write a song, remember that if it's a success, it's going to be around a long time. And the longer it's been around, the more people are going to dissect it. So make sure when you write it, you put everything there right. That's the reason I believe he woke up that night, and he wanted to correct something that was maybe not so correct in one of the songs that we were going to record the next day. But those kinds of things I never forgot."
On October 31, when Jerry Jackson entered Fine Recording on West 57th Street, all three songs were supplied by other writers, and a new producer was in charge. Texas-born Bob Johnston hailed from a musical family: his grandmother and mother were successful composers. As Don Johnston, he'd written for rockabilly Mac Curtis before inaugurating a short-lived rock and roll recording career of his own with singles on Mercury, Chic, and Dot.
Sporting one of the lengthiest titles of its era, If I Had Only Known How To Keep Her (She Would Never Have Gone To You) was the handiwork of Clyde Otis–-best known for his hit productions on Brook Benton and Dinah Washington–-and at least officially, Johnston's wife, Joy Byers (her credits include Timi Yuro's '62 hit What's A Matter Baby [Is It Hurting You] with Otis). "Clyde Otis gave me that song," says Jerry Jackson. "Bob Johnston worked for Clyde Otis. Clyde Otis had brought him in from Texas. Clyde Otis just took him under his wing, because he liked him." Johnston later claimed that contractual complications forced him to sometimes write during this period under Byers' name.
Brooklyn-born Jeff Barry would soon be one of the hottest young songscribes in the Brill Building in partnership with Ellie Greenwich, but he was still collaborating with others when he teamed with Mickey Gentile, later a Motown writer/producer, to create Jerry's You Don't Wanna Hurt Me. The cavorting strings and enticing rhythms distinguishing it and its delightful flip La Dee Dah were by Belford Hendricks. "He was fantastic. He was an early arranger using strings, and he had imagination. I got to know him very well," says Jerry. "I had a regular relationship with him. It makes a difference. You get to know people that way--not so much the arranger, but the individual."
The scene shifted to Columbia Recording Studios for Jerry Jackson's next Kapp session on April 16, 1962. Johnston was still in charge as Jerry Jackson revisited two evergreens. Kaye had written They Really Don't Know You with Norman Hawes and Tin Pan Alley legend Jimmy McHugh. Johnny Mercer and Harold Arlen's Blues In The Night harked back to the soundtrack of a 1941 film of the same name. Jerry's alluring update sported a tasty arrangement by Bob Mersey, who would produce Aretha Franklin at Columbia a month later. "I didn't pick that. Bob Johnston came up with that idea," Jerry Jackson says. "I didn't really pick a lot of things that I did, and that was a problem."
Jackson's next Kapp date on October 11 found him working with another producer. Newark, New Jersey-born Bob Crewe started out as a singer, but his future lay in writing and production. At the moment he brought Jerry Jackson into Bell Sound, Crewe was red-hot thanks to his producing the 4 Seasons' Sherry, then sitting pretty at the top of the hit parade.
"We used to practice at his house over on 57th Street, and I remember the cops came there one day because the people were complaining about the loudness, I guess. He gave the cops a couple of records to let them know he was connected with the 4 Seasons, so they left. They were satisfied with that," says Jerry Jackson. "It was in a regular apartment building, but it was a big apartment."
It's long been erroneously claimed that Frankie Valli and the Seasons back Jerry Jackson on this date, though it's obvious that Crewe utilized a female choir instead. All four tunes were penned by Crewe and Seasons keyboardist Bob Gaudio, who wrote many of the quartet's defining '60s smashes together. Bert Keyes, a session pianist on countless New York dates, was the musical director. Two singles were culled from the date, the first pairing the stunning Wide Awake In A Dream with a dynamic She Lied. The other two atmospheric standouts, Turn Back and Gypsy Eyes, were paired as the followup. Crewe also produced a version of Turn Back by an early discovery, Kevin McQuinn, for the New York-based Diamond imprint at approximately the same time.
Bell Sound was the site for Jerry Jackson's last Kapp date on July 2, 1963. Yet another fresh producer, Allen Stanton, was brought in for the occasion, along with arranger Alan Lorber, then specializing in uptown soul (he worked with Clyde McPhatter, Chuck Jackson, and Jackie Wilson). Oddly, considering their quality, two of Jerry Jackson's three performances that day were relegated to the Kapp vaults. Lor Crane, co-writer of the exhilarating If Teardrops Were Diamonds, would go on to produce Chad & Jeremy at Columbia.
Kapp erred in stockpiling the deeply moving It Hurts Me, another Joy Byers copyright. Co-writer Charles E. Daniels' name may sound familiar; as Charlie Daniels, the rowdy fiddler would achieve country stardom with his '70s anthems The South's Gonna Do It Again and The Devil Went Down To Georgia. Daniels' website confirms that Johnston actually co-wrote It Hurts Me (he'd produced and co-written Daniels' first 45 in 1959). When Elvis waxed a very similar version of It Hurts Me the following January, RCA Victor had the sense to release it. "I don't understand what happened. Well, he didn't really have a big one on that," reasons Jerry Jackson. "It was a very good song."
The other title committed to tape that day was a departure. Bob Dylan cut his immortal Blowin' In The Wind in July of '62, though that solo version wouldn't come out until nearly a year later on 'The Freewheelin' Bob Dylan.' The Chad Mitchell Trio actually had the first release on the song in March of '63. Peter, Paul & Mary's version, released that June, turned out to be the hit, peaking at #2 pop. Jerry Jackson tried the song on for size a full year before Sam Cooke cut it at the Copa, Lorber's luxurious arrangement blending beautifully with his gripping vocal.
"I don't know how they got it. I only know that when I went in the studio, that the tracks were there," says Jackson. "I did that from my heart. That's why Buddy Kaye always referred to me as Mr. Heart & Soul. I was really singing from my heart. And maybe a lot of people don't understand that. I wasn't singing to commercialize everything I sang. I was singing to share with people the gift that God had given me."
When Mercury Records hired Clyde Otis in 1958, the Mississippi native made history as the first black A&R man at a major label. After serving in the Marines during World War II, Otis jumped into New York's music industry, writing The Stroll for the Diamonds. It hit on Mercury in '57. Not long after snaring the Mercury A&R post, Otis signed his friend Benton and produced an incredible run of R&B chart-toppers for the deep-voiced crooner beginning with It's Just A Matter Of Time as well as Brook's pair of '60 duets with Dinah Washington. Hendricks' violin-enriched arrangements were integral there, along with Dinah's Otis-helmed solo smash What A Diff'rence A Day Makes. Clyde moved over to Liberty in 1961 before landing at Columbia, where he'd work with Aretha Franklin in '64.
"He certainly didn't come from wealth and riches, or anything like that. It was a hard climb," says Jerry Jackson. "And I respect that." Obviously, Clyde knew a great voice when he heard it, and he asked Kaye about Jackson's availability. "He had been watching, paying attention to me before that," says Jackson. Otis would produce both of Jerry's Columbia sessions.
Jamaica's beguiling ska sound was wafting around the globe. Millie Small's My Boy Lollipop was high on the pop charts when Otis tried the new rhythm out on Jerry Jackson at his first Columbia session on May 8, 1964, with Bert Keyes returning as his musical director. "That was in at the time. That's why he tried that," says Jackson. "It was an experimental thing." The experiment was a success, Otis and Keyes cooking up an infectious ska groove to power Jerry Jackson's revivals of Shrimp Boats (A-Comin' - There's Dancin' Tonight) and Always (written by legendary composer Irving Berlin in 1925), the two sides of his Columbia debut. Co-written by orchestra leader Paul Weston, Shrimp Boats had been a '51 pop smash for Jo Stafford.
Hey Sugarfoot, the other number Otis produced on Jerry Jackson at his first Columbia date, was a departure in its own right, the first full-scale up-tempo R&B workout Jackson had cut. Written by lyricist Larry Kusik (co-author of Jerry's La Dee Dah) and Laurence Weiss, its arrangement borrowed the shuffle beat that Marvin Gaye had utilized on a couple of his recent Motown hits. Jackson romps through the number with spirit, and there's even a brief trumpet solo.
"The kind of voice I had, I could do anything," says Jerry. "I could do classical, I could do popular, I could do soul, I could do whatever. And I was willing to try anything."
Clyde reconvened the troops at Columbia's Studio A on August 3. This time Jackson brought a compositional gem of his own, Are You Glad When We're Apart. "I wrote that song for Bobby Vee," says Jerry. "Clyde Otis had connections with Liberty Records. And Bobby Vee was with that label then. And I had heard him do 'Stayin' In.' I heard him do that, and I said, 'Hey, wow! "Are You Glad When We're Apart," this might work for Bobby Vee, because the song goes in that same thing that he was doing." Vee never got around to cutting it, leaving Jerry Jackson in perfect position to do it himself. He remembers the song selling well in England. On its plug side sat the soul-steeped Tell Her Johnny Said Goodbye, again credited to Joy Byers.
Jerry Jackson's last Columbia release was New Yorker Bobby Stevenson's lovely ballad You're Mine (And I Love You) from the same session. "I liked that song," says Jerry Jackson. Otis would recycle it on Benton in 1965. Gone To Pieces, the fourth title Jackson cut that day (co-writer Jimmy Williams was Benton's collaborator on Clyde McPhatter's smash A Lover's Question), went unreleased. The vocal chorus on Jerry's Otis-helmed sessions included Dee Dee Warwick, soon a solo star but then a busy Big Apple background singer. "Her group backed me up on several songs while I was with Columbia, because Clyde knew them pretty well," says Jerry Jackson.
Jackson did his share of touring. "A whole lot of it, really," he says. "From Washington to Baltimore to Philadelphia and Pittsburgh. I went to St. Louis and Chicago and Detroit. I did shows with the Supremes in Windsor, Ontario. I did a lot of record hops, radio stations and stuff like that." Along the way, Jackson appeared on TV shows with Dion and Bobby Darin and cut an obscure mid-'60s LP for the British Ember label. "It was just a flat deal. Buddy Kaye made that deal," he says. "I did songs like 'The Joker.' I did that and some other songs. They didn't have live musicians in the studio. I had the tapes, the master tracks."
The glory years of Philadelphia's Cameo-Parkway Records, when Chubby Checker, Bobby Rydell, and Dee Dee Sharp launched dance crazes on a weekly basis, had receded when Jerry Jackson signed with Parkway. "Buddy Kaye was instrumental in doing that," says Jackson. "I was a writer on the staff, but I was getting a small salary against royalties. They paid my expenses back and forth to Philadelphia from Connecticut." His first Parkway single in 1966, pairing the lavishly arranged It's Rough Out There and I'm Gonna Paint A Picture, found him back in the studio with Kaye and Springer.
"They wrote both of those songs together. They both were produced by Phil Springer," says Jerry Jackson. "I liked Phil Springer a great deal." Jerry's '67 Parkway followup was a rendition of the theme to Otto Preminger's film 'Hurry Sundown.' "I didn't actually do it in the movie," he notes. "Buddy Kaye and Hugo Montenegro wrote it, and I recorded it." Bob Hilliard and Jule Styne's How Do You Speak To An Angel adorned the other side. Parkway issued the 45 under the name of Jaxon Reese. Jaxon was obviously derived from his surname, but Reese?
"My mother's stepfather, who really raised her, his name was Reese. I had recorded under Jerry Jackson so much. After (the deejays) pick so many, and the things don't become monsters, it kind of questions their credibility," he says. "But then, when I did come up with a new name, by that time the company was ready to go under."
Parkway tried issuing Jerry's violin-enriched revival of Julie London's sultry 1955 hit Cry Me A River under the Reese moniker (the spelling of his first name reverted to Jackson). Little Girl, its flip, was written by label president Al Rosenthal's wife. "Al Rosenthal and I had a real good relationship," says Jackson, who laments that he really didn't feel Cry Me A River and wishes he'd had the chance to tackle Springer's touching My Child's Child instead. "I really felt 'My Child's Child,'" he says. "But maybe that wasn't the time for it." The firm folded in '68. "It wasn't a powerhouse company like Motown, where they had a family situation there," he notes. "The way they operated was quite different. Everything was in-house at Cameo."
One casualty of Cameo-Parkway's closing was Jackson's planned album of songs by Charles Aznavour. "I did a whole album of his songs, French songs that they translated into English," he says. "I worked hard on that album. That was really a good album. He had some really good songs, some really different songs. That was really classical popular music. And that was a field that I could really feel relaxed in. I had a promise to be at Carnegie Hall with him."
Jerry's secular recording career was at an end. He believes missing out on major stardom was a reflection of divine will. "God was in the picture, and every time I had this great opportunity, it appears He would step in and not let it happen. But I know why now," he says. "I probably would be dead right now. Because I was out of control. I was very adventurous, very daring. I didn't mess with drugs or anything like that. Thank God for that."
During the '70s, Jackson began building a spiritual family singing aggregation. "At that time my daughters were very, very young," he says. "I started working with them anyway." He formed a group, The New Movement Gospel, with daughters Patti Renai and Syndy Marie, performing at churches and other events as well as launching his Nu Day record label in New Haven, Connecticut with the group's spiritual single Wake Me Shake Me (Don't Let Me Sleep Too Late) b/w Bless Your Love Over Me. "We got a very, very good reception every time we went," Jerry says. "We did a lot of churches, and we got an invitation to come back. We weren't like a wild group. We were a group that really got the people's hearts." They appeared on Tampa Bay television—Jerry Jackson has lived in Florida since 1977--and he preached the message of salvation on his own radio show for several years.
Right now, Jackson is putting the finishing touches on a new CD. "It's going to be entitled 'My Spiritual Journey'--part one, part two, part three. Because that's what my music is going to be about," he says. "I never stopped writing. When I was writing secular music, I wasn't writing out of the spiritual influence. I was just writing from my head. But now I'm writing from my spirit, and the things have much more meaning.
"With God's intervention, I have become a very prolific composer of sacred music," he concludes. "It was a blessing in disguise when I did not achieve that great success in the secular field. It is very sobering when I reflect on many of the highly successful artists of that day who are no longer with us. In some cases, with their great success came many temptations. I witnessed firsthand the wild living and worldly attitudes of some of them, and this may have led to their demise. Yet God has allowed me to live and to keep my voice and gain the ability to minister to others through my music. Over the years, I have come to accept God's will for my life, and I have found great joy and peace in following his plan."
Bill Dahl
Special thanks to Jerry and Barbara Jackson.
Wikipedia website: http://en.wikipedia.org/wiki/Blues_in_the_Night
Internet Movie Database website: www.imdb.com
The Space Age Pop Music Page website: http://www.spaceagepop.com/index.htm
Official Charlie Daniels Band website: http://www.charliedaniels.com/bio_charlie.htm
New York Times, January 18, 2008: 'Clyde Otis, 83, Executive and Songwriter, Dies,' by Peter Keepnews
'Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era,' by Ken Emerson (New York: Viking, 2005)
'The Bob Dylan Encyclopedia,' by Michael Gray (New York & London: Continuum, 2006)
More information about Jerry Jackson - BCD15481 on Wikipedia.org
Jerry Jackson: Shrimp Boats A-Comin' - There's Dancin' Tonight Art-Nr.: BCD15481
Jerry Jackson was an R&B-pop singer in New York in the early 1960s, and his New York ska version of 'Shrimp Boats' has become a cult club favorite in Europe. Elvis fans will be interested in Jerry Jackson's original version of 'It Hurts...


The Straight Shift, #39: Everything You Need to Know About Vehicle Recalls
In this episode of "The Straight Shift", The Car Chick talks all about recalls. What constitutes a recall on a car? How are recalls issued? How do you know if your car has an open recall? What should you do if there is a recall on your car? She also tells the truth about two of the largest and most expensive recalls in history.


ILMAT IV
4. International Conference on Ionic Liquid-based Materials
Santiago de Compostela, October 24th to 27th, 2017
Organizing and Scientific Committees
Invited Speakers & Program
Abstracts submission & Registration
Conference Venue, Travel & Accommodation
Lynden-Bell Award
Lynden-Bell award is named after the British chemist Ruth Marion Lynden-Bell (7 December 1937), fellow of the Royal Society and emeritus professor of Queen's University Belfast and the University of Cambridge. The prize is the recognition of a working life trajectory in ionic liquids. The nominations were be done by the members of the honor committee.
We are pleased to announce that ILMAT's Honor Committee has awarded the 1st Lynden-Bell award to Prof. Alexei Kornyshev in recognition of his outstanding career in the field of ionic systems within condensed matter theoretical chemical physics. The award will be presented personally by Prof. Lynden-Bell to Prof. Kornyshev during the conference in October when he will give an award lecture. Entitled: New Horizons in Ionics: Electrochemical ‘Metamaterials’
Alexei Kornyshev graduated in 1970 from the Moscow Institute of Engineering Physics with a degree in theoretical nuclear physics. He matured as a scientist at the Frumkin Institute of Electrochemistry (Acad.Sci.) in Moscow, where he did there his PhD (1974) with Prof. R.R.Dogonadze in Theoretical and Mathematical Physics and DSc in Chemistry (1986), having worked there till 1991. In 1992 he was invited to Research Centre Jülich, Germany, where he then worked for 10 years leading a Theory Division in the Institute for Materials and Processes in Energy Systems of Research Centre “Juelich”, Germany, a position combined later with a Professorship of Theoretical Physics at the University of Düsseldorf. In 2002 he joined Imperial College London where he holds a chair of Chemical Physics since then.
His interests span widely in theoretical condensed matter chemical physics and its application to electrochemistry, nanoscience, biological physics and energy research, using methods of theoretical physics and computer simulations, and working in close collaboration with experimentalists. An author of >250 original, refereed papers published in physics and chemistry journals, and ≈30 monographic/feature articles and book-chapters, he is known by his works in the theory of solvation; solid-liquid and liquid-liquid electrochemical interfaces (including functionalised and electrovariable interfaces); electron and proton transfer in complex environment (including membranes and complex electrodes) and single
molecules; physical theory of fuel cells; interaction, recognition and assembly of biomolecules, DNA biophysics. In the area of the latter he has performed a series of works published together with S.Leikin (NIH) known as Kornyshev and Leikin theory, developed further with his co-workers, D.J.(O’)Lee and A.Wynveen. Room temperature ionic liquids at electrified interfaces and in nanoconfinement and their applications to supercapacitors and electroactuators is an important direction of his current research, where since 2007 he has published a series of seminal papers, with M.V.Fedorov, S. Kondrat, R.Qiao, G.Feng and others. In 2010 together with Prof. M. Urbakh (TAU) and Prof. M.Flatte (Univ. Iowa) he has launched “electrovariable nanoplasmonics”, and continues working on the theory of self-assembled electrochemically controlled nanoplasmonic systems since then, cooperating on experimental front with Prof. J. Edel and Prof. A. Kucernak (Imperial College). Together with Prof.Urbakh (TAU) and Prof. F. Bresme he works on the theory of nanoscale friction with ionic liquid lubricants.
Through his research career he has led many international projects with groups in USA, China, Germany, Denmark, Israel, France, Canada, Russia, and Estonia. He was a recipient of 1991 Humboldt Prize in Physical Chemistry/Electrochemistry, 2003 Royal Society Wolfson Award, 2003 Schönbein Silver Medal (“for outstanding contributions to understanding the fundamentals of fuel cells”), 2007 Barker Electrochemistry Medal (“for his pioneering works and outstanding achievements in the application of modern theory of condensed matter to electrochemical systems”), and 2010 Interdisciplinary Prize, Medal and Lectureship of the RSC (“for his many outstanding contributions at the interfaces of chemistry with both physics and with biology”). He is an elected/appointed Fellow of 5 learned societies: IUPAC, Institute of Physics, Royal Society of Chemistry, Royal Society of Biology, International Society of Electrochemistry, and a Foreign Member of the Royal Danish Academy of Science. He is a senior Editorial Panellist of Scientific Reports (Nature Publishing Group), and is a Member of Editorial Board of Journal of Physics Condensed Matter (IOP) and Advisory Boards of ChemElectroChem (Wiley) and Current Opinion in Electrochemistry. He is an appointed Advisory Professor of HUST, Wuhan, China, with his research there focussed on novel nanomaterials and scenarios for sustainable energy.


Groups: Data Rescue Events Formats: JSON ZIP
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Transcript - Sky News Saturday Agenda
Senator the Hon Mathias Cormann
Minister for Finance
PROOF COPY E & OE
Date: Saturday, 31 May 2014
Budget 2014, Science Funding, Medical Research Future Fund
DAVID LIPSON: Good day, welcome to the program, I'm David Lipson. Australia has long punched above its weight in science, you may already know we invented Wi-Fi, polymer bank notes and also developed the world's first effective flu treatment, but it's not necessarily thanks to science being well funded. We spend about half a percent of GDP on science research, the OECD is almost double that 0.8 per cent. South Korea, USA and Denmark of course spend much more and even though the Budget announcement of a Medical Research Future Fund paid for by the GP co-payment is being widely applauded, other areas of science are suffering budget cuts. There are fears that it will have long-lasting consequences, on the program today, we will speak to three of the country's top scientists to hear their concerns about the future of Australian Science, but first to the Finance Minister, Senator Mathias Cormann, who joins us from Perth, thanks for your time today, especially since science is not your portfolio, we don't have a dedicated Science Minister, those responsibilities were of course folded into the Industry Minister Ian MacFarlane's responsibilities', but we do appreciate your time
MATHIAS CORMANN: Who is doing an outstanding job in that area by the way,
DAVID LIPSON: So why was funding cut to the CSIRO in this Budget and other programmes as well?
MATHIAS CORMANN: Well David firstly when you are confronted with $123 billion in deficits over the forward estimates as we were, then clearly the only way you can repair the Budget sustainably is by spending less into the future. Now having said that we are still spending significant amounts of taxpayers' dollars on science and on organisations like the CSIRO. In fact $4.3 billion is invested in science and research over the forward estimates, including $3 billion for the CSIRO, $745 million this year and $3 billion over the forward estimates. The savings that we have achieved, or that we are targeting from the CSIRO are about 3 per cent of their total funding. When you are facing the sort of Budget mess that we have inherited, the only way that you can get that back on track is by asking everyone to make a contribution. If we didn't also ask organisations like the CSIRO to contribute, then others would have to carry a larger part of the burden, like pensioners, lower income earners and the like and that wasn't acceptable to us. We thought that it was important to spread the effort to repair the Budget as fairly and as equitably and as broadly as possible.
DAVID LIPSON: I do commend the Government for setting up the Medical Research Future Fund, which will be worth some $20 billion once it really gets going in a few years' time, but is it incoherent as your Liberal colleague Dennis Jensen has suggested to be, if you like, ring-fencing one area of medical research, of research, putting a boundary around medical research, funding it well, while cutting other areas of science. Because their needs to be cross-pollination when it comes to research.
MATHIAS CORMANN: David it is not incoherent at all. Dennis Jensen is a valued colleague of mine and he does understand science, but perhaps he needs to have a closer look at the financing arrangements. What we are doing with the Medical Research Future Fund is directing savings from recurrent spending in Health as well as revenue from the price signal to a capital fund that builds up over time, which incidentally helps us reduce our net debt position and only our earnings, our net earnings from that fund, will be directed into medical research into the future, which will start at about $20million in 2015-16 and build up to about $1 billion in additional funding for medical research into the future year on year. The key here is, we are putting a structure together that makes that doubling of funding for medical research self-sustaining because only the net earnings from the Medical Research Future Fund will be directed into that research. So what it means is that we have a sustainable basis from which to effectively double the level of investment into medical research into the future. The way we are doing it is by saving money, by spending less on a recurrent basis today and by channelling the revenue from the price signal in relation to access to medical services into that fund. That fund then builds up which actually has a positive impact on our balance sheet as it does that and we are only investing the earnings from that fund. It is a very smart way to ensure that increased funding for research is put onto a sustainable footing for the future.
DAVID LIPSON: In other areas of research, does the Government believe that private investment and philanthropy perhaps needs to step up and support Australian research?
MATHIAS CORMANN: We do think that there ought to be support for research from all sources, not just from the public sector, but also from the private sector. Obviously if you can attract private sector investment it does have beneficial impacts in terms of improving the discipline and the focus and I guess the commercial potential of research that is conducted. So absolutely we do believe that, but the broader point is really in the sort of Budget situation that we are in, you really have no choice but to take a more realistic view of what is affordable right now. There are a lot of meritorious causes that in an ideal world we would like to be able to pay for, but at the end of the day you can't keep spending money that you haven't got without getting yourself into trouble over time.
DAVID LIPSON: Okay we will return to science with our panel a little later in the program, but Mathias Cormann just while I have you, a few other questions more generally on the Budget, since we spoke a fortnight ago, are you any more confident that the government will be able to pass through the $21 billion of savings measures that Labor has lined up against? Do you think they will ultimately all pass through?
MATHIAS CORMANN: Well let's see. I can't obviously predict what the Labor Party will eventually do, as I can't predict what other parties represented in the Senate will do, but what I can note though is that when we last met the Labor Party was still saying they would be opposed, they would not support our Temporary Budget Repair Levy. Now they are supporting our Temporary Budget Repair Levy, because clearly they have accepted and they have realised, on reflection and having listened to our arguments I suspect, that it was the fair and appropriate way to go in the context of the budget mess that we have inherited from Labor.
DAVID LIPSON: Clive Palmer for example has hardened up his position, he says that he won't even talk to the Government.
MATHIAS CORMANN: All we can do David is to continue to explain the decisions that we have made, the reasons for those decisions and we are doing that calmly and carefully day in day out. There is no alternative to the Budget that we have delivered. We did face a budget in very bad shape. Even worse, we faced a spending growth trajectory that was completely unsustainable and that would have hurt the economy, hurt jobs over time if we hadn't taken corrective action. We are taking corrective action. We are doing it in the fairest possible way and at the end of the day people in the Senate will have to form their own judgements. But we will be putting the Budget to the Senate in the way that it was delivered.
DAVID LIPSON: The Education Minister, Christopher Pyne, is in the headlines again today over comments that he said to the non-government education sector, he said; "It is the Prime Minister's view that the Government has a particular responsibility for non-government schooling, that we don't have for State Government schooling." What does that mean?
MATHIAS CORMANN: Well it is the Prime Minister's view and it is the Government's view that we have an important responsibility for both government and non-government schools. If you look at our track record, we are investing $1.2 billion more in schools over the forward estimates than the previous government did. Because in the dying days of the previous Labor Government, they ripped $1.2 billion out of both government and non-government schools in Western Australia, Queensland and the Northern Territory, which we have put back in. Without any doubt, we have a significant responsibility for both government and non-government schools, but bearing in mind, government schools in Australia under our system of government are run by State Governments. They are State schools and that is very relevant in this context.
DAVID LIPSON: So does the Government believe that ultimately State's should take full control, not just running but funding public education?
MATHIAS CORMANN: State Governments are fully in control of running State schools. What we have already said is that in the context of the Federation White Paper, their ought to be a conversation about making sure that State Governments are truly responsible and accountable for their areas of responsibility. We do think that in our current federal system of government there is too much overlap in responsibilities, which dilutes proper lines of accountability, that there is too much waste and duplication as a result and that there are opportunities to improve our broader governance arrangements, which ultimately would help deliver better outcomes at a lower cost.
DAVID LIPSON: Finance Minister Mathias Cormann, we will have to leave it there. Thanks for your time.
MATHIAS CORMANN:Always good to talk to you.


BadBadNotGood collaborate with Little Dragon on new track “Tried”: Stream
Another unreleased song from the guest-heavy sessions for 2016's IV
Little Dragon and BadBadNotGood, photos by Philip Cosores
BadBadNotGood brought a lot of guest collaborators into the studio with them while recording their 2016 album IV. Apparently they didn’t get their fill of working with other artists, however, as they’ve steadily been releasing more collabs ever since. Last year saw them finish their “Confessions” trilogy alongside Colin Stetson with “Confessions Pt III”, as well as reunite with Future Islands frontman Samuel T. Herring for “I Don’t Know”. For the latest team up, they’ve called on Little Dragon for the new track “Tried”.
The soulfully smooth composition is a perfect bed for Yukimi Nagano’s honeyed vocals to lay down over. She somehow sounds sweet even as she sings of losing control of her emotions. Take a listen below.
BBNG recently appeared on Kali Uchis’ debut album, Isolation, and covered Kanye’s “Ghost Town” while Kid Cudi walked at Paris Fashion Week. Little Dragon, meanwhile, has a writing credit on “Normal” from Eminem’s Kamikaze.
Collaborative Track
Indie Music Artists
Vampire Weekend’s Ezra Koenig and Rashida Jones welcome first child
Robyn finally releases “Honey”, the title track to her forthcoming album: Stream


The Maryland Campaign of September 1862. Volume III
Shepherdstown Ford and the End of the Campaign
Ezra A. Carman
The Battle of Shepherdstown and the End of the Campaign is the third and final volume of Ezra Carman's magisterial The Maryland Campaign of September 1862.
Thomas Clemens
3 maps, 3 images
Shepherdstown Ford and the End of the Campaign is the third and final volume of Ezra Carman’s magisterial The Maryland Campaign of September 1862, superbly edited and annotated by Dr. Tom Clemens.
The battle of Antietam was bloody and horrific, but as Carman makes clear, he did not believe it was the decisive battle of the sprawling 1862 campaign. Generals Robert E. Lee and George B. McClellan intended to continue fighting after Sharpsburg, but the battle of Shepherdstown Ford (September 19-20) forced them to abandon their goals and end the campaign. Carman was one of the few who gave this smaller engagement its due importance by detailing the disaster that befell the 118th Pennsylvania Infantry, Maj. Gen. A. P. Hill’s success in repulsing the Union advance, and the often overlooked foray of Jeb Stuart’s cavalry to seize the Potomac River ford at Williamsport.
Carman includes an invaluable statistical study of the casualties in the various battles of the entire Maryland Campaign, and covers President Lincoln’s decision to relieve General McClellan of command on November 7. He also explores the relations between the president and McClellan before and after the Maryland Campaign, which he appended to his original manuscript. His thorough examination of the controversy about McClellan’s role in the aftermath of Second Manassas campaign will surprise some and discomfort others, as might his insightful narrative about McClellan’s reluctance to commit General Franklin’s corps to aid Maj. Gen. John Pope’s army at Manassas. Carman concludes his account with an executive summary of the entire campaign.
This magisterial study concludes with Dr. Clemens’ invaluable bibliographical dictionary, a genealogical goldmine of personal information about the soldiers, politicians, and diplomats who had an impact on shaping Carman’s manuscript. While many names will be familiar to readers, others upon whom Carman relied for creating his campaign narrative are as obscure to us today as they were during the war.
The Maryland Campaign of September 1862, Vol. III: The Battle of Shepherdstown and the End of the Campaign, concludes the most comprehensive and detailed account of the campaign ever produced. Jammed with firsthand accounts, personal anecdotes, detailed footnotes, maps, and photos, this long-awaited study will be appreciated as Civil War history at its finest.
Ezra Ayres Carman was born in Oak Tree, New Jersey, on February 27, 1834, and educated at Western Military Academy in Kentucky. He fought with New Jersey organizations throughout the Civil War, mustering out as a brevet brigadier general. He was appointed to the Antietam National Cemetery Board of Trustees and later to the Antietam Battlefield Board in 1894. Carman also served on the Chattanooga-Chickamauga Battlefield Commission. He died in 1909 on Christmas day and was buried just below the Custis-Lee mansion in Arlington Cemetery. Thomas G. Clemens earned his doctoral degree at George Mason University, where he studied under Maryland Campaign historian Dr. Joseph L. Harsh. Tom has published a wide variety of magazine articles and book reviews, has appeared in several documentary programs, and is a licensed tour guide at Antietam National Battlefield. An instructor at Hagerstown Community College, he also helped found and is the current president of Save Historic Antietam Foundation, Inc., a preservation group dedicated to saving historic properties.
Thomas G. Clemens earned his doctoral degree at George Mason University, where he studied under Maryland Campaign historian Dr. Joseph L. Harsh. Tom has published a wide variety of magazine articles and book reviews, has appeared in several documentary programs, and is a licensed tour guide at Antietam National Battlefield. A retired professor from Hagerstown Community College, he also helped found and is the current president of Save Historic Antietam Foundation, Inc., a preservation group dedicated to saving historic properties.
"Exhaustively researched, and enhanced with extensive appendices including an exhaustive biographical dictionary covering all three volumes, The Maryland Campaign of September 1862 Volume III: Shepherdstown Ford and the End of the Campaign is part of a three-volume series, including "Volume I: South Mountain" (9781932714814) and "Volume II: Antietam" (9781611211146). The entire set is an in-depth, meticulously researched scholarly analysis, worthy of the highest recommendation for public and college library Civil War collections."
- Midwest Book Review
“This third installment concludes the publication of Ezra Carman’s manuscript. The Bible of the campaign, with Tom Clemens’ superb annotations and some 1,500 biographical profiles related to Antietam, is indispensable and required reading for every student of the American Civil War.”
- Ted Alexander, Historian (retired), Antietam National Battlefield, and author of Antietam: The Bloodiest Day
The Maryland Campaign of September 1862. Volume III Reviews
The National Tribune Civil War Index. 3-Volume Set
Flames Beyond Gettysburg
Scott L. Mingus
Resisting Sherman
From Texas to Rome
Fred L. Walker
Sickles at Gettysburg
James A. Hessler
The Carnage was Fearful
Michael Block
Battle of Big Bethel
J. Michael Cobb, Edward B. Hicks, Wythe Holt
The 9th Georgia Volunteer Infantry Regiment, 1861-1865


Whitfield, an agricultural village in the King River valley in north-east Victoria, is 47 km south of Wangaratta and 170 km from Melbourne. The village is immediately west of the flood prone King River and has state forest to its west and east. Agriculture extends along several stream valleys which are tributaries of the King River.
The name is probably a contraction of Whitefields, which was a pastoral run taken up by a William Clarke in 1845 (not William ‘Big’ Clarke, Port Phillip's most famous squatter). Although there are several Whitefields and Whitfields in British gazetteers, the most likely origin of the name was seasonal white groundcover flowers at Whitfield.
The land along the King River was suitable for growing many types of crops, and tobacco and hops were among the most productive. Schools were opened along the Whitfield part of the valley during the 1880s. A church was opened at Whitfield in 1887 and a narrow gauge railway line from Wangaratta to Whitfield ran from 1899 until 1953. A mechanics' institute and hall were opened in 1902 and within a few years a government tobacco research farm was transferred to Whitfield from Edi. In 1911 the Victorian municipal directory described Whitfield as a favourite tourist resort in the beautiful and fertile King Valley. It had a mechanic’s institute, two churches, sawmills, a cordial factory, a coffee palace and a hotel.
Whitfield, along with Cheshunt, King Valley and Edi, became one of the four localities in the King Valley area which grew tobacco. Large numbers of Italian, Yugoslav and Spanish farmers or sharefarmers entered the tobacco growing industry during the postwar years. In King Valley, 10 km north of Whitfield, 82% of the farms were owned by Italians in 1978.
Since the late 1970s tobacco growing has declined. (Total farm areas in Victoria fell from 3436 hectares (1978) to 1240 hectares (1994).) Some land has been taken for wine grape growing. Brown Brothers, Milawa, have expanded their vineyards to King Valley and Whitlands. Tobacco farmers have diversified into chestnuts, hops, berries, timber veneer trees and grazing.
Whitfield has a district school (33 pupils, 2014), three churches, two general stores, a community health centre, a golf course, a hotel and a caravan park. It is at the junction of roads from Mansfield and the upper reaches of the King River, and attracts campers and tourists. The memorial hall and an avenue of honour are on the main road.
Its census populations have been:
Whitfield 1901 97
Whitfield and environs 2006 281
2011* 421
*the census area in 2011 was larger than in 2006
Graham Jones, Memories of Oxley, Wangaratta, 1995
John E. Thompson, Focus on ... Victoria’s narrow gauge Whitfield line, Belgrave, 2002
<< Whitehorse City >>
<< Whittington >>
Crossing King River, Whitfield, 1907
Whitfield Uniting Church, 2006
A field of tobacco, Healesville, 1908
Buttons Falls, Whitfield near Wangaratta


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According to MTV.com, not only will Pop icon Janet Jackson feature on the soon-to-be-released ‘We Are The World’ remake, she…
Rappers, Singers Start 'We Are The World' Remake
Approximately 100 celebrity singers descended upon Henson Recording Studios on February 1st in Los Angeles, to record an updated version…
Celebs Team Up For "We Are The World"…
Celebs like Kanye West, Lil Wayne, Wyclef, Jennifer Hudson, Gladys Knight, Akon, Snoop, Pink, Mya, Brandy, Robin Thicke, Tyrese, Trey…