title: Carriage

text: Carriage use in North America came with the establishment of European settlers. Early colonial horse tracks quickly grew into roads especially as the colonists extended their territories southwest. Colonists began using carts as these roads and trading increased between the north and south. Eventually, carriages or coaches were sought to transport goods as well as people. As in Europe, chariots, coaches and/or carriages were a mark of status. The tobacco planters of the South were some of the first Americans to use the carriage as a form of human transportation. As the tobacco farming industry grew in the southern colonies so did the frequency of carriages, coaches and wagons. Upon the turn of the 18th century, wheeled vehicle use in the colonies was at an all-time high. Carriages, coaches and wagons were being taxed based on the number of wheels they had. These taxes were implemented in the South primarily as the South had superior numbers of horses and wheeled vehicles when compared to the North. Europe, however, still used carriage transportation far more often and on a much larger scale than anywhere else in the world.


title: Carriage

text: Carriages and coaches began to disappear as use of steam propulsion began to generate more and more interest and research. Steam power quickly won the battle against animal power as is evident by a newspaper article written in England in 1895 entitled "Horseflesh vs. Steam". The article highlights the death of the carriage as the main means of transportation.


title: Carriage

text: Nowadays, carriages are still used for day-to-day transport in the United States by some minority groups such as the Amish. They are also still used in tourism as vehicles for sightseeing in cities such as Bruges, Vienna, New Orleans, and Little Rock, Arkansas.


title: Carriage

text: The most complete working collection of carriages can be seen at the Royal Mews in London where a large selection of vehicles is in regular use. These are supported by a staff of liveried coachmen, footmen and postillions. The horses earn their keep by supporting the work of the Royal Household, particularly during ceremonial events. Horses pulling a large carriage known as a "covered brake" collect the Yeoman of the Guard in their distinctive red uniforms from St James's Palace for Investitures at Buckingham Palace; High Commissioners or Ambassadors are driven to their audiences with the Queen in landaus; visiting heads of state are transported to and from official arrival ceremonies and members of the Royal Family are driven in Royal Mews coaches during Trooping the Colour, the Order of the Garter service at Windsor Castle and carriage processions at the beginning of each day of Royal Ascot.


title: Carriage

text: Carriages may be enclosed or open, depending on the type. The top cover for the body of a carriage, called the "head" or "hood", is often flexible and designed to be folded back when desired. Such a folding top is called a "bellows top" or "calash". A "hoopstick" forms a light framing member for this kind of hood. The top, roof or second-story compartment of a closed carriage, especially a diligence, was called an "imperial". A closed carriage may have side windows called "quarter lights" (British) as well as windows in the doors, hence a "glass coach". On the forepart of an open carriage, a screen of wood or leather called a "dashboard" intercepts water, mud or snow thrown up by the heels of the horses. The dashboard or carriage top sometimes has a projecting sidepiece called a "wing" (British). A "foot iron" or "footplate" may serve as a carriage step.


title: Carriage

text: A carriage driver sits on a "box" or "perch", usually elevated and small. When at the front, it is known as a "dickey box", a term also used for a seat at the back for servants. A footman might use a small platform at the rear called a "footboard" or a seat called a "rumble" behind the body. Some carriages have a moveable seat called a "jump seat". Some seats had an attached backrest called a "lazyback".


title: Carriage

text: The shafts of a carriage were called "limbers" in English dialect. "Lancewood", a tough elastic wood of various trees, was often used especially for carriage shafts. A "holdback", consisting of an iron catch on the shaft with a looped strap, enables a horse to back or hold back the vehicle. The end of the tongue of a carriage is suspended from the collars of the harness by a bar called the "yoke". At the end of a trace, a loop called a "cockeye" attaches to the carriage.


title: Carriage

text: In some carriage types, the body is suspended from several leather straps called "braces" or "thoroughbraces", attached to or serving as springs.


title: Carriage

text: Beneath the carriage body is the "undergear" or "undercarriage" (or simply "carriage"), consisting of the running gear and chassis. The wheels and axles, in distinction from the body, are the "running gear". The wheels revolve upon bearings or a spindle at the ends of a bar or beam called an "axle" or "axletree". Most carriages have either one or two axles. On a four-wheeled vehicle, the forward part of the running gear, or "forecarriage", is arranged to permit the front axle to turn independently of the fixed rear axle. In some carriages a dropped axle, bent twice at a right angle near the ends, allows for a low body with large wheels. A guard called a "dirtboard" keeps dirt from the axle arm.


title: Carriage

text: Several structural members form parts of the chassis supporting the carriage body. The fore axletree and the splinter bar above it (supporting the springs) are united by a piece of wood or metal called a futchel, which forms a socket for the pole that extends from the front axle. For strength and support, a rod called the "backstay" may extend from either end of the rear axle to the reach, the pole or rod joining the hind axle to the forward bolster above the front axle.


title: Carriage

text: A skid called a "drag", "dragshoe", "shoe" or "skidpan" retards the motion of the wheels. A London patent of 1841 describes one such apparatus: "An iron-shod beam, slightly longer than the radius of the wheel, is hinged under the axle so that when it is released to strike the ground the forward momentum of the vehicle wedges it against the axle". The original feature of this modification was that instead of the usual practice of having to stop the carriage to retract the beam and so lose useful momentum the chain holding it in place is released (from the driver's position) so that it is allowed to rotate further in its backwards direction, releasing the axle. A system of "pendant-levers" and straps then allows the beam to return to its first position and be ready for further use.


title: Carriage

text: A horizontal wheel or segment of a wheel called a "fifth wheel" sometimes forms an extended support to prevent the carriage from tipping; it consists of two parts rotating on each other about the kingbolt or perchbolt above the fore axle and beneath the body. A block of wood called a "headblock" might be placed between the fifth wheel and the forward spring.


title: Carriage

text: Many of these fittings were carried over to horseless carriages and evolved into the modern elements of automobiles. During the Brass Era they were often the same parts on either type of carriage (i.e., horse-drawn or horseless).


title: Carriage

text: A person whose business was to drive a carriage was a "coachman". A servant in livery called a "footman" or "piquer" formerly served in attendance upon a rider or was required to run before his master's carriage to clear the way. An attendant on horseback called an "outrider" often rode ahead of or next to a carriage. A "carriage starter" directed the flow of vehicles taking on passengers at the curbside. A "hackneyman" hired out horses and carriages. When hawking wares, a "hawker" was often assisted by a carriage.


title: Carriage

text: Upper-class people of wealth and social position, those wealthy enough to keep carriages, were referred to as "carriage folk" or "carriage trade".


title: Carriage

text: Carriage passengers often used a "lap robe" as a blanket or similar covering for their legs, lap and feet. A "buffalo robe", made from the hide of an American bison dressed with the hair on, was sometimes used as a carriage robe; it was commonly trimmed to rectangular shape and lined on the skin side with fabric. A "carriage boot", fur-trimmed for winter wear, was made usually of fabric with a fur or felt lining. A "knee boot" protected the knees from rain or splatter.


title: Carriage

text: A horse especially bred for carriage use by appearance and stylish action is called a "carriage horse"; one for use on a road is a "road horse". One such breed is the "Cleveland Bay", uniformly bay in color, of good conformation and strong constitution. Horses were broken in using a bodiless carriage frame called a "break" or "brake".


title: Carriage

text: A roofed structure that extends from the entrance of a building over an adjacent driveway and that shelters callers as they get in or out of their vehicles is known as a "carriage porch" or "porte cochere". An outbuilding for a carriage is a "coach house", which was often combined with accommodation for a groom or other servants.


title: Carriage

text: A "livery stable" kept horses and usually carriages for hire. A range of stables, usually with "carriage houses" ("remises") and living quarters built around a yard, court or street, is called a "mews".


title: Carriage

text: A kind of dynamometer called a "peirameter" indicates the power necessary to haul a carriage over a road or track.


title: Carriage

text: In most European and English-speaking countries, driving is a competitive equestrian sport. Many horse shows host driving competitions for a particular style of driving, breed of horse, or type of vehicle. Show vehicles are usually carriages, carts, or buggies and, occasionally, sulkies or wagons. Modern high-technology carriages are made purely for competition by companies such as Bennington Carriages. in England.


title: Carriage

text: Terminology varies: the simple, lightweight two- or four-wheeled show vehicle common in many nations is called a "cart" in the USA, but a "carriage" in Australia.


title: Carriage

text: Internationally, there is intense competition in the all-round test of driving: combined driving, also known as "horse-driving trials", an equestrian discipline regulated by the Fédération Équestre Internationale (International Equestrian Federation) with national organizations representing each member country. World championships are conducted in alternate years, including single-horse, horse pairs and four-in-hand championships. The World Equestrian Games, held at four-year intervals, also includes a four-in-hand competition.


title: Carriage

text: For pony drivers, the World Combined Pony Championships are held every two years and include singles, pairs and four-in-hand events.


title: Carriage

text: An almost bewildering variety of horse-drawn carriages existed. Arthur Ingram's "Horse Drawn Vehicles since 1760 in Colour" lists 325 types with a short description of each. By the early 19th century one's choice of carriage was only in part based on practicality and performance; it was also a status statement and subject to changing fashions. The types of carriage included the following:


title: Fanny Crosby

text: Frances Jane van Alstyne (née Crosby; March 24, 1820 – February 12, 1915), more commonly known as Fanny J. Crosby, was an American mission worker, poet, lyricist, and composer. She was a prolific hymnist, writing more than 8,000 hymns and gospel songs, with more than 100 million copies printed. She is also known for her teaching and her rescue mission work. By the end of the 19th century, she was a household name.


title: Fanny Crosby

text: Crosby was known as the "Queen of Gospel Song Writers" and as the "Mother of modern congregational singing in America", with most American hymnals containing her work. Her gospel songs were "paradigmatic of all revival music", and Ira Sankey attributed the success of the Moody and Sankey evangelical campaigns largely to Crosby's hymns. Some of Crosby's best-known songs include "Pass Me Not, O Gentle Saviour", "Blessed Assurance", "Jesus Is Tenderly Calling You Home", "Praise Him, Praise Him", "Rescue the Perishing", and "To God Be the Glory". Some publishers were hesitant to have so many hymns by one person in their hymnals, so Crosby used nearly 200 different pseudonyms during her career.


title: Fanny Crosby

text: Crosby also wrote more than 1,000 secular poems and had four books of poetry published, as well as two best-selling autobiographies. Additionally, she co-wrote popular secular songs, as well as political and patriotic songs and at least five cantatas on biblical and patriotic themes, including "The Flower Queen", the first secular cantata by an American composer. She was committed to Christian rescue missions and was known for her public speaking.


title: Fanny Crosby

text: Frances Jane Crosby was born on March 24, 1820, in the village of Brewster, about north of New York City. She was the only child of John Crosby and his second wife Mercy Crosby, both of whom were relatives of Revolutionary War spy Enoch Crosby. He was a widower who had a daughter from his first marriage. According to C. Bernard Ruffin, John and Mercy were possibly first cousins; however, "by the time Fanny Crosby came to write her memoirs [in 1906], the fact that her mother and father were related... had become a source of embarrassment, and she maintained that she did not know anything about his lineage".


title: Fanny Crosby

text: Crosby was proud of her Puritan heritage. She traced her ancestry from Anna Brigham and Simon Crosby who arrived in Boston in 1635 (and were among the founders of Harvard College); their descendants married into Mayflower families, making Crosby a descendant of Elder William Brewster, Edward Winslow, and Thomas Prence, and a member of the exclusive Daughters of the Mayflower.


title: Fanny Crosby

text: She was also a member of the Daughters of the American Revolution in Bridgeport, Connecticut, writing the verses of the state song of the Connecticut branch. Through Simon Crosby, Fanny was also a relative of Presbyterian minister Howard Crosby and his neoabolitionist son Ernest Howard Crosby, as well as singers Bing and Bob Crosby.


title: Fanny Crosby

text: At six weeks old, Crosby caught a cold and developed inflammation of the eyes. Mustard poultices were applied to treat the discharges. According to Crosby, this procedure damaged her optic nerves and blinded her, but modern physicians think that her blindness was more likely congenital and, given her age, may simply not have been noticed by her parents.


title: Fanny Crosby

text: Her father died in November 1820 when Fanny was only six months old, so she was raised by her mother and maternal grandmother Eunice Paddock Crosby (born about 1778; died about 1831). These women grounded her in Christian principles, helping her memorize long passages from the Bible, and she became an active member of the John Street Methodist Episcopal Church in Manhattan.


title: Fanny Crosby

text: When Crosby was three, the family moved to North Salem, New York where Eunice had been raised. In April 1825, she was examined by the surgeon Valentine Mott, who concluded that her condition was inoperable and that her blindness was permanent.


title: Fanny Crosby

text: At age eight, Crosby wrote her first poem which described her condition. She later stated: "It seemed intended by the blessed providence of God that I should be blind all my life, and I thank him for the dispensation. If perfect earthly sight were offered me tomorrow I would not accept it. I might not have sung hymns to the praise of God if I had been distracted by the beautiful and interesting things about me." She also once said, "when I get to heaven, the first face that shall ever gladden my sight will be that of my Savior". According to biographer Annie Willis, "had it not been for her affliction she might not have so good an education or have so great an influence, and certainly not so fine a memory".


title: Fanny Crosby

text: In 1828, Mercy and Fanny moved to the home of a Mrs. Hawley in Ridgefield, Connecticut. While residing in Ridgefield, they attended the Presbyterian church on the village green. Historian Edith L. Blumhofer described the Crosby home environment as sustained by "an abiding Christian faith". Crosby memorized five chapters of the Bible each week from age 10, with the encouragement of her grandmother and later Mrs. Hawley; by age 15, she had memorized the four gospels, the Pentateuch, the Book of Proverbs, the Song of Solomon, and many of the Psalms. From 1832, a music teacher came to Ridgefield twice a week to give singing lessons to her and some of the other children. Around the same time, she attended her first Methodist church services at the Methodist Episcopal Church, and she was delighted by their hymns.


title: Fanny Crosby

text: Crosby enrolled at the New York Institution for the Blind (NYIB) in 1835, just before her 15th birthday. She remained there for eight years as a student, and another two years as a graduate pupil, during which time she learned to play the piano, organ, harp, and guitar, and became a good soprano singer. While she was studying at NYIB in 1838, her mother Mercy remarried and the couple had three children together. Mercy's husband abandoned her in 1844.


title: Fanny Crosby

text: After graduation from the NYIB in 1843, Crosby joined a group of lobbyists in Washington, D.C. arguing for support of education for the blind. She was the first woman to speak in the United States Senate when she read a poem there. She appeared before the joint houses of Congress and recited these lines:


title: Fanny Crosby

text: Crosby was among the students from the NYIB who gave a concert for Congress on January 24, 1844. She recited an original composition calling for an institution for educating the blind in every state which was praised by John Quincy Adams, among others. Two days later, she was among a group of Blind Institution students who gave a presentation to notable people at Trenton, New Jersey, where she recited an original poem calling for the aid and education of the blind. President James K. Polk visited the NYIB in 1845 and Crosby recited a poem that she composed for the occasion which praised "republican government". In 1851, she addressed the New York state legislature.


title: Fanny Crosby

text: In April 1846, Crosby spoke before a joint session of the United States Congress, with delegations from the Boston and Philadelphia Institutions for the Blind, "to advocate support for the education of the blind in Boston, Philadelphia, and New York". She testified before a special congressional subcommittee, and she performed in the music room at the White House for President Polk and his wife. Among the songs that she sang as she accompanied herself on the piano was her own composition:


title: Fanny Crosby

text: In 1846, Crosby was an instructor at the NYIB and was listed as a "graduate pupil". She subsequently joined the school's faculty, teaching grammar, rhetoric, and history; she remained there until three days before her wedding on March 5, 1858. While teaching at the NYIB, she befriended future US president Grover Cleveland then aged 17. The two spent many hours together at the end of each day, and he often transcribed the poems that she dictated to him. He wrote for her a recommendation which was published in her 1906 autobiography. She wrote a poem that was read at the dedication of Cleveland's birthplace in Caldwell, New Jersey in March 1913, being unable to attend due to her health.


title: Fanny Crosby

text: Crosby was a longtime member of the Sixth Avenue Bible Baptist Church in Brooklyn, New York, which has been in existence continuously since 1867. She served as a consecrated Baptist missionary, deaconess, and lay preacher. She wrote hymns together with her minister Robert Lowry, such as "All the Way My Savior Leads Me" and many others.


title: Fanny Crosby

text: There was a cholera epidemic in New York City from May to November 1849, and she remained at the NYIB to nurse the sick rather than leaving the city. Subsequently, according to Blumhofer, "Crosby seemed worn, languid, even depressed" when the Institution re-opened in November, forcing her to teach a lighter load. According to Bernard Ruffin:


title: Fanny Crosby

text: Crosby attended churches of various denominations until spring 1887, including the Plymouth Church of the Pilgrims in Brooklyn Heights led by Congregationalist abolitionist Henry Ward Beecher who was an innovator with church music. She attended the Trinity Episcopal church, and liked to worship at the North West Dutch Reformed church and the Central Presbyterian Church (later known as the Brooklyn Tabernacle). In later life, she said that one of her favorite preachers was Theodore Ledyard Cuyler, minister of the North East Dutch Reformed Church.


title: Fanny Crosby

text: Tradition insists that she was a member in good standing of the John Street Methodist Episcopal Church in Manhattan, but there are no contemporaneous records to confirm this. By 1869, she attended the Chelsea Methodist Episcopal Church.


title: Fanny Crosby

text: Crosby was not identified publicly with the American holiness movement of the second half of the 19th century and left no record of an experience of entire sanctification. She was, however, a fellow traveler of the Wesleyan holiness movement, including prominent members of the American Holiness movement in her circle of friends and attending Wesleyan/Holiness camp meetings. For example, she was a friend of Walter and Phoebe Palmer, "the mother of the holiness movement" and "arguably the most influential female theologian in Christian history", and their daughter Phoebe Knapp, with whom she wrote "Blessed Assurance"; she often visited the Methodist camp grounds at Ocean Grove, New Jersey, as their guest. She vacationed each summer at Ocean Grove between 1877 and 1897 (and possibly longer), where she would speak in the Great Auditorium and hold receptions in her cottage to meet her admirers.


title: Fanny Crosby

text: In 1877, Crosby met William J. Kirkpatrick, one of the most prolific composers of gospel song tunes and "the most prominent publisher in the Wesleyan/Holiness Movement". She called him "Kirkie" and wrote many hymns with him. Some of her hymns reflected her Wesleyan beliefs, including her call to consecrated Christian living in "I Am Thine, O Lord" (1875):


title: Fanny Crosby

text: Crosby's earliest published poem was sent without her knowledge to P. T. Barnum, who published it in his "The Herald of Freedom". She was examined by George Combe, a visiting Scottish phrenologist, who pronounced her a "born poetess". She had experienced some temporary opposition to her poetry by the faculty of the Blind Institution, but her inclination to write was encouraged by this experience. The Institution found Hamilton Murray to teach her poetic composition, though he admitted his own inability to compose poetry.


title: Fanny Crosby

text: In 1841, "New York Herald" published Crosby's eulogy on the death of President William Henry Harrison, thus beginning her literary career. Her poems were published frequently in "The Saturday Evening Post", the "Clinton Signal", the "Fireman's Journal", and the "Saturday Emporium".


title: Fanny Crosby

text: Crosby was reluctant to have her poems published, as she considered them to be "unfinished productions", but she acquiesced eventually because it would publicize the Institution and raise funds for it. (She had had an illness that caused her to leave the NYIB in order to recuperate.) Her first book "A Blind Girl and Other Poems" was published in April 1844 after encouragement by the Institution, including "An Evening Hymn" based on Psalm 4:8, which she described as her first published hymn. In 1853, her "Monterey and Other Poems" was published which included poems focusing on the recent Mexican–American War, and a poem pleading for the US to help those affected by the Great Famine of Ireland. She stated in her 1903 autobiography, edited by Will Carleton, that she "was under a feeling of sadness and depression at this time".


title: Fanny Crosby

text: In 1853, Crosby's poem "The Blind Orphan Girl" was included in Caroline M. Sawyer's "The History of the Blind Vocalists". Her third book "A Wreath of Columbia's Flowers" was published in 1858 at about the time when she resigned from the Blind Institution and got married. It contains four short stories and 30 poems.


title: Fanny Crosby

text: Crosby had been inspired by the success of the melodies of Stephen Foster, so she and George F. Root wrote at least 60 secular "people's songs" or parlour songs between August 1851 and 1857, some for the popular minstrel shows. (Root had taught music at the Blind Institution from 1845–50). The minstrel shows had a negative reputation among some Christians and classical musicians, so their participation in these compositions was deliberately obscured. "Like many cultured people of the day," writes Bernard Ruffin, "[Root] considered native American music rather crude." He chose to "Europeanize" his name (like many American artists and musicians of that era) to "George Friederich Wurzel" (German for Root), while Crosby's name was sometimes omitted altogether.


title: Fanny Crosby

text: For many years, Crosby was usually paid only $1 or $2 per poem, with all rights to the song being retained by the composer or publisher of the music.


title: Fanny Crosby

text: In the summer of 1851, George Root and Crosby both taught at the North Reading Musical Institute in North Reading, Massachusetts. Their first song was "Fare Thee Well, Kitty Dear" (1851) which evoked old-South imagery. Crosby's lyrics were based on a suggestion by Root, which she described as "the grief of a colored man on the death of his beloved." It was written for and performed exclusively by Henry Wood's Minstrels and published by John Andrews, who specialized in printing "neat, quick & cheap," according to Karen Linn. "This song was not a hit, and had no lasting influence," according to Linn, as "its style is far too literary, the words not in dialect, the cause of sorrow seems to be a lover (rather than 'massa', or Little Eva, or homesickness: all more appropriate causes for slave sorrow according to the popular culture)". In 1852, Root signed a three-year contract with William Hall & Son.


title: Fanny Crosby

text: Despite this initial setback, Crosby continued to teach at North Reading during her vacations in 1852 and 1853, where she wrote the lyrics for many of her collaborations with Root. Among their joint compositions were "Bird of the North" (1852) and "Mother, Sweet Mother, Why Linger Away?" (1852).


title: Fanny Crosby

text: Crosby and Root's first successful popular song was "The Hazel Dell" (1853), a sentimental ballad described by its publisher as "a very pretty and easy song, containing the elements of great popularity," released as the work of G.F. Wurzel toward the end of 1853. It was a hit that was "one of the most popular songs in the country" because of its performance by both Henry Wood's Minstrels and Christy's Minstrels, selling more than 200,000 copies of sheet music. It is described as being on "the fringes of blackface minstrelsy, although it lacks dialect or any hint of buffoonery", about a beautiful girl who died young.


title: Fanny Crosby

text: An article in the December 1854 issue of "New York Musical Review" proclaimed the death of "Negro minstrelsy." It listed "Hazel Dell," along with Stephen Foster's songs "Old Folks at Home" (1851) and "My Old Kentucky Home" (1853), as popular songs that were evidence of the ""bleaching" process… observable in the gradual rejection of the plantation, and the adoption of sentiments and poetic forms of expression, characteristic rather of the intelligent Caucasian".


title: Fanny Crosby

text: Toward the end of 1853, William Hall & Son released "Greenwood Bell" at the same time as "Hazel Dell", but credited it to Root and Crosby. "Greenwood Bell" describes the funerals of a child, a young man, and an aged person, and the tolling of the bell at the Greenwood Cemetery. Other songs written by Crosby and Root included "O How Glad to Get Home" and "They Have Sold Me Down the River (The Negro Father's Lament)" (1853). Their song "There's Music in the Air" (1854) became a hit song and was listed in "Variety Music Cavalcade" as one of the most popular songs of 1854; it was in songbooks until at least the 1930s and became a college song at Princeton University.


title: Fanny Crosby

text: Crosby-Root songs were published by other publishers after the expiration of Root's contract with William Hall & Son in 1855 (and after being rejected by Nathan Richardson of Russell & Richardson of Boston), including "Six Songs by Wurzel" published in 1855 by S. Brainard's Sons of Cleveland, Ohio. These six Root-Crosby songs were "O How Glad to Get Home," "Honeysuckle Glen," "The Church in the Wood," "All Together Now," and "Proud World, Good-by." The most popular of these songs was "Rosalie, the Prairie Flower", about the death of a young girl. It was popularized in the 1850s by the Christy Minstrels; it sold more than 125,000 copies of sheet music and earned nearly $3,000 in royalties for Root — and almost nothing for Crosby. Crosby also wrote the words for popular songs for other composers, including "There is a Bright and Sunny Spot" (1856) for Clare W. Beames.


title: Fanny Crosby

text: Between 1852 and 1854, Crosby wrote the librettos of three cantatas for Root. Their first was "The Flower Queen; The Coronation of the Rose" (1852), often described as "the first secular cantata written by an American." It is an opera "in all but name," described as a "popular operetta" which "illustrated nineteenth-century American romanticism." In her 1906 autobiography, Crosby explained the theme of this cantata:


title: Fanny Crosby

text: "The Flower Queen" was written as "a work for teenage girls (scored for first and second soprano and alto)." It was performed first on March 11, 1853 by the young ladies of Jacob Abbott's Springer Institute, and almost immediately repeated by Root's students at the Rutgers Female Institute; it was praised by R. Storrs Willis. It was performed an estimated 1,000 times throughout the United States in the first four years after its publication. The success of "The Flower Queen" and subsequent cantatas brought great acclaim and fortune to Root, with little of either for Crosby.


title: Fanny Crosby

text: The second Root-Crosby cantata was "Daniel, or the Captivity and Restoration", based on the Old Testament's story of Daniel. It was composed in 1853 for Root's choir at the Mercer Street Presbyterian Church in Manhattan. This cantata comprised 35 songs, with music composed with William Batchelder Bradbury and words by Crosby and Union Theological Seminary student Chauncey Marvin Cady. Some of its principal choruses were first performed on July 15, 1853 by the students at Root's New York Normal Institute.


title: Fanny Crosby

text: In 1854, Root and Crosby collaborated to compose "The Pilgrim Fathers", described as an "antebellum landmark" in dramatic cantatas. According to Blumhofer, it "featured the contemporary evangelical reading of American history." Crosby wrote the libretto for a cantata entitled "The Excursion", with music by Baptist music professor Theodore Edson Perkins, one of the founders of New York music publishing house Brown & Perkins. In 1886, Crosby and William Howard Doane wrote "Santa Claus' Home; or, The Christmas Excursion", a Christmas cantata published by Biglow & Main.


title: Fanny Crosby

text: In addition to poems of welcome to visiting dignitaries, Crosby wrote songs of a political nature, such as about the major battles of the Mexican–American War and the American Civil War.


title: Fanny Crosby

text: By the 1840 US Presidential election, she was "an ardent Democrat" and wrote verse against Whig candidate (and ultimate winner) William Henry Harrison. By 1852, she switched her political allegiance from support for the pro-slavery Democrats to the anti-slavery Whigs, writing the poem "Carry Me On" for them in 1852. After the election of Democrat Franklin Pierce as US President in November 1856, she wrote:


title: Fanny Crosby

text: Though she considered herself a Democrat at the time, Crosby was a keen admirer of the leading Whig, U.S. Senator Henry Clay of Kentucky, who in 1848 made a tour of large eastern cities. He visited the New York Institution for the Blind in New York City, where Crosby lived. The visit came two years after the death of Henry Clay Jr., in the Mexican–American War. Crosby recalled that "the great statesman was never quite himself after his son's death, and I purposely avoided all mention of it in the address of welcome on the day he came to visit us, lest I mighty wound the heart of the man whom I had learned not only to venerate but to love; for Mr. Clay was always an especial favorite among public men. There was a strength in his character and an earnestness in his speeches that appealed to me more than I can tell. ... I would have challenged any person, whether Whig or Democrat, Northerner or Southerner to come within range of the man's eloquence without being moved to admiration and profound respect; for his personal magnetism was wonderful."


title: Fanny Crosby

text: Crosby was a strict abolitionist and supported Abraham Lincoln and the newly created Republican Party. After the Civil War, she was a devoted supporter of the Grand Army of the Republic and its political aims.


title: Fanny Crosby

text: During the American Civil War, according to Edith Blumhofer, Crosby "vented patriotism in verse," and it evoked "an outpouring of songs—some haunting, some mournful, some militaristic, a few even gory", but "her texts testified to her clear moral sense about the issues that fomented in the war years." She wrote many poems supporting the Union cause, including "Dixie for the Union" (1861), written before the outbreak of hostilities to the tune of Dixie (the tune adopted later by the Confederate States of America as a patriotic anthem). The first of the five stanzas is:


title: Fanny Crosby

text: Crosby wrote the words and William B. Bradbury composed the music, soon after they met in February 1864, for the popular patriotic Civil War song "There is a Sound Among the Forest Trees". Her text encourages volunteers to join the Union forces and incorporates references to the history of the United States, including the Pilgrim Fathers and the Battle of Bunker Hill.


title: Fanny Crosby

text: Also during the American Civil War, Crosby wrote "Song to Jeff Davis" directed at Jefferson Davis, the president of the Confederate States of America, which expressed her belief in the morality of the Union cause: "Our stars and stripes are waving, And Heav'n will speed our cause". She also wrote "Good-By, Old Arm," a tribute to wounded soldiers with music by Philip Philips, "Our Country," and "A Tribute (to the memory of our dead heroes)."


title: Fanny Crosby

text: As late as September 1908, Crosby wrote patriotic poems for the Daughters of the American Revolution, including "The State We Honor" which extolls the virtues of her adopted state of Connecticut.


title: Fanny Crosby

text: In the summer of 1843, Crosby met Alexander van Alstyne Jr. (sometimes spelled van Alstine or van Alsteine), called "Van" by his friends. He also was blind and enrolled at the NYIB, where he was a casual acquaintance of Crosby and sometimes a student in her classes. He was a teacher at NYIB for two years from 1855; during this time, the couple were engaged to be married, necessitating her resignation from NYIB three days prior to their wedding at Maspeth, New York on March 5, 1858.


title: Fanny Crosby

text: After their wedding, the van Alstynes lived in a small home in the rural village of Maspeth, New York with a population of about 200 people—present-day Maspeth, Queens, New York, and no longer rural.


title: Fanny Crosby

text: At her husband's insistence, Crosby continued to use her maiden name as her literary name, but she chose to use her married name on all legal documents. However, according to biographer Edith Blumhofer: "Despite her education, her handwriting was barely legible, and on legal documents she signed her name with an X witnessed by friends".


title: Fanny Crosby

text: In 1859, the van Alstynes had a daughter named Frances who died in her sleep soon after birth. Some believe that the cause was typhoid fever, although Darlene Neptune speculates that it may have been SIDS, and that Crosby's hymn "Safe in the Arms of Jesus" was inspired by her death.


title: Fanny Crosby

text: After the death of their daughter, Van became increasingly reclusive; Crosby never spoke publicly about being a mother, aside from mentioning it in a few interviews towards the end of her life: "Now I am going to tell you of something that only my closest friends know. I became a mother and knew a mother's love. God gave us a tender babe but the angels came down and took our infant up to God and to His throne". In late 1859, the van Alstynes moved frequently, "establishing a pattern that continued for the rest of their lives", and never owned their own home, living in rented accommodation without a lease.


title: Fanny Crosby

text: In addition to Crosby's income as a poet and lyricist, Van played the organ at two churches in New York City, and gave private music lessons. The couple could have lived comfortably on their combined income, but Crosby "had other priorities and gave away anything that was not necessary to their daily survival". Van and Fanny organized concerts with half the proceeds given to aid the poor, in which she gave recitations of her poems and sang, and he played various instruments. Van provided the music for some of her poetry, although Fanny indicated that "his taste was mostly for the wordless melodies of the classics". The van Alstynes collaborated on the production of a hymnal featuring only hymns written by them, but it was rejected by Biglow and Main—ostensibly because the directors believed that the public would not buy a hymnal featuring only two composers, but probably due to the complexity of the melodies. In 1874, Crosby was reported to be "living in a destitute condition".


title: Fanny Crosby

text: For many years, the van Alstynes had "a most unusual married life", and lived together only intermittently. By 1880, they had separated, living both separately and independently due to a rift in their marriage of uncertain origin. At one point soon after, Crosby moved to a "dismal flat" at 9 Frankfort Street, near one of Manhattan's worst slums in the Lower East Side. Thereafter, she lived at several different addresses in and around Manhattan.


title: Fanny Crosby

text: Van Alstyne rarely accompanied Crosby when she traveled, and she vacationed without him. Despite living separately for more than two decades, Crosby insisted that they "maintained an amiable relationship", kept in contact with one another, and even ministered together on occasions in this period. For example, Alexander played a piano solo at the third annual reunion of the Underhill Society of America on June 15, 1895 in Yonkers, New York, while Crosby read an ode to Captain John Underhill, the progenitor of the American branch of the Underhill family. Her only recorded admission of marital unhappiness was in 1903, when she commented on her late husband in Will Carleton's "This is My Story": "He had his faults—and so have I mine, but notwithstanding these, we loved each other to the last".


title: Fanny Crosby

text: In 1896, Crosby moved from Manhattan to an apartment in a poor section of Brooklyn, living with friends at South Third Street, Brooklyn, near the home of Ira D. Sankey and his wife Fannie, and near the mansion owned by Phoebe Knapp.


title: Fanny Crosby

text: Crosby was "the most prolific of all nineteenth-century American sacred song writers". By the end of her career she had written almost 9,000 hymns, using scores of pen names assigned to her by publishers who wanted to disguise the proliferation of her compositions in their publications.


title: Fanny Crosby

text: It is estimated that books containing her lyrics sold 100 million copies. However, due to the low regard for lyricists in the popular song industry during her lifetime, and what June Hadden Hobbs sees as "the hypocrisy of sacred music publishers" which resulted for Crosby in "a sad and probably representative tale of exploitation of female hymn writers", and the contemporary perception that "Crosby made a very profitable living off writing songs that were sung (and played) by the masses", "like many of the lyricists of the day, Crosby was exploited by copyright conventions that assigned rights not to the lyricist but to the composer of the music... Crosby was paid a flat fee of one or two dollars a hymn". In her 1906 autobiography, Crosby insisted she wrote her hymns "in a sanctified manner", and never for financial or commercial considerations, and that she had donated her royalties to "worthy causes".


title: Fanny Crosby

text: Crosby set a goal of winning a million people to Christ through her hymns, and whenever she wrote a hymn she prayed it would bring women and men to Christ, and kept careful records of those reported to have been saved through her hymns.


title: Fanny Crosby

text: Referring to Crosby's songs, the "Dictionary of American Religious Biography" indicated: "by modern standards her work may be considered mawkish or too sentimental. But their simple, homey appeal struck a responsive chord in Victorian culture. Their informal ballad style broke away from the staid, formal approach of earlier periods, touching deep emotions in singers and listeners alike. Instead of dismissing her words as maudlin or saccharine, audiences thrilled to them as the essence of genuine, heartfelt Christianity". Crosby's hymns were popular because they placed "a heightened emphasis on religious experiences, emotions, and testimonies" and reflected "a sentimental, romanticized relationship between the believer and Christ", rather than using the negative descriptions of earlier hymns that emphasised the sinfulness of people.


title: Fanny Crosby

text: Ann Douglas argues that Crosby was one of the female authors who "emasculated American religion" and helped shift it from "a rigorous Calvinism" to "an anti-intellectual and sentimental mass culture". Feminist scholars have suggested that "emphases in her hymns both revealed and accelerated the feminizing of American evangelicalism".


title: Fanny Crosby

text: Howard Doane was an industrialist who became Crosby's principal collaborator in writing gospel music, composing melodies for an estimated 1,500 Crosby's lyrics. Doane and Crosby collaborated through Biglow and Main, and also privately through Doane's Northern Baptist endeavours. Eventually Crosby entrusted to Doane the business aspects of her compositions.


title: Fanny Crosby

text: In early 1868 Crosby met wealthy Methodist Phoebe Palmer Knapp, who was married to Joseph Fairchild Knapp, co-founder of the Metropolitan Life Insurance Company. The Knapps published hymnals initially for use in the Sunday School of Saint John's Methodist Episcopal Church in Brooklyn, which was superintended by Joseph F. Knapp for 22 years, while Phoebe Knapp took responsibility for 200 children in the infants' department. They first collaborated on "Notes of Joy", the first hymnal edited by Knapp, who also contributed 94 of the 172 tunes, and published by her brother, Walter C. Palmer Jr., in 1869. Of the 21 hymns Crosby contributed to "Notes of Joy", including eight as "The Children's Friend", Knapp provided the music for fourteen of them. Their best-known collaboration was "Blessed Assurance", for which Crosby wrote words in the Knapps' music room for a tune written by Knapp, while Crosby was staying at the Knapp Mansion in 1873.


title: Fanny Crosby

text: From 1871 to 1908, Crosby worked with Ira Sankey, who helped make her "a household name to Protestants around the world". While Sankey was "the premier promoter" of gospel songs, "Crosby ranked first as their provider". The evangelist team of Sankey and Dwight L. Moody brought many of Crosby's hymns to the attention of Christians throughout the United States and Britain. Crosby was close friends with Sankey and his wife, Frances, and often stayed with them at their home in Northfield, Massachusetts from 1886 for the annual summer Christian Workers' Conferences, and later in their Brooklyn. After Sankey's eyesight was destroyed by glaucoma in March 1903, their friendship deepened and they often continued to compose hymns together at Sankey's harmonium in his home.


title: Fanny Crosby

text: Crosby described her hymn-writing process: 'It may seem a little old-fashioned, always to begin one's work with prayer, but I never undertake a hymn without first asking the good Lord to be my inspiration.' Her capacity for work was incredible and could often compose six or seven hymns a day. Her poems and hymns were composed entirely in her mind and she worked on as many as twelve hymns at once before dictating them to an amanuensis. On one occasion Crosby composed 40 hymns before they were transcribed. Her lyrics would usually be transcribed by "Van" or later by her half-sister, Carolyn "Carrie" Ryder or her secretary Eva C. Cleaveland, as Crosby herself could write little more than her name. While Crosby had musical training, she did not compose the melody for most of her lyrics. In 1903 Crosby claimed that "Spring Hymn" was the only hymn she wrote both the words and music.


title: Fanny Crosby

text: In 1906 Crosby composed both the words and music for "The Blood-Washed Throng", which was published and copyrighted by gospel singer Mary Upham Currier, a distant cousin who had been a well-known concert singer. While teaching at the NYIB, Crosby studied music under George F. Root, until his resignation in November 1850.


title: Fanny Crosby

text: In 1921, Edward S. Ninde wrote: "None would claim that she was a poetess in any large sense. Her hymns... have been severely criticised. Dr. Julian, the editor of the Dictionary of Hymnology, says that 'they are, with few exceptions, very weak and poor,' and others insist that they are 'crudely sentimental'. Some hymn books will give them no place whatever". According to "Glimpses of Christian History", Crosby's "hymns have sometimes been criticized as 'gushy and mawkishly sentimental' and critics have often attacked both her writing and her theology. Nonetheless, they were meaningful to her contemporaries and hymn writer George C. Stebbins stated, 'There was probably no writer in her day who appealed more to the valid experience of the Christian life or who expressed more sympathetically the deep longings of the human heart than Fanny Crosby.' And many of her hymns have stood the test of time, still resonating with believers today".


title: Fanny Crosby

text: Crosby will probably always be best known for her hymns, yet she wanted to be seen primarily as a rescue mission worker. According to Keith Schwanz:


title: Fanny Crosby

text: Many of Fanny's hymns emerged from her involvement in the city missions, including "More Like Jesus" (1867), "Pass Me Not, O Gentle Saviour" (1868), and "Rescue the Perishing" (1869), which became the "theme song of the home missions movement" and was "perhaps the most popular city mission song", with its "wedding of personal piety and compassion for humanity". She celebrated the rescue mission movement in her 1895 hymn "The Rescue Band".


title: Fanny Crosby

text: Crosby had lived for decades in such areas of Manhattan as Hell's Kitchen, the Bowery, and the Tenderloin. She was aware of the great needs of immigrants and the urban poor, and was passionate to help those around her through urban rescue missions and other compassionate ministry organizations. "From the time I received my first check for my poems, I made up my mind to open my hand wide to those who needed assistance". Throughout her life, she was described as having "a horror of wealth", never set prices for her speaking engagements, often refused honoraria, and "what little she did accept she gave away almost as soon as she got it". She and her husband also organized concerts, with half the proceeds given to aid the poor. Throughout New York City, Crosby's sympathies for the poor were well-known, but consisted primarily of indirect involvement by giving contributions from the sale of her poems, and by writing and sending poems for special occasions for these missions to the dispossessed, as well as sporadic visits to those missions.


title: Fanny Crosby

text: Crosby supported the American Female Guardian Society and Home for the Friendless (founded in 1834) at 29 East 29th Street, for whom she wrote a hymn in 1865 that was sung by some of the Home's children:


title: Fanny Crosby

text: She wrote "More Like Jesus Would I Be" in June 1867 expressly for the sixth anniversary of the Howard Mission and Home for Little Wanderers, a nondenominational mission at New Bowery, Manhattan.


title: Fanny Crosby

text: She was inspired to write "Pass Me Not, O Gentle Saviour" after speaking at a service at the Manhattan prison in spring 1868, from comments by some prisoners for the Lord not to pass them by. Doane set it to music and published it in "Songs of Devotion" in 1870. "Pass Me Not" became her first hymn to have global appeal, after it was used by Sankey in his crusades with Moody in Britain in 1874. Sankey said, "No hymn was more popular at the meetings in London in 1875 than this one."


title: Fanny Crosby

text: In April 1868, Crosby wrote "Fifty Years Ago" for the semi-centennial of the New-York Port Society, which was founded in 1818 "for the promotion of the Gospel among the seamen in the Port of New-York".


title: Fanny Crosby

text: By July 1869, Crosby was attending at least weekly meetings organized by the interdenominational New York City Mission. A young man was converted through her testimony, and she was inspired to write the words for "Rescue the Perishing" based on a title and a tune given to her by William Howard Doane a few days earlier.


title: Fanny Crosby

text: Ira Sankey recalled the origins of "Rescue the Perishing" in his 1907 book "My Life and the Story of the Gospel Hymns":


title: Fanny Crosby

text: In 1880, aged 60, Crosby "made a new commitment to Christ to serve the poor" and to devote the rest of her life to home missionary work. She continued to live in a dismal flat at 9 Frankfort Street, near one of the worst slums in Manhattan, until about 1884. From this time, she increased her involvement in various missions and homes.


title: Fanny Crosby

text: During the next three decades, she dedicated her time as "Aunty Fanny" to work at various city rescue missions, including the McAuley Water Street Mission, the Bowery Mission, the Howard Mission, the Cremore Mission, the Door of Hope, and other skid row missions. Additionally, she spoke at YMCAs, churches, and prisons about the needs of the urban poor. Additionally, she was a passionate supporter of Frances Willard and the Women's Christian Temperance Union and its endeavors to urge either abstinence or moderation in the use of alcohol.


title: Fanny Crosby

text: For example, Crosby wrote the words for the song "The Red Pledge" before 1879, which advocated total abstinence from imbibing alcohol.


title: Fanny Crosby

text: From about 1880, Crosby attended and supported the Helping Hand for Men in Manhattan (better known as the Water Street Mission), "America's first rescue mission", which was founded by a married couple to minister to alcoholics and the unemployed. Jerry McAuley was a former alcoholic and thief who became a Christian in Sing Sing prison in 1864, and his wife Maria (c.(1847 – September 19, 1919) was a self-described "river thief" and "fallen woman". Crosby often attended the Water Street Mission, "conversing and counseling with those she met".


title: Fanny Crosby

text: Crosby supported the Bowery Mission in Manhattan for two decades, beginning in November 1881. The Bowery Mission welcomed the ministry of women and she worked actively, often attending and speaking in the evening meetings. She addressed large crowds attending the anniversary service each year until the building was razed in a fire in 1897. She would also recite a poem which she'd written for the occasion, many of which were set to music by Victor Benke, the Mission's volunteer organist from 1893–97. Among the songs that she and Benke collaborated on were six published in 1901: "He Has Promised" , "There's a Chorus Ever Ringing" , "God Bless Our School Today" , "Is There Something I Can Do?" , "On Joyful Wings" , and "Keep On Watching" .


title: Fanny Crosby

text: Jerry and Maria McAuley started the Cremorne Mission in 1882 in the Cremorne Garden at 104 West 32nd Street, as a "beachhead in a vast jungle of vice and debauchery known as Tenderloin" (near Sixth Avenue). Crosby attended the nightly 8 pm services, where gospel songs were often sung that were written by her and Doane, including "ballads recalling mother's prayers, reciting the evils of intemperance, or envisioning agonizing deathbed scenes intending to arouse long-buried memories and strengthen resolves". She was inspired to write a prayer after the death of Jerry McAuley in 1884 which was later included in rescue song books:


title: Fanny Crosby

text: After McAuley's death, Crosby continued to support the Cremorne Mission, now led by Samuel Hopkins Hadley.


title: Fanny Crosby

text: Some of the city missions with which Crosby worked were operated by proponents of Wesleyan/Holiness doctrine, including the Door of Hope rescue home founded by socialite Emma Whittemore on October 25, 1890 in a house belonging to A.B. Simpson, intended as "a refuge and a home for girls of the better class who have been tempted from home and right", and to rescue "fallen girls".


title: Fanny Crosby

text: Crosby's hymn writing declined in later years, but she was active in speaking engagements and missionary work among America's urban poor almost until she died. She was well known, and she often met with presidents, generals, and other dignitaries. According to Blumhofer, "The popularity of Fanny Crosby's lyrics as well as her winsome personality catapulted her to fame".


title: Fanny Crosby

text: Some of her wealthy friends contributed often to her financial needs, such as Doane, Sankey, and Phoebe Knapp, although she still tended to give generously to those whom she saw as less fortunate than herself. Her longtime publisher The Biglow and Main Company paid her a small stipend of $8 each week in recognition of her contributions to their business over the years, even after she submitted fewer lyrics to them. However, Knapp and others believed that Biglow and Main had made enormous profits because of Crosby without compensating her adequately for her contributions, and that she should be living more comfortably in her advanced years.


title: Fanny Crosby

text: She had been ill with a serious heart condition for a few months by May 1900, and she still showed some effects from a fall, so her half-sisters traveled to Brooklyn to convince her to move from her room in the home of poet Will Carleton in Brooklyn to Bridgeport, Connecticut. They urged her to live with her widowed half-sister Julia "Jule" Athington and with Jule's widowed younger sister Caroline "Carrie" W. Rider. She and Rider rented a room together, before moving to a rented apartment where they lived until 1906. She transferred her church membership from Cornell Memorial Methodist Church in Manhattan to the First Methodist Church of Bridgeport in 1904, after moving to Bridgeport. Her husband "Van" died on July 18, 1902; he had been living in Brooklyn. She did not attend the funeral due to her own poor health. Phoebe Knapp paid for his burial at Mount Olivet Cemetery, Queens County, New York.


title: Fanny Crosby

text: Crosby and Rider moved to 226 Wells Street, Bridgeport, Connecticut in summer 1906 because of Rider's cancer. Carrie died of intestinal cancer in July 1907, and Phoebe Knapp died on July 10, 1908. Weeks later, Ira Sankey died having just sung "Saved by Grace", one of Crosby's most popular compositions.


title: Fanny Crosby

text: On May 2, 1911, Crosby spoke to 5,000 people at the opening meeting of the Evangelistic Committee's seventh annual campaign held in Carnegie Hall, after the crowd sang her songs for thirty minutes. On Crosby's 94th birthday in March 1914, Alice Rector and the King's Daughters of the First Methodist Church of Bridgeport, Connecticut organized a Violet Day to honor her, which was publicized nationally by Hugh Main.


title: Fanny Crosby

text: American poet, author, and lecturer Will Carleton was a wealthy friend with whom Crosby had lived in her last years in Brooklyn. He had been giving lectures on her hymns and life, and had published a series of articles about her in his "Every Where" magazine in 1901 (which had a peak circulation of 50,000 copies a month), for which he paid her $10 an article. In 1902, he wrote a tribute to her that was published in his "Songs of Two Centuries".


title: Fanny Crosby

text: At Knapp's instigation, Carleton revised those articles and wrote "Fanny Crosby's Life-Story", a biography which she authorized initially; it was published by July 1903 and reviewed favorably by "The New York Times" on July 25. Carleton's book sold for $1 a copy.


title: Fanny Crosby

text: This was the first full-length biographical account of Crosby's life, although Robert Lowry had written a 16-page biographical sketch that was published in 1897 in her last book of poems "Bells of Evening and Other Verses". In the advertisement at the front of the book, the following statement from "the author" was signed with a facsimile of Crosby's signature: "'Fanny Crosby's Life-Story' is published and sold for my benefit, and I hope by its means to be a welcome guest in many homes". Carleton added:


title: Fanny Crosby

text: According to Ruffin, Carleton's book "went over like a lead balloon with Fanny's publishers." There was nothing negative written explicitly about Biglow and Main, but there was also little praise for the firm and its members. Crosby is quoted, referring to Biglow and Main: "with whom I have maintained most cordial and even affectionate relations, for many years past". The book did not use any of her hymns that were owned by Biglow and Main. Hubert Main believed that "Will Carleton wanted to ignore the Biglow & Main Company and all its writers as far as possible and set himself up as the one of her friends who was helping her". Biglow and Main believed that Carleton and Phoebe Knapp were guilty of "a brutal attack on Fanny", and that they were plotting to "take over" Crosby. Knapp was not invited to the 40th anniversary reception and dinner held in Manhattan in February 1904 to celebrate Crosby's association with Bradbury and Biglow and Main; according to Blumhofer, she was "persona non grata" at Biglow and Main.


title: Fanny Crosby

text: Biglow and Main were concerned that the book would diminish sales of Crosby's "Bells at Evening and Other Verses", which they had published in 1897 and which contained Lowry's biographical sketch of Crosby. They convinced Crosby to write to both Carleton and Knapp, and to threaten to sue Carleton in April 1904. The threatened lawsuit was to obtain information regarding sales of the book, for which she had been promised a royalty of 10 cents per copy, and to seek an injunction preventing further publication. The proposed injunction was on the grounds that she had been misrepresented by Carleton; she believed that he had described her as living alone in poor health and extreme poverty, when in fact she was receiving $25 a week from Biglow and Main and was living with relatives who cared for her. Crosby indicated she had no desire to be a homeowner, and that if she ever lived in poverty, it was by her own choice.


title: Fanny Crosby

text: In response to Crosby's letter and threats, Carleton wrote in a letter to "The New York Times" that he was motivated to write his "labor of love" for Crosby in order to raise money that she might have a home of her own for the first time in her life. He stated that he had:


title: Fanny Crosby

text: Sankey paid the rent on the Bridgeport house where Crosby lived with her half-sister Carrie. He implied in an article in "The Christian" that "the Carleton business had been of Satanic origin and commented, echoing the wheat and tares passage in scripture, 'An enemy hath done this'".


title: Fanny Crosby

text: In 1904, Phoebe Knapp contacted Methodist Episcopal Church Bishop Charles Cardwell McCabe and enlisted his assistance in publicizing Crosby's poverty, raising funds to ameliorate that situation. They secured Crosby's permission to solicit funds for her benefit, and the religious press (including "The Christian Advocate") carried McCabe's request for money on her behalf in June 1904, under the heading "Fanny Crosby in Need". McCabe indicated that Crosby's "hymns have never been copyrighted in her own name, she has sold them for small sums to the publishers who hold the copyright themselves, and the gifted authoress has but little monetary reward for hymns that have been sung all over the world".


title: Fanny Crosby

text: By July 1904, newspapers reported that Crosby's publishers had issued a statement denying that she was in need of funds, indicating that she never would be, "as they have provided abundantly for her during her entire life", and stating that "Bishop McCabe … has been grossly deceived by somebody".


title: Fanny Crosby

text: Crosby also wrote a letter to Bishop McCabe in response to his fundraising on her behalf. This letter was published at her instigation, permitting him to solicit funds from her friends as "a testimonial of their love", but reiterating that she was not living in poverty, nor was she dying or in poor health. Crosby and her representatives contacted him a week later, and McCabe wrote to "The Christian Advocate" explaining his rationale for raising funds for her, but stating that he was withdrawing the appeal at her request.


title: Fanny Crosby

text: The matter was still not settled in July 1904; however, it came to an end before Fanny Crosby Day in March 1905 after Carleton's wife Adora died suddenly.


title: Fanny Crosby

text: In 1905 Carleton issued a new edition of "Fannie Crosby, Her Life Work", which was both expanded and "newly illustrated", and despite "the greater expense of production, the price remains One Dollar a copy", with Crosby to "receive the same liberal royalty", as the book was "".


title: Fanny Crosby

text: In December 1905 Crosby issued a card protesting the continued sale of Carleton's book, again denying she was "in distress", as she was in "comfortable circumstances and very active", giving lectures nearly once a week. She indicated she had received less than $325 from the sale of the book, that her "requests had been disregarded", but that "when these facts are fully known to all, the publishers can sell the book as they desire; only I have no wish to increase its sale for my own benefit, which, of course, is very small".


title: Fanny Crosby

text: Despite Crosby's efforts, Carleton continued to advertise the book for sale until at least 1911. In 1911, Carleton serialised and updated Crosby's life story in "Every Where". The 1906 publication of Crosby's own autobiography, "Memories of Eighty Years", which, in contrast to Carleton's book, focused on Crosby's hymn-writing years, was sold by subscription and door-to-door, and promoted in lectures by Doane, raised $1,000 for Crosby. For a period Crosby and Knapp were estranged because of the Carleton book, but by early 1905 they had reconciled.


title: Fanny Crosby

text: Crosby died at Bridgeport of arteriosclerosis and a cerebral hemorrhage on February 12, 1915 after a six-month illness, aged 94. She was buried at Mountain Grove Cemetery in Bridgeport, CT near her mother and other members of her family. Her family erected a very small tombstone at her request which carried the words: "Aunt Fanny: She hath done what she could; Fanny J. Crosby".


title: Fanny Crosby

text: Crosby said that her interest in "public affairs has never abated. There are not many people living in this year of grace who had the privilege of meeting such statesmen as Henry Clay, General Scott, and President Polk, but the names of these heroes are recorded with indelible letters among the annals of our national history, and their imperishable deeds are chronicled in characters that no person living should wish to efface. They were men of sterling worth and firm integrity, of whom the rising generation may well learn wisdom and the true principles of national honor and democracy that all of them labored so faithfully to inculcate. ..."


title: Fanny Crosby

text: On Sunday, March 26, 1905, Fanny Crosby Day was celebrated in churches of many denominations around the world, with special worship services in honor of her 85th birthday two days earlier. On that day, she attended the First Baptist Church in Bridgeport where Carrie Rider was a member; she spoke in the evening service and was given $85.


title: Fanny Crosby

text: In March 1925, about 3,000 churches throughout the United States observed Fanny Crosby Day to commemorate the 105th anniversary of her birth.


title: Fanny Crosby

text: Crosby left money in her will for "the sheltering of senior males who had no other place to live, with these men to pay a nominal fee to the home for their living expenses". In 1923, the King's Daughters of the First Methodist Church of Bridgeport, Connecticut honored Crosby's request to memorialize her by beginning to raise the additional funds needed to establish the Fanny Crosby Memorial Home for the Aged. The non-denominational home was established in the former Hunter house at 1008 Fairfield Avenue, Bridgeport; it opened on November 1, 1925 after a national drive by the Federation of Churches to raise $100,000 to operate it. It operated until 1996 when it was given to the Bridgeport Rescue Mission.


title: Fanny Crosby

text: The Enoch Crosby chapter of the Daughters of the American Revolution dedicated a historic roadside marker on October 8, 1934, commemorating her birthplace on the western side of Route 22 in Doansburg, New York, just north of Brewster.


title: Fanny Crosby

text: A large memorial stone was dedicated on May 1, 1955 by Crosby's "friends to whom her life was an inspiration"—a stone that "dwarfed the original gravestone"—despite her specific instructions not to erect a large marble monument. It contained the first stanza of "Blessed Assurance".


title: Fanny Crosby

text: Crosby was posthumously inducted into the Gospel Music Hall of Fame in 1975. Known as the "Queen of Gospel Song Writers", During 2010 songwriter George Hamilton IV toured Methodist chapels celebrating Fanny's outstanding contribution to gospel music. His presentation included stories of her productive and charitable life, some of her hymns, and a few of his own uplifting songs. While she is not mentioned in The Hymnal 1982, her hymns are included in several more recent hymnals, including "Lift Every Voice and Sing II" and the "African American Heritage Hymnal".


title: Tess Daly

text: Helen Elizabeth "Tess" Daly (born 29 March 1969) is an English model and television presenter who co-presented the BBC One celebrity dancing show "Strictly Come Dancing" from 2004 to 2013; she has been the show's main presenter since 2014.


title: Tess Daly

text: Daly was born on 29 March 1969 to textile-factory workers Felix James "Vivian" Daly (1932–2003), who died of emphysema, and Sylvia (née Bradley), and grew up in Birch Vale near New Mills, Derbyshire. She attended Hayfield Primary School and New Mills Secondary School, where she gained nine O-levels. She has a younger sister, Karen. Daly is of English and Irish descent.


title: Tess Daly

text: Daly was scouted outside a McDonald's restaurant while waiting for her sister in Manchester. When Daly began her modelling career, there was already a model named "Helen Daly" so she was asked to reconsider her name. Daly's agent was infatuated with Nastassja Kinski from the film "Tess" and told her that she should change her name to "Tess". Daly later recalled that she was "gullible and impressionable". She has not officially changed her name by deed poll because she thinks it would be disrespectful to her parents.


title: Tess Daly

text: Six weeks after she turned 18 she undertook her first professional modelling job in Tokyo. After a series of work assignments across Asia and Europe while based in London, she was based in Paris for five years. She then returned to London for six months, before moving to New York for work for five years.


title: Tess Daly

text: In 1990, Daly appeared in two Duran Duran videos for the songs "Serious" and "Violence of Summer (Love's Taking Over)", both from the album "Liberty". She also appeared nude in the video for The Beloved's 1993 song "Sweet Harmony".


title: Tess Daly

text: She was later the face of Danone Shape yogurt and also of lingerie company La Senza in the UK and appeared in their Steal the Show Christmas 2009 campaign.


title: Tess Daly

text: While Daly was living on the Lower East Side in New York City, a friend who arranged red carpet events suggested that she interview the celebrity attendees. After buying a video camera, Daly's first interview was with New York-based Quentin Crisp, author of "The Naked Civil Servant", who became a friend until his death. After a few red carpet interviews, in 2000, she sent a showreel to the producers of Channel 4's "The Big Breakfast", who immediately contracted her to host the "Find Me a Model" competition. Since then, she has presented shows including "Get Your Kit Off", "Singled Out", "Smash Hits TV", "SMTV Live", "Back To Reality" and the first series of "Make Me a Supermodel" with Dave Berry.


title: Tess Daly

text: In 2003, Daly replaced Ulrika Jonsson as presenter of ITV makeover show "Home On Their Own", a show where children made their choice of alterations to their house during the course of a weekend, while their parents went on holiday. Some of the home improvements included an Austin Powers room, individual doorbells for the children and a cinema living room.


title: Tess Daly

text: Daly has co-presented BBC One's "Strictly Come Dancing" since 2004. She initially co-hosted the programme with Bruce Forsyth until he left the show in 2013; since 2014 she co-hosts with Claudia Winkleman. Daly missed the first half of the second series because she had recently given birth to her first daughter. Natasha Kaplinsky, the winner of the previous series, took her place for these episodes.


title: Tess Daly

text: In January 2007, Daly and her husband Vernon Kay co-presented the second series of "Just the Two of Us" on BBC One.


title: Tess Daly

text: Daly has also hosted "This Time Tomorrow" and the National Lottery show broadcast on BBC One. Since 2008, Daly has presented the BBC telethon "Children in Need" with Terry Wogan and Fearne Cotton. She also won the special "Children in Need" version of "Strictly Come Dancing" against Terry Wogan, where she was partnered with Anton du Beke. On 17 December 2008, Daly co-hosted the "Royal Variety Performance".


title: Tess Daly

text: In November 2013, Daly guest-presented an episode of "The One Show" alongside Matt Baker. In early 2015, she co-hosted "Strictly Come Dancing" charity spin-off "The People's Strictly for Comic Relief" for BBC One. In 2015, Daly co-hosted "Being Mum", a new show for AOL alongside Rochelle Humes.


title: Tess Daly

text: In 2019, she played an unnamed character who hosts fictional TV show The Spotlight, in the CBBC drama: Almost Never.


title: Tess Daly

text: In 2011, Daly's first novel, "The Camera Never Lies", a tale of love behind the scenes, was published by Coronet, an imprint of Hodder & Stoughton. "It's Up to You New York", Daly's second book, was published in 2013.


title: Tess Daly

text: Daly married DJ and TV presenter Vernon Kay on 12 September 2003, at St Mary's Catholic Church in Horwich, near Bolton. Together, they have two daughters; Phoebe, born on 17 October 2004, and Amber, born on 30 May 2009. Daly and Kay live in Beaconsfield, Buckinghamshire.


title: Peace for our time

text: "Peace for our time" was a declaration made by British Prime Minister Neville Chamberlain in his 30 September 1938 remarks in London concerning the Munich Agreement and the subsequent Anglo-German Declaration. The phrase echoed Benjamin Disraeli, who, upon returning from the Congress of Berlin in 1878, had stated, "I have returned from Germany with peace for our time".


title: Peace for our time

text: The phrase is primarily remembered for its bitter ironic value since less than a year after the agreement, Hitler's invasion of Poland began World War II.


title: Peace for our time

text: It is often misquoted as "peace "in" our time", a phrase already familiar to the British public by its longstanding appearance in the "Book of Common Prayer." A passage in that book translated from the 7th-century hymn "Da pacem, Domine" reads, "Give peace in our time, O Lord; because there is none other that fighteth for us, but only thou, O God." It is not known how deliberate Chamberlain's use of such a similar phrase was.


title: Peace for our time

text: Chamberlain's aeroplane landed at Heston Aerodrome on 30 September 1938 and he spoke to the crowds there:


title: Peace for our time

text: The settlement of the Czechoslovakian problem, which has now been achieved is, in my view, only the prelude to a larger settlement in which all Europe may find peace. This morning I had another talk with the German Chancellor, Herr Hitler, and here is the paper which bears his name upon it as well as mine [shows paper to crowd]. Some of you, perhaps, have already heard what it contains but I would just like to read it to you: " ... We regard the agreement signed last night and the Anglo-German Naval Agreement as symbolic of the desire of our two peoples never to go to war with one another again".


title: Peace for our time

text: My good friends, for the second time in our history, a British Prime Minister has returned from Germany bringing peace with honour. I believe it is peace for our time. We thank you from the bottom of our hearts. Go home and get a nice quiet sleep.


title: Peace for our time

text: Chamberlain's return was not universally well-received, and 15,000 people protested against the Munich Agreement the same day in Trafalgar Square, three times more than the number welcoming him at 10 Downing Street. Chamberlain's ongoing manipulation of the BBC caused that news to be largely suppressed. The Labour spokesman Hugh Dalton publicly suggested that the piece of paper that Chamberlain was waving was "torn from the pages of "Mein Kampf"."


title: Peace for our time

text: Disbelieving Chamberlain, Isaac Asimov published in July 1939 "Trends", which mentions a World War in 1940. He later wrote "I was too conservative" (about when war would begin).


title: Peace for our time

text: "Peace in Our Time" is the title of a 1947 stage play by Noël Coward. Set in an alternative 1940, the Battle of Britain has been lost, the Germans have supremacy in the air and the United Kingdom is under Nazi occupation. Inspired to write this play in 1946 after seeing the effects of the occupation of France Coward wrote: "I began to suspect the physical effect of four years' intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years of enemy occupation".


title: Peace for our time

text: "Peace in Our Time" is a 1984 satirical song by Elvis Costello which references Chamberlain. It is featured on the album Goodbye Cruel World.


title: Peace for our time

text: U.S. President John F. Kennedy alluded to the speech in his 1963 American University commencement address in which he sought "not merely peace in our time, but peace in all time."


title: Peace for our time

text: Monty Python's 1969 The Funniest Joke in the World sketch references "Britain's pre-war joke" and shows an image of Chamberlain holding up the Munich Agreement paper.


title: Peace for our time

text: In the 2015 Marvel Cinematic Universe film "", Tony Stark uses the phrase "Peace in our time" after creating the eponymous and seemingly benevolent artificial intelligence. Since this backfires, the phrase bears similar ironic value to Chamberlain’s utterance.


title: Peace for our time

text: Robyn Hitchcock’s 1990 song “Cynthia Mask” references the incident in the lyrics of its second verse.


title: Proscenium

text: A proscenium (, ) is the metaphorical vertical plane of space in a theatre, usually surrounded on the top and sides by a physical proscenium arch (whether or not truly "arched") and on the bottom by the stage floor itself, which serves as the frame into which the audience observes from a more or less unified angle the events taking place upon the stage during a theatrical performance. The concept of the fourth wall of the theatre stage space that faces the audience is essentially the same.


title: Proscenium

text: It can be considered as a social construct which divides the actors and their stage-world from the audience which has come to witness it. But since the curtain usually comes down just behind the proscenium arch, it has a physical reality when the curtain is down, hiding the stage from view. The same plane also includes the drop, in traditional theatres of modern times, from the stage level to the "stalls" level of the audience, which was the original meaning of the "proscaenium" in Roman theatres, where this mini-facade was given more architectural emphasis than is the case in modern theatres. A proscenium stage is structurally different from a thrust stage or an arena stage, as explained below.


title: Proscenium

text: In later Hellenistic Greek theatres the proskenion (προσκήνιον) was a rather narrow raised stage where solo actors performed, while the Greek chorus and musicians remained in the "orchestra" in front and below it, and there were often further areas for performing from above and behind the proskenion, on and behind the skene. "Skene" is the Greek word (meaning "tent") for the tent, and later building, at the back of the stage from which actors entered, and which often supported painted scenery. In the Hellenistic period it became an increasingly large and elaborate stone structure, often with three storeys. In Greek theatre, which unlike Roman included painted scenery, the proskenion might also carry scenery.


title: Proscenium

text: In ancient Rome, the stage area in front of the scaenae frons (equivalent to the Greek skene) was known as the "pulpitum", and the vertical front dropping from the stage to the "orchestra" floor, often in stone and decorated, as the proscaenium, again meaning "in front of the "skene"".


title: Proscenium

text: In the Greek and Roman theatre, no proscenium arch existed, in the modern sense, and the acting space was always fully in the view of the audience. However, Roman theatres were similar to modern proscenium theatres in the sense that the entire audience had a restricted range of views on the stage—all of which were from the front, rather than the sides or back.


title: Proscenium

text: The oldest surviving indoor theatre of the modern era, the Teatro Olimpico in Vicenza (1585), is sometimes incorrectly referred to as the first example of a proscenium theatre. The Teatro Olimpico was an academic reconstruction of a Roman theatre. It has a plain "proscaenium" at the front of the stage, dropping to the "orchestra" level, now usually containing "stalls" seating, but no proscenium arch.


title: Proscenium

text: However, the Teatro Olimpico's exact replication of the open and accessible Roman stage was the exception rather than the rule in sixteenth-century theatre design. Engravings suggest that the proscenium arch was already in use as early as 1560 at a production in Siena.


title: Proscenium

text: The earliest true proscenium arch to survive in a permanent theatre is the Teatro Farnese in Parma (1618), many earlier such theatres having been lost. Parma has a clearly defined "", or scene mouth, as Italians call it, more like a picture frame than an arch but serving the same purpose: to delineate the stage and separate the audience from its action.


title: Proscenium

text: While the proscenium arch became an important feature of the traditional European theatre, often becoming very large and elaborate, the original "proscaenium" front below the stage became plainer.


title: Proscenium

text: The introduction of an orchestra pit for musicians during the Baroque era further devalued the "proscaenium", bringing the lowest level of the audience's view forward to the front of the pit, where a barrier, typically in wood, screened the pit. What the Romans would have called the "proscaenium" is, in modern theatres with orchestra pits, normally painted black in order that it does not draw attention.


title: Proscenium

text: In this early modern recreation of a Roman theatre, confusion seems to have been introduced to the use of the revived term in Italian. This emulation of the Roman model extended to refer to the stage area as the "proscenium", and some writers have incorrectly referred to the theatre's scaenae frons as a proscenium, and have even suggested that the central archway in the middle of the scaenae frons was the inspiration for the later development of the full-size proscenium arch. There is no evidence at all for this assumption (indeed, contemporary illustrations of performances at the Teatro Olimpico clearly show that the action took place in front of the scaenae frons and that the actors were rarely framed by the central archway).


title: Proscenium

text: The Italian word for a scaenae frons is ""proscenio"," a major change from Latin. One modern translator explains the wording problem that arises here: "[In this translation from Italian,] we retain the Italian "proscenio" in the text; it cannot be rendered "proscenium" for obvious reasons; and there is no English equivalent ... It would also be possible to retain the classical "frons scaenae". The Italian "arco scenico" has been translated as "proscenium arch."


title: Proscenium

text: In practice, however, the stage in the Teatro Olimpico runs from one edge of the seating area to the other, and only a very limited framing effect is created by the coffered ceiling over the stage and by the partition walls at the corners of the stage where the seating area abuts the floorboards. The result is that in this theatre "the architectural spaces for the audience and the action ... are distinct in treatment yet united by their juxtaposition; no proscenium arch separates them."


title: Proscenium

text: A proscenium arch creates a "window" around the scenery and performers. The advantages are that it gives everyone in the audience a good view because the performers need only focus on one direction rather than continually moving around the stage to give a good view from all sides. A proscenium theatre layout also simplifies the hiding and obscuring of objects from the audience's view (sets, performers not currently performing, and theatre technology). Anything that is not meant to be seen is simply placed outside the "window" created by the proscenium arch, either in the wings or in the flyspace above the stage. The phrase "breaking the proscenium" or "breaking the fourth wall" refers to when a performer addresses the audience directly as part of the dramatic production.


title: Proscenium

text: Proscenium theatres have fallen out of favor in some theatre circles because they perpetuate the fourth wall concept. The staging in proscenium theatres often implies that the characters performing on stage are doing so in a four-walled environment, with the "wall" facing the audience being invisible. Many modern theatres attempt to do away with the fourth wall concept and so are instead designed with a thrust stage that projects out of the proscenium arch and "reaches" into the audience (technically, this can still be referred to as a proscenium theatre because it still contains a proscenium arch, but the term thrust stage is more specific and more widely used).


title: Proscenium

text: In dance history, the use of the proscenium arch has affected dance in different ways. Prior to the use of proscenium stages, early court ballets took place in large chambers where the audience members sat around and above the dance space. The performers, often led by the queen or king, focused in symmetrical figures and patterns of symbolic meaning. Ballet's choreographic patterns were being born. In addition, since dancing was considered a way of socializing, most of the court ballets finished with a ‘grand ballet’ followed by a ball in which the members of the audience joined the performance.


title: Proscenium

text: Later on, the use of the proscenium stage for performances established a separation of the audience from the performers. Therefore, more devotion was placed on the performers, and in what was occurring in the ‘show.’ It was the beginning of dance-performance as a form of entertainment like we know it today. Since the use of the proscenium stages, dances have developed and evolved into more complex figures, patterns, and movements. At this point, it was not only significantly important how the performers arrived to a certain shape on the stage during a performance, but also how graciously they executed their task. Additionally, these stages allowed for the use of stage effects generated by ingenious machinery. It was the beginning of scenography design, and perhaps also it was also the origin of the use of backstage personnel or "stage hands".


title: Bill Koch (businessman)

text: William Ingraham Koch ( ; born May 3, 1940) is an American billionaire businessman, sailor, and collector. His boat was the winner of the America's Cup in 1992. "Forbes" estimated Koch's net worth at $1.8 billion in 2019, from oil and other investments.


title: Bill Koch (businessman)

text: Koch is the son of Mary Clementine (née Robinson) and Fred C. Koch, founder of Koch Industries, a business empire based on oil refining. His paternal grandfather, Harry Koch, was a Dutch immigrant, who founded the "Quanah Tribune-Chief" newspaper and was a founding shareholder of Quanah, Acme and Pacific Railway. Among his maternal great-great-grandparents were William Ingraham Kip, an Episcopal bishop; William Burnet Kinney, a politician; and Elizabeth Clementine Stedman, a writer.


title: Bill Koch (businessman)

text: Koch attended Culver Military Academy in Culver, Indiana. He graduated with bachelor's, master's, and doctoral degrees in chemical engineering, all from Massachusetts Institute of Technology. David Koch (1940−2019) was his twin brother. His other brothers are Frederick R. Koch (1933−2020) and Charles Koch (born 1935).


title: Bill Koch (businessman)

text: Koch worked in his family's company. He and his eldest brother Frederick R. Koch had inherited Koch Industries stock. In 1980, after an unsuccessful attempt to take over the company from Charles, William was fired from the company. In 1983 the stock netted them $800 million in a sale to their brothers, Charles and David.


title: Bill Koch (businessman)

text: Legal disputes against Charles and David lasted some two decades. Bill and his eldest brother, Frederick, sided with J. Howard Marshall III, J. Howard Marshall II's eldest son, against Charles and David at one point, in order to take over the company. In 2001, Koch reached a settlement where he had charged the company was taking oil from federal and Indian land. This settlement ended all litigation between the brothers. CBS News reported that Koch Industries settled for $25 million, and Bill received one-third of the settlement for bringing the suit.


title: Bill Koch (businessman)

text: After leaving Koch Industries, he became the founder and president of the Oxbow Group, an energy development holding company based in West Palm Beach, Florida. In 2011, Oxbow donated $750,000 to Restore Our Future, Inc., the "SuperPAC" supporting Mitt Romney's presidential campaign. Koch was also an investor in Kendall Square Research, a short-lived supercomputer company.


title: Bill Koch (businessman)

text: Koch co-chairs the Alliance to Protect Nantucket Sound, a group formed to fight the Cape Wind project to build an offshore wind farm of 130 turbines. In 2005, Koch contributed $500,000 in donations to the alliance directly and more than $1 million toward lobbyist efforts to defeat the project.


title: Bill Koch (businessman)

text: Koch won the America's Cup in 1992 with the yacht "America", defeating the Italian challenger "Il Moro di Venezia". "America 3"'s overall record, including trials, was 28–10. Koch reportedly spent around $65 million on his effort and though an amateur, sailed on the crew himself, assisted by veteran sailors like Buddy Melges.


title: Bill Koch (businessman)

text: In 1995, Koch financed another team to compete for the cup. This time the crew consisted entirely of women except for tactician David Dellenbaugh, on a yacht named "Mighty Mary". However, the boat lost to Dennis Conner's "Stars & Stripes" in the trials.


title: Bill Koch (businessman)

text: Koch is a supporter of the Sea Scout program of the Boy Scouts of America, biannually hosting the William I. Koch International Sea Scout Cup.


title: Bill Koch (businessman)

text: Koch was inducted into the America's Cup Hall of Fame in 1993. Koch was inducted into the National Sailing Hall of Fame in 2018.


title: Bill Koch (businessman)

text: Koch is a collector of art and wine. He has filed several high-profile suits against sellers of counterfeit wines, most notably a suit against Hardy Rodenstock for the sale of wine purported to have been owned by Thomas Jefferson. Koch also sued Rudy Kurniawan and the auction house Acker, Merrall & Condit, through whom Koch purchased Kurniawan's wine. Koch filed the suit against Renee Angove in 2019 and was reported to have reached a settlement for $3 million in July 2014.


title: Bill Koch (businessman)

text: Koch's collection of maritime memorabilia includes model ships, antique nautical instruments, and paintings of ships and seascapes. A 2005 show at the Museum of Fine Arts in Boston featured his collections, including the "America 3" and the yacht it defeated, "Il Moro di Venezia". The show was also criticized, however, for glamorizing Koch at the expense of the museum's educational function. Koch had helped finance the show, including paying the cost to move the boats from Rhode Island. He previously owned the former French Class America F1 - IACC F1 renamed later USA-2.


title: Bill Koch (businessman)

text: The boats were in Rhode Island because Koch had placed them with a small maritime museum there. Despite the considerable expense of building them, he said "they have absolutely no value" once their racing life is over. Koch, a native of Wichita, Kansas, donated the yacht he used in qualifying for the America's Cup races, "Jayhawk", to the Wichita Boathouse. He also supplied money for the city to use in repairing the yacht.


title: Bill Koch (businessman)

text: In June 2011, he purchased a 130-year-old photo of the legendary outlaw Billy the Kid for the amount of $2.3 million at a Denver auction.


title: Bill Koch (businessman)

text: At his Colorado ranch, Koch has a collection of military vehicles, including a M42 Duster antiaircraft gun.


title: Bill Koch (businessman)

text: Koch donated "about $5 million" to Alliance to Protect Nantucket Sound. Its goal is to prevent the construction of Cape Wind, a wind power project located in Nantucket Sound, near Koch's Cape Cod house.


title: Bill Koch (businessman)

text: Koch gave $2 million to Restore Our Future, a PAC created to support 2012 Republican Party Presidential candidate Mitt Romney.


title: Bill Koch (businessman)

text: In 1995, he filed a lawsuit against his former lover, Catherine de Castelbajac, to evict her from his $2.5 million condominium at the Four Seasons Hotel in Boston. He said he had allowed her to move in the previous year so she could attend Simmons College, as he seldom used the apartment. When he tried to end the relationship, de Castelbajac refused to move out and claimed he had broken his promises to her. A jury ruled in Koch's favor after a trial that was noted for its disclosure of torrid letters and faxes between the two.


title: Bill Koch (businessman)

text: In 2005, Koch married Bridget Rooney (b. 1962) at a ceremony in Colorado. The couple has one daughter, Kaitlin. Bridget Rooney Koch is the granddaughter of the original owner of the Pittsburgh Steelers football franchise, Art Rooney (1901–1988). The Kochs are part-time residents of Palm Beach, Florida.


title: Bill Koch (businessman)

text: In September 2021 Koch was inducted into the Sons of the American Revolution under Patriot William Burnett (b. 1730 d. 1791) who served as Surgeon General, Chief Physician of the Army's Eastern Department and of the hospital in New Jersey as well as a New Jersey Delegate to the First Continental Congress.


title: 2022 New York Jets season

text: The 2022 season is the New York Jets' 53rd in the National Football League (NFL), their 63rd overall, their fourth under general manager Joe Douglas and their second under head coach Robert Saleh.


title: 2022 New York Jets season

text: The Jets are attempting to snap a franchise record 11 season playoff drought and make the playoffs for the first time since the 2010–11 season, as well as have their first winning season since 2015. With a Week 7 victory over the Denver Broncos, they improved upon their 4-win record from 2021. The Jets had a promising 6–3 start to the season; however, they suffered a late-season slump, winning only one game during the process.


title: 2022 New York Jets season

text: Lamar Jackson threw 3 touchdown passes for the Ravens and the Jets fell lost their fourth straight season opener.


title: 2022 New York Jets season

text: Nick Chubb scored a touchdown with 1:55 remaining in the fourth quarter and the Jets didn't have any timeouts. The Browns had a 99.7 percent chance of winning at that point. Two plays later Joe Flacco connected with a wide open Corey Davis to cut the lead to 6 points. The Jets recovered the onside kick and scored the game winning touchdown 9 plays later and won 31–30.


title: 2022 New York Jets season

text: In Zach Wilson's return after a preseason meniscus injury, the Jets went up 10–0 on Pittsburgh, before falling behind 20–10 after Steelers quarterback Mitch Trubisky was benched for rookie Kenny Pickett; however, the Jets would mount two touchdown drives late in the fourth quarter, with Pickett throwing two interceptions, to take a 24–20 comeback victory.


title: 2022 New York Jets season

text: This was the Jets' second-ever win in the state of Pennsylvania, having previously gone a combined 1–16 against the Steelers and Philadelphia Eagles.


title: 2022 New York Jets season

text: The Jets scored 40 points for the first time since week 1 of 2018 and just the third time in the past decade, and snapped a 12-game losing streak against divisional opponents dating back to week 17 of the 2019 season.


title: 2022 New York Jets season

text: This win also marked the first time the Jets recorded a winning percentage over .500 since week 1 of 2018.


title: 2022 New York Jets season

text: This win marked the first time the Jets had defeated Aaron Rodgers (having previously been 0–3), and was their first victory over Green Bay since 2006.


title: Mardaani 2

text: Mardaani 2 is a 2019 Indian Hindi-language action thriller film and a sequel to the 2014 film "Mardaani". It is directed by Gopi Puthran who wrote the previous film, marking his directorial debut, and backed by Aditya Chopra through Yash Raj Films, with Rani Mukerji reprising her role of police officer Shivani Shivaji Roy from the previous film. The plot follows her attempts to catch a 21-year-old rapist and murderer, played by newcomer Vishal Jethwa.


title: Mardaani 2

text: "Mardaani 2" was announced on 10 December 2018 by a social media post. Filming began in March 2019 and was extensively done in Rajasthan. The first look was unveiled in April 2019 and release date was announced in September 2019. It was released on 13 December 2019 to generally positive response towards its screenplay, pace, direction and performances (particularly those of Mukerji and Jethwa) The film performed successfully at the box office and earned a worldwide gross of .


title: Mardaani 2

text: The opening credits show Shivani Shivaji Roy (Rani Mukerji) clearing the UPSC exams in 2015 to become an Indian Police Service officer.


title: Mardaani 2

text: In Kota, Rajasthan, a 21-year-old psychopath, Sunny (Vishal Jethwa), kidnaps an outspoken young woman, Latika. He brutally tortures and rapes her, then murders her. Shivani, who has been appointed as the new Superintendent of Police of Kota, arrives at the crime scene and clashes with her subordinate DSP Brij Shekhawat (Sumit Nijhawan) who is misogynistic. The brutality of the murder disturbs Shivani and makes her more determined to catch the killer.


title: Mardaani 2

text: Sunny, who has actually come to Kota from Meerut on a killing contract given by politician Govind Mishra a.k.a. Panditji (Prasanna Ketkar), sees Shivani on TV when she publicly promises to find Latika's killer. He taunts her by sneaking into her home and stealing her sari, he then dresses up as a woman, tricks the journalist, and kills him; he also hires Pravin, a tea-seller near the police station, to kill the journalist's wife, Aabha Parihar, in a suicide blast, then takes Pravin's place as tea-seller to keep an eye on her, introducing himself as a mute boy named Bajrang.