text:
1805 in architecture

The year 1805 in architecture involved some significant events.

Buildings

 * November 26 – The Ellesmere Canal's Pontcysyllte Aqueduct, designed by Thomas Telford and William Jessop, is opened on the border of Wales, the tallest and longest in Britain.
 * Theatre Royal, Bath, England is opened.
 * Evangelical Lutheran Church of Saint Mary in Saint Petersburg is built.
 * Haga Palace in Stockholm, Sweden, designed by Carl Christoffer Gjörwell, is completed.

Awards

 * Grand Prix de Rome, architecture: Auguste Guenepin

Births

 * March 11 – Thomas Ellis Owen, English architect working chiefly around Southsea (d. 1862)
 * June 9 – Victor Baltard, French architect (d. 1874)
 * July 26 – John Miller, Scottish railway civil engineer (d. 1883)
 * Peter Ellis, English architect working in Liverpool (d. 1884)
 * James Salmon, Scottish architect (d. 1888)

Deaths

 * Peter Atkinson, English architect (b. 1725)

title: 1805 in architecture


text:
Robbie Allen (musician)

Robbie Allen, also known as Rob Rule, is an American bassist and guitarist from Seal Beach, California. He has played with Tender Fury, The Vandals, One Hit Wonder, Candlebox, and as a live member of the Red Hot Chili Peppers.

Career
Allen grew up in Seal Beach, California. He began playing in bands in the 1980s as a member of Jack Grisham's Cathedral of Tears. He also played bass for Grisham in Tender Fury, before forming the band Gypsy Trash with Grisham's sister D.D. Wood. Following this, he played bass for The Vandals on their 1989 album Slippery When Ill. In 1992, he sang backing vocals on Rikk Agnew's solo album Turtle. He also recorded with Rat Scabies on a project that was never released, before forming the band One Hit Wonder.

Allen left One Hit Wonder in 1993 to record an album "She Gets Too High" for Mercury Records under the moniker "Rob Rule". The album was produced by Don Gehman, and as part of its promotion, he opened for Dada and Candlebox.

During this time, Allen made his primary living as a guitar tech for the Red Hot Chili Peppers. Occasionally he played with the band as a live guitarist and backup singer, and opened shows for them as a solo act, sometimes with Chad Smith drumming. In 1996, Allen recorded the album Monkey on Rico as part of the band Thermadore, a project that featured Chad Smith, Josh Freese, and Stone Gossard. Allen served as Thermadore's lead singer and songwriter. He teamed up with Jack Grisham again in 1996, singing backing vocals on Joykiller's album Static.

Allen joined Candlebox after their album Happy Pills was released, playing guitar for them from 1998 until their split in 2000. He would continue to work with Candlebox singer Kevin Martin as a composer and background vocalist on Martin's 2003 album The Possibility of Being. In 2008, he released his own solo album Artificial Horizon.

In 2017, Allen played in an act called "Cowboy and Indian" with Antoine Arvizu and Sublime bassist Eric Wilson. The trio opened for Mike Watt.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Robbie Allen (musician)


text: Category:American football terminology

title: Category:American football terminology


text:
Gilbertville, Massachusetts

Gilbertville is an unincorporated village in the town of Hardwick, Worcester County, Massachusetts, United States, approximately 20 miles west of the city of Worcester. The Gilbertville Historic District and Ware–Hardwick Covered Bridge, which traverses the Ware River, are within the village. The ZIP Code for Gilbertville is 01031.

Climate
In a typical year, Gilbertville, Massachusetts temperatures fall below 50 F for 195 days per year. Annual precipitation in Gilbertville is typically 44.5 inches per year (high in the US) and snow covers the ground 62 days per year or 17.0% of the year (high in the US). It may be helpful to understand the yearly precipitation by imagining nine straight days of moderate rain per year. The humidity in Gilbertville is below 60% for approximately 25.4 days, or 7.0% of the year.

Notable person

 * William A. Hickey - Catholic bishop

title: Gilbertville, Massachusetts


text:
Hotlegs

Hotlegs (very briefly Doctor Father) was a short-lived English band best known for their hit single "Neanderthal Man" in 1970. The band consisted of Eric Stewart, Kevin Godley, Lol Creme and – briefly – Graham Gouldman. In 1972, the band re-branded themselves as 10cc.

Premise
Stewart had earlier enjoyed success as a member of the 1960s pop band The Mindbenders and had delivered the vocals for that band's best-known track, "A Groovy Kind of Love". The Mindbenders disbanded in November 1968 and Stewart teamed with Peter Tattersall, a former road manager for Billy J. Kramer and the Dakotas, and Gouldman, a fellow Mindbender and successful songwriter, to become joint owners of a Stockport recording studio which in 1969 was renamed Strawberry Studios.

Stewart and Gouldman enlisted Godley and Creme, longtime friends of Gouldman who had earlier launched an abortive career under entrepreneur Giorgio Gomelsky as duo Frabjoy and Runcible Spoon, and the team gained work writing and performing bubblegum songs under a variety of band names for US producers writer-producers Jerry Kasenetz and Jeffry Katz of Super K Productions, as well as other session work.

"Neanderthal Man" and Thinks: School Stinks
"Neanderthal Man" was created by the trio of Stewart, Godley and Creme as they dabbled with newly installed recording equipment at Strawberry Studios, perfecting drum layering on a four-track machine. (At that time, Gouldman was in New York City working out the final six months of his contract with Super K Productions.)

The song consisted primarily of a chanted chorus backed by Stewart's and Creme's acoustic guitars and a lumbering drum rhythm provided by Godley. The song was released as a single under the moniker Hotlegs and reached No.2 in the UK Singles Chart in July 1970 and No. 22 in the US, ultimately selling two million copies worldwide. The band recorded a follow-up album, Thinks: School Stinks, for Philips, which was released in March 1971.

Doctor Father
Before the release of Thinks: School Stinks, Hotlegs rebranded themselves as Doctor Father in August 1970 for the release of a single, "Umbopo" (backed with "Roll On"), on the Pye Records label.

"Umbopo" was written by Godley and Creme, produced by Creme and featured Godley on lead vocals. Released on Pye, it was an expanded reworking of "There Ain't No Umbopo", a song the trio had recorded in 1969 under the guise of American bubblegum pop group Crazy Elephant. That song had emerged from an intense three-month period at Strawberry Studios in Stockport, near Manchester, writing and performing songs for American hitmakers Jerry Kasenetz and Jeffry Katz of Super K Productions.

Despite regular airplay on Radio Northsea, "Umbopo" did not appear on the British charts and was the sole release by Doctor Father. A brief sample of the song was included on The History Mix Volume 1 by Godley & Creme in 1985, while the full version – along with the shorter Crazy Elephant version – appeared on the 2003 Castle Music collection Strawberry Bubblegum: A Collection of Pre-10CC Strawberry Studio Recordings 1969–1972.

The decision to create a new band name for the release of "Umbopo" was consistent with the trio's operating procedure of the previous year: working with Kasenetz, Katz and Manchester songwriter Graham Gouldman, they had recorded a large number of songs under names including Silver Fleet, Fighter Squadron and Festival. Creme later recalled: "Singles kept coming out under strange names that had really been recorded by us. I've no idea how many there were, or what happened to them all." After "Umbopo" the band reverted to Hotlegs.

Chart failures and rebranding as 10cc
In October 1970 the band was invited to tour Britain with The Moody Blues. Gouldman, newly returned to the U.K., joined the band on bass, marking the gigs as the first at which the four future members of 10cc played live on stage. After just four shows, however, the tour was cancelled when John Lodge of the Moody Blues contracted a virus.

Gouldman recalled that the band returned to their homes in Manchester expecting something else to turn up. "But nothing happened," he said. "It was really quite amazing. We'd opened a tour with the Moody Blues ... we were expecting offers of work to arrive, but no one asked us to do anything. The next Hotlegs records flopped and we didn't get a single offer of work. It was extraordinary. We'd had a hit record that had sold two million copies and nobody wanted us."

The group was put with comedian John Paul Joans in order to record a single aimed at the Christmas market, and the result – "The Man From Nazareth" – was a top 30 hit. Another Hotlegs single was released in Britain – "Lady Sadie" (1971, a very naughty lyric with a standard arrangement) – and two others overseas ("Run Baby Run", US and "Desperate Dan", Germany and Spain ), but none charted.

In 1976 Stewart, by then achieving success with 10cc, admitted: "'Lady Sadie' had no class and no originality. It was a very mediocre pop song." The album also presented a problem, he said: "That was so different to 'Neanderthal Man' that it was totally alien to what people were expecting from us. It was a good record, a little ahead of its time. It was similar to the things we are doing now. It was very melodic with chord structures that hadn't been used before – and some of the sounds that we used on that album hadn't been heard at the time."

The band returned to the studios to work with other performers. Stewart said: "We sat down one day and said, 'Hotlegs is defunct – let's face it.' And we decided to carry on with our production work."

Godley, in a 1976 interview, described the band as "doomed": ""I'm afraid we blew the whole thing. The first thing we did was take a holiday, and because I'd never been able to afford a good holiday I flew off to Antigua. We'd been working ever since we'd left college and we were knackered, so Lol and I just bought the tickets to Antigua and off we went. We also bought cars as soon as we came back and then went into the studio to make the LP.

"We did the whole thing wrong. We should have stayed in England, gone on tour, made promotional appearances, given interviews to the Press and TV and so on, but we just vanished to Antigua. And when we came back Hotlegs had gone cold. The record had now gone out of the charts and no one had ever really discovered who we were. The follow-up single 'Lady Sadie' just bombed out and the album hardly sold at all – though I still say that was a bloody good album. Basically it included the songs and the ideas that we had been hoping to bring into that LP for Giorgio Gomelsky. Most of the tracks were from the Frabjoy period and it's an interesting LP.""

After Thinks: School Stinks received worldwide release, it was repackaged (in the UK) by the Philips label in December 1971 as Song, with several tracks replacing originals, including "Neanderthal Man". A compilation album was issued in Britain in 1976 as You Didn't Like It Because You Didn't Think of It putting together previously released material.

The lack of further chart activity saw Hotlegs labelled as a one-hit wonder. In 1972, Hotlegs was relaunched as 10cc.

Aftermath
Thinks: School Stinks was reissued by One Way Records in 1994 on CD. This edition included the line up from the original album release only.

You Didn't Like It Because You Didn't Think of It was reissued by 7T's (a division of Cherry Red) on 22 October 2012. The reissue featured a new cover commissioned for the new release and a booklet with information on the making of the album. The track listing includes all of the original tracks as well as the title track and the US stereo mix for "Neanderthal Man". This was the first CD release for the album which includes all the tracks that Stewart, Godley & Creme recorded as Hotlegs.

Name
According to Eric Stewart, in the 2009 BBC radio documentary The Record Producers, the band's name came about because "there was a lovely girl at the time, a receptionist called Kathy, and she used to wear these hot pants, and we always used to call her 'hot legs', and so we thought we'll call the group Hotlegs".

Albums

 * Thinks: School Stinks – 1971
 * Song – 1971

Compilation albums

 * You Didn't Like It Because You Didn't Think of It – 1976

Singles

 * "Neanderthal Man" / "You Didn't Like it Because You Didn't Think of It" (1970)
 * "Umbopo" / "Roll On" (1970, as Doctor Father)
 * "Run Baby Run" / "How Many Times" (US, 1971)
 * "Desperate Dan" / "Run Baby Run" (Germany and Spain, 1971)
 * "Lady Sadie" / "The Loser" (UK, 1971)

title: Hotlegs


text:
Corita Kent

Corita Kent (November 20, 1918 – September 18, 1986), born Frances Elizabeth Kent and also known as Sister Mary Corita Kent, was an American artist, designer and educator, and former religious sister. Key themes in her work included Christianity, and social justice. She was also a teacher at the Immaculate Heart College.

Corita was born Frances Elizabeth Kent on November 20 in the year of 1918. At 18 years of age Kent entered the Sisters of the Immaculate Heart, which were known to be very progressive and welcomed creativity. Frances joined a teaching order, taking the name Sister Mary Corita. Initially she taught young children on an Inuit Reservation in British Columbia until returning to Los Angeles to study for her bachelor's degree at Immaculate Heart College and her master's degree at University of Southern California. She was the head of the art department at Immaculate Heart College. where she also taught a wide variety of different painting styles. Her artwork contained her own spiritual expression and love for her God.

Kent's primary medium was screen printing, also known as Serigraphy. She became self-taught after she sent away for a DIY silk screening kit. Her innovative methods pushed back the limitations of two-dimensional media of the times. Kent's emphasis on printing was partially due to her wish for democratic outreach, as she wished for affordable art for the masses. Her artwork, with its messages of love and peace, was particularly popular during the social upheavals of the 1960s and 1970s.

Due to opposition from Cardinal James McIntyre (who had a particular dislike for Kent), the sisters would eventually be forced out of their schools in Los Angeles—with the exception of the college—and most of the sisters left the order entirely, while keeping the larger school. Kent, however, would move to the East Coast and begin to work independently.

After a cancer diagnosis in the early 1970s, she entered an extremely prolific period in her career, including the Rainbow Swash design on the LNG storage tank in Boston, and the 1985 version of the United States Postal Service's special Love stamp.

In recent years, Corita has gained increased recognition for her role in the pop art movement. Critics and theorists previously failed to count her work as part of any mainstream "canon," but in the last few years there has been a resurgence of attention given to Kent. As both a nun and a woman making art in the twentieth century, she was in many ways cast to the margins of the different movements she was a part of.

Corita's art was her activism, and her spiritually-informed social commentary promoted love and tolerance.

Early life and education
Frances Elizabeth Kent, fifth child of Robert Vincent and Edith Genevieve, was born in Fort Dodge, Iowa in 1918. Kent's parents were artistically inclined, especially her father, and always encouraged her art. In junior high, Corita and her siblings attended Blessed Sacrament School which was partially staffed by Sisters of the Immaculate Heart of Mary. When attending junior high, Kent's art potential was noticed by several nuns. Kent graduated from Los Angeles Catholic Girls' High School in 1936. Upon entering the Roman Catholic order of IHM sisters in Los Angeles in 1936, Kent took the name Sister Mary Corita. She took classes at Otis (now Otis College of Art and Design) and Chouinard Art Institute and earned her BA from Immaculate Heart College in 1941. She earned her MA at the University of Southern California in Art History in 1951.

Career
Between 1938 and 1968 Kent lived and worked in the Immaculate Heart Community. She taught in the Immaculate Heart College and became the chair of its art department in 1964. Her classes at Immaculate Heart were an avant-garde mecca for prominent, ground-breaking artists and inventors, such as Alfred Hitchcock, John Cage, Saul Bass, Buckminster Fuller and Charles & Ray Eames. Kent credited Charles Eames, Buckminster Fuller, and art historian Dr. Alois Schardt for their important roles in her intellectual and artistic growth. By the early 1950s, she had such a unique and well-known aesthetic and teaching style that clergy members from all over the country were sent to be educated at Immaculate Heart College. Her students were drawn to her selflessness and unique teaching methods such as large class assignments like asking students to create 200 drawings or take three hours to draw their arm without looking at what they were creating.

Kent toured widely the following decade. After the Second Vatican Council, Kent transformed Immaculate Heart College's annual Mary's Day procession into a community celebration which was part of the sister's campaign to bring secular people together. During this time, Kent's work became increasingly political, addressing events such as the Vietnam War and humanitarian crises. For example, she was commissioned by the Physicians for Social Responsibility to create what she called "we can create life without war" billboards. Tensions between the order and church leadership were mounting, with the Los Angeles archdiocese criticizing the college as "liberal" and Cardinal James McIntyre labeling the college as "communist" and Kent's work as "blasphemous." Due to this, Kent returned to secular life in 1968 as Corita Kent. Most sisters followed suit and the Immaculate Heart College closed in 1980. Corita Kent also embraced the many different revolutionary movements going on in the world at this time. These movements included the anti-Vietnam War movement, Civil Rights, and Women's Rights.

Kent created several hundred serigraph designs, for posters, book covers, and murals. Her work includes the 1985 United States Postal Service stamp Love and the 1971 Rainbow Swash, the largest copyrighted work of art in the world, covering a 150 ft high natural gas tank in Boston. She did not attend the unveiling of the Love stamp because she wanted it to happen at the United Nations and was not happy with the message that was sent when the design was unveiled on the Love Boat. Her 1985 work "love is hard work" was made in response. The stamp itself sold successfully—over 700 million times. Kent was also commissioned to create work for the 1964 World's Fair in New York, and the 1965 IBM Christmas display in New York. Her 1951 print, The Lord is with Thee had won first prizes in printmaking at the Los Angeles County Museum of History, Science, Art, and at the California State Fair.

Kent's work has been exhibited extensively beginning in 1952. By the 1960s, Kent had already shown work at 230 exhibitions across the country and her work was included in the collections the Achenbach Foundation Graphic Arts, the Fogg museum, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, the National Serigraph Society, the Norman Rockwell Museum, the San Francisco Museum of Modern Art, the Smithsonian Institution, and the Whitney Museum of American Art.

Death
Corita Kent was diagnosed with ovarian cancer in 1974. After this diagnosis, in the Back Bay of Boston, Kent confined her art to water color painting and only pursued printmaking in order to say something substantiative. The Papers of Corita revealed Kent had kept two calendars towards the end of her life. This displayed that Kent, in the midst of fighting cancer, followed a strict diet, answered and wrote letters, and wanted to live and continue to create art. She ultimately died on September 18, 1986, in Watertown Massachusetts at the age of sixty-seven. She left her copyrights and unsold works to the Immaculate Heart Community formed by the former IHM sisters in Los Angeles.

Artistic style
Corita Kent worked at the intersection of several powerful—and at times contradictory—cultural, political, and religious influences. Corita Kent, inspired by the works of Andy Warhol, began using popular culture as raw material for her work in 1962. Her screen prints often incorporated archetypical product brands of American consumerism alongside spiritual texts. Her design process involved appropriating an original advertising graphic to suit her idea; for example, she would tear, rip, or crumple the image, then re-photograph it. She often used grocery store signage, texts from scripture, newspaper clippings, song lyrics, and writings from literary greats such as Gertrude Stein, E. E. Cummings, and Albert Camus as the textual focal point of her work.

E. E. Cummings was one of Kent's earliest and strongest influences. She quotes him in her work separately more than a dozen times and was inspired by a line from one of his lectures to create an entire series of alphabet prints. In her 1966 piece Tame It's Not, she uses quotes from Winnie the Pooh, Kierkegaard, and an ad slogan for men's cologne. Using everyday consumer items, like Wonderbread, she was able to bring words and thoughts about her religion to a familiar product that people saw and used every day. By creating juxtaposition between formally acknowledged or respected "art" and the art Corita saw in her everyday world—at the supermarket, on a walk, in the classroom—she elevated the banal to the holy. "Like a priest, a shaman, a magician, she could pass her hands over the commonest of the everyday, the superficial, the oh-so-ordinary, and make it a vehicle of the luminous, the only, and the hope filled," noted Corita's friend, theologian Harvey Cox.

Corita's earliest work was mostly iconographic, drawing inspiration and material from the Bible and other religious sources. Her style is heavily text-based, with scripture passages or positive quotes often encompassing entire compositions with bold and highly saturated typefaces. Despite the often surreal or disorienting compositions of her works, her pieces are "always about something." By the 1960s, her work started becoming increasingly political. For example, her silkscreen print, stop the bombing (1967) is a large piece protesting the use of nuclear weaponry in bold, blue letters against a white and red background.

Kent produced her oeuvre during her time at Immaculate Heart College in Los Angeles in response to the Catholic reform in the 1960s by the Vatican Council II as well as several political and social issues happening at the time. Her work itself aided in the Vatican II movement, a movement to modernize and make relevant the Catholic Church. Kent's use of English church texts in her work, for example, made an impact on the Vatican II's efforts to normalize conducting Mass in English. Because of her strongly political art, she and others left their order to create the Immaculate Heart Community in 1970 to avoid problems with their archdiocese.

The "Big G" logo that Kent appropriated from General Mills was to stress the idea of 'goodness', while the elements from Esso gasoline ads were meant to project the internal power within humans. Unsurprisingly, a Christian subtext does underscore several of her artworks, but not all, which are open to interpretation.

One of Kent's prints, love your brother (1969), depicts photographs of Martin Luther King Jr. overlaid with her handwritten words, "The king is dead. Love your brother," producing one of her more serious artworks, and presenting her views on politics and human nature. Her collages took popular images, often with twisted or reversed words, to comment on the political unrest of the period, many of which could have been found at any number of marches or demonstrations, some of which she attended herself.

Legacy
Kent had solo exhibitions at the National Museum of Women in the Arts and her work is in several art museums, including the Whitney Museum of American Art, the Museum of Fine Arts, Boston and The Metropolitan Museum of Art. An archive is dedicated to her at the Immaculate Heart Community Headquarters in Hollywood, CA. Some of Sister Corita's papers and early artwork are in Schlesinger Library, in the Radcliffe Institute, Harvard University. Recent solo exhibitions of Kent's work include Someday is Now: The Art of Corita Kent at the Tang Museum at Skidmore College and There Will Be New Rules Next Week at Dundee Contemporary Arts.

The Corita Art Center, a gallery and archive dedicated to preserving and promoting the work and spirit of Corita Kent, was originally founded as the Corita Prints in 1969 in North Hollywood. It changed its name when it moved to the Immaculate Heart property in 1997 and is located within the offices of the Immaculate Heart Community Headquarters in Hollywood, CA.

Corita Kent received the American Institute of Graphic Arts Medal in 2016.

In 2023 the Catticus Corporation was granted $700,000 by the National Endowment for the Humanities to produce a documentary, titled "You Should Never Blink", about the rebellious life of the “pop art nun” Corita Kent.

Awards and recognition

 * 1966 Woman of the year LA Times
 * 1967 on the cover of Newsweek
 * 2016 American Institute of Graphic Arts Medal

Partial list of publications

 * 1967 Footnotes and Headlines: A Play-Pray Book, Sister Corita
 * 1968 To Believe in God, poem by Joseph Pintauro, color by Sister Corita
 * 1969 city, uncity, poems by Gerald Huckaby, pages by Corita Kent
 * 1970 Damn Everything but the Circus, Corita Kent
 * 1990 Primary Colors: The Story of Corita, Jeffrey Hayden
 * 1992 Learning By Heart: Teachings to Free the Creative Spirit, Corita Kent (posthumously) and Jan Steward
 * 2000 "Life Stories of Artist Corita Kent (1918–1986): Her Spirit, Her Art, the Woman Within" (Unpublished Doctoral Dissertation, Gonzaga University), Barbara Loste
 * 2000 Eye, No. 35, Vol. 9, edited by John L. Walters, Quantum Publishing
 * 2006 Come Alive! The Spirited Art of Sister Corita, Julie Ault

Stage Plays

 * 2023 Little Heart - The story of Corita Kent, by Irene O'Garden

title: Corita Kent


text:
The Goonies (MSX video game)

The Goonies is a 1986 platform game by Konami for the MSX based on the film of the same name. The music is a simple rendition of the song "The Goonies 'R' Good Enough", by Cyndi Lauper.

Development
The game is based on the Famicom version with different levels.

In 2006, an independent dev team named Bran Games remade the game for Windows as freeware. The remake has improved graphics, visual and sound effects.

Gameplay
The Goonies is a platform and puzzle game, featuring five 'scenes'. After each successfully completed scene, a key word is given and thus the player can continue the game from this point at any time.

title: The Goonies (MSX video game)


text:
Le Grand Kallé

Joseph Athanase Tshamala Kabasele (16 December 1930 in Matadi, Belgian Congo (now Democratic Republic of the Congo) – 11 February 1983 in Paris, France), popularly known as Le Grand Kallé, was a Congolese singer and bandleader, considered the father of modern Congolese music. He is best known for his role as leader of the band, Le Grand Kallé et l'African Jazz, in which capacity he was involved in a number of noted songs, including Indépendance Cha Cha.

Background
Joseph Athanase Tchamala Kabasele was born in Matadi, Bas-Congo in what was then the Belgian Congo, modern Democratic Republic of Congo. He came from a prominent Congolese family, which included Cardinal Joseph Malula. Kallé went to secondary school and became a typist at a succession of commercial firms in the capital of the Belgian Congo, Léopoldville.

Career
In the early 1950s, at a new recording studio called Opika, Kasabele received an opportunity to pursue a career in music. He joined with two of the session guitarists at Opika records, Georges Doula and Albert Yamba-Yamba, to form a combo called Groupe Doula Georges. In 1951 Doula and his band starred in a publicity film for the radio station Voix de la Concorde, which operated under the call letters "OTC." To capitalize on the notoriety gained from the film, the band chose to rename themselves OTC.

In 1953, disillusioned with the lack of modernisation at OTC, he formed l'African Jazz, which some consider to be the most important Congolese band. L'African Jazz was one of the most popular early African rumba bands. At its height, L'African Jazz included big names like guitarist Dr Nico Kasanda, saxophonist Manu Dibango and singers Tabu Ley Rochereau, Sam Mangwana and Pepe Kalle.

In 1960, he established his own label, Subourboum Jazz, which was home to Franco Luambo's TPOK Jazz. Grand Kallé was responsible for striking deals with European record labels to ensure high quality recordings of his band's music for the Francophone market.

In the mid-1960s, Kallé suffered his first major setback when two of his protégés (Tabu Ley Rochereau and Dr Nico Kasanda) left to form their own group called Africa Fiesta. Kallé never recovered from this setback, concentrating on nurturing the talent of singer Pépé Kallé.

Political influence
As a prominent figure in the Belgian Congo, Kallé was chosen as a member of the Congolese delegation at the "Round Table Conference" on Congolese independence in 1960. He composed several songs on a political themes, notably "Indépendance Cha Cha" and "Table Ronde".

Death
Le Grand Kallé died in a hospital in Paris, France, on 11 February 1983. He was buried in Gombe Cemetery in Kinshasa.

Musical influence
Kabasele was one of the great African singers of the twentieth century. He was the first musician to mix Cuban rhythms with a traditional African beat to create what is now known as Soukous. He was also the first African musician to create his own record label. He has been referred to as the "Father of Congolese Music."

Discography
(see that page)
 * Albums, including compilations
 * Merveilles Du Passé – Hommage Au Grand Kalle Vol. 2 (1984, African)
 * Essous / Kwamy / Mujos / Edo / Casino (1993, Sonodisc)
 * 1966 – 1967 (1993, Grand Kalle/Syllart)
 * Grand Kallé et African Team, Vol. 1 (1993, Grand Kalle/Syllart)
 * Grand Kalle et l'African Jazz 1961–1962 (Merveilles du passé, vol. 2) (1993, Sonodisc)
 * Grand Kalle & L'African Team (1997, Sonodisc)
 * Le Grand Kalle (2013, Le Monde des Artistes)
 * Jolie Nana (2013, Marylebone Records)
 * Joseph Kabasele, Le Grand Kalle: His Life, His Music (2013, Sterns Africa)
 * The History Of Le Grand Kallé, Vol. 1 (2013, Diamond Days)
 * The History Of Le Grand Kallé, Vol. 2 (2013, Diamond Days)
 * The History Of Le Grand Kallé, Vol. 3 (2013, Diamond Days)
 * The History Of Le Grand Kallé, Vol. 4 (2013, Diamond Days)
 * The History Of Le Grand Kallé, Vol. 5 (2013, Diamond Days)
 * Butsana Mama: Le Grand Kallé & His Songs, Vol. 1 (2013, Supreme Media)
 * Butsana Mama: Le Grand Kallé & His Songs, Vol. 2 (2013, Supreme Media)
 * Butsana Mama: Le Grand Kallé & His Songs, Vol. 3 (2013, Supreme Media)
 * Butsana Mama: Le Grand Kallé & His Songs, Vol. 4 (2013, Supreme Media)
 * Butsana Mama: Le Grand Kallé & His Songs, Vol. 5 (2013, Supreme Media)
 * Contributing artist
 * The Rough Guide to Congo Gold (2008, World Music Network)
 * Authenticité Vol. 2 (2014, Eben Entertainment)
 * As leader of Le Grand Kallé et l'African Jazz

title: Le Grand Kallé


text: User talk:24.255.231.130

title: User talk:24.255.231.130


text:
1713 in architecture

The year 1713 in architecture involved some significant events.

Events

 * February 25 – Death of Frederick I of Prussia pauses work on Charlottenburg Palace in Berlin.

Buildings

 * Old State House (Boston) in Massachusetts, possibly designed by Robert Twelves, is completed.
 * Church of San Benedetto, Catania in Sicily is completed.
 * Spandauische Kirche, Berlin, designed by Philipp Gerlach, is consecrated.
 * Schelf Church at Schwerin in the Duchy of Mecklenburg-Schwerin, is rebuilt.
 * Vizianagaram fort in South India is built.

Births

 * January 22 – Marc-Antoine Laugier, French architectural historian (died 1769)
 * July 18 – Gaetano Matteo Pisoni, Ticinese architect (died 1782)
 * July 22 – Jacques-Germain Soufflot, French neoclassical architect (died 1780)
 * October 30 – Giuseppe Antonio Landi, Bolognese neoclassical architect and ceiling painter working in Brazil (died 1791)
 * December 27 – Giovanni Battista Borra, Italian architect and engineer (died 1770)
 * John Gwynn, English architect (died 1786)
 * Ivan Hryhorovych-Barskyi, Ukrainian baroque architect (died 1785)
 * James "Athenian" Stuart, English neoclassical architect and painter (died 1788)

Deaths

 * September 9 – Giovanni Antonio Viscardi, Swiss baroque architect working in Bavaria (born 1645)
 * Antonio Riva, Rhaetian baroque architect and builder (born 1650)

title: 1713 in architecture


text:
Gilbertville, Maine

Gilbertville is a community in the town of Canton in Oxford County, Maine, about 30 mi northwest of the city of Augusta.

title: Gilbertville, Maine


text:
Kodak DCS Pro 14n

The Kodak Professional DCS Pro 14n is a professional Nikon F80 based F-mount digital SLR produced by Eastman Kodak. It was announced at the photographic trade show photokina in Germany during September 2002; production examples became available in May 2003.

Featuring a 13.89 Megapixel (4560 x 3048 pixels total) full frame 24 x 36 mm CMOS sensor, the DCS Pro 14n was the second full-frame digital SLR to reach the market, after the unsuccessful and short lived Contax N Digital and came one day before the successful Canon EOS-1Ds. All previous digital SLRs had sensors smaller than a film frame and thus had a crop factor larger than 1.0, making a wide-angle field of view difficult to achieve.

In September 2003 Kodak announced the availability of a memory upgrade from 256 MB to 512 MB to DCS Pro 14n owners. The 512 MB version of the camera is often unofficially referred to as Kodak Professional DCS Pro 14n 512. A monochrome variant, known unofficially as Kodak Professional DCS Pro 14n m and based on the same CMOS image sensor, existed as well.

The DCS Pro 14n was replaced by the Kodak Professional DCS Pro SLR/n, released in 2004, which was a similar, but improved model. In particular, the new camera featured an improved image sensor and better power management, and it came with 512 MiB of buffer memory pre-installed. At around 1800 USD existing owners of the DCS 14n could order another camera upgrade from Kodak, comprising the new image sensor and memory upgrade. These upgraded cameras were officially referred to as Kodak Professional DCS Pro 14nx by Kodak. Except for the power management and name plate, they were basically the same as the DSC Pro SLR/n.

title: Kodak DCS Pro 14n


text:
Talk:Tausret

Comment
>>>>Twosret took the throne for herself, assuming the role of a Pharaoh and the titulary of a Queen (King's Wife).

Untitled
This information is simply wrong. Twosret was 'great king's wife' under Seti II. When she became Pharaoh = king of Egypt, she took over the full titles of a king. However, there is no monument, where she appears as 'king's wife' and 'Pharaoh' (Pharaoh means the five titles and names of a king) Udimu 4.10.2005. 8.55
 * OK, I just thought it wasn't logically inconsistent. Thanks for clearing that up.--Pharos 23:52, 5 October 2005 (UTC)

Twosret or Tausret ? How are you deciding the spellings guys?

Requested move 12 June 2024

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: MOVED. Tausret has been demonstrated to be the most prevalent spelling of the subject's name. (non-admin closure) Toadspike   [Talk]  13:06, 19 June 2024 (UTC)

Twosret → Tausret – While looking through sources on this person, it seems as though "Tausret" is actually the most common way of spelling her name. For example, in Google Scholar, "Twosret" gets 155 results, while "Tausret" gets 568. In contrast, of the other possible spellings, "Tawosret" gets 324 results, and "Tausert" gets 396 results.

It seems as though "Twosret" is actually the least common way of spelling her name in reliable sources. As "Tausret" appears to be the most common, I am requesting we rename this page to that. Grnrchst (talk) 10:00, 12 June 2024 (UTC) The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Support. An Ngram search gives some more evidence. Jähmefyysikko (talk) 07:35, 13 June 2024 (UTC)
 * Support per nom. Iazyges   Consermonor   Opus meum  09:52, 18 June 2024 (UTC)

title: Talk:Tausret


text:
User talk:Sun wukong8

Image Tagging Image:Wong1.jpg
Thanks for uploading Image:Wong1.jpg. I notice the image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to argue that we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, ie in most cases link to the website where you got it, and the terms of use for content from that page.

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If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thanks so much. --Secretlondon 07:57, 4 October 2005 (UTC)

Non-free use disputed for Image:Wong1.jpg
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Non-free rationale for File:Tinkauko1.jpg
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title: User talk:Sun wukong8


text:
User:Vinko

Vinko is a trouble maker (born January 1900), HAPPY BIRTHDAY!!!!!!!!!

is a Hong Kong born Canadian who immigrated to Mississauga, Ontario, Canada in June 1900. He lived there with his parents and younger brother off and on for 10 years.

The name "Vinko" is a Muggle name. It is commonly used as "He Who Must Not Be Named" aka Voldemort.

When he first arrived in Mississauga, he attended elementary school at Homelands Senior Public School for grades 7 and 8. He then moved on to Erindale Secondary School for grades 9 - 13. He was able to finish high school in 4 years and moved on to university at University of Waterloo in Waterloo, Ontario, Canada.

He worked as an Macintosh Software Engineer from January 1989 - 1998 while living in Toronto and Chicago, and moved back to Hong Kong in January 1990 where he still lives.

He labels himself as a true Technology Versatilist. Able to quickly adapt to new technologies and be fluent in them as they become available for various different industries. In the past he has assisted companies, where he was employed, to exploit up and coming technologies in ways that the technologies were not originally intended.

Published articles

 * Jasik's Incremental Build System and ObjectMaster
 * ObjectMaster 2.0

title: User:Vinko


text:
New Democracy (disambiguation)

New Democracy is a stage of development in Maoism.

New Democracy may also refer to the following political parties:
 * New Democracy (Andorra)
 * New Democracy (Canada), a defunct political party
 * New Democracy (Greece), a centre-right political party
 * Communist Party of India (Marxist–Leninist) New Democracy
 * New Democracy (Kosovo)
 * New Democracy (North Macedonia)
 * New Democracy (Portugal)
 * New Democracy (Serbia)
 * New Democracy (Sweden)
 * New Democracy (Slovakia)
 * New Democracy (Yugoslavia)
 * New Democracy - Yes, a progressive regionalist party in Poland

title: New Democracy (disambiguation)


text:
User talk:Chrisn

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! -Willmcw 07:57, 4 October 2005 (UTC)
 * The Five Pillars of Wikipedia
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 * PS: Thanks for your explication. While I understand that different editors bring different view to this project, let's all remember that we work on consensus. Cheers, -Willmcw 07:57, 4 October 2005 (UTC)

AfC notification: Draft:Romanian Journal of History and International Studies has a new comment
 I've left a comment on your Articles for Creation submission, which can be viewed at Draft:Romanian Journal of History and International Studies. Thanks! Wikirictor (talk) 14:13, 14 January 2017 (UTC)

== Your submission at Articles for creation: Romanian Journal of History and International Studies (January 14) ==  Your recent article submission to Articles for Creation has been reviewed! Unfortunately, it has not been accepted at this time. The reason left by KylieTastic was:

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KylieTastic (talk) 14:26, 14 January 2017 (UTC)

Your draft article, Draft:Romanian Journal of History and International Studies

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== Your submission at Articles for creation: Romanian Journal of History and International Studies (September 2) ==  Your recent article submission to Articles for Creation has been reviewed! Unfortunately, it has not been accepted at this time. The reason left by Narutolovehinata5 was:

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Your draft article, Draft:Romanian Journal of History and International Studies

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title: User talk:Chrisn


text: Talk:Hase-dera (Kamakura)

title: Talk:Hase-dera (Kamakura)


text:
Westphalia, Texas

Westphalia is a small unincorporated community in Falls County, Texas, United States, located 35 mi south of Waco on State Highway 320. Westphalia has a strong German and Catholic background. The Church of the Visitation was, until recently, the largest wooden church west of the Mississippi River. Westphalia is mainly noted for its historic church and convents, but also for its meat market and for its annual church picnic, which is one of the largest in the area. Westphalia is also known for the Westphalia Waltz. The Westphalia Independent School District serves area students.

Westphalia Rural Historic District
The entire town of Westphalia, along with a large 5500 acre swath of surrounding countryside, is listed on the National Register of Historic Places (NRHP) since 1996 as the Westphalia Rural Historic District. The district lies at the center of a broader rural farming community culturally bound through German Catholic traditions. The town of Westphalia is home to the region's Catholic parish, the religious institutions supported by the parish, the schools, and commercial businesses that grew up to serve local farmers. Outside of Westphalia, the district holds 35 historic farmsteads containing late 19th- and early 20th-century residential and agricultural buildings still retaining a high degree of integrity in their environment, design, materials, and workmanship.

Westphalia, never formally platted or incorporated, historically is situated along three principal streets, and is composed of four distinct sections. Church Road, now known as County Road 3000, forms a northern district featuring the Church of the Visitation of the Blessed Virgin and its rectory and parish hall, cemetery, schools, and a former convent. These structures were formerly on large lots, but in later years, residential infill has been added. The Main Village Road, now CR 366 and CR 380, was the center of the town's commercial development at the intersections of the other two streets until 1938 when State Highway 320 (SH 320) was constructed through town, reorienting the town's business settlement pattern. Cotton Gin Road, now CR 366 south of CR 380, led to the cotton gin that served as Westphalia's only industrial infrastructure on the southwest of town. Initially, the town's residences formed the fourth section along the Main Village Rd. east of and near the commercial center.

Outside of town, agrarian lands within the district were originally structured in a rectangular grid pattern with roughly 270 acre tracts broken only by wooded areas along streams and later by the diagonal path of SH 320. Although some large tracts have been further subdivided beginning in the 1910s, the modern county road network along with fence lines and their associated vegetation respect this historically rectangular framework. Common land uses including widespread corn, cotton, and livestock production along with shared agricultural practices including seasonally consistent farming methods give the farmsteads a uniform appearance that reflects its late 19th-century appearance. The twin steeples of the Church of the Visitation in Westphalia form a commanding presence, being visible from most locations throughout the district.

The district contains 283 contributing resources, including 188 buildings, 43 sites, 50 structures, and two objects, along with 127 total noncontributing resources. The district's NRHP registration form specifies the following properties as being representative of the district including one that is also a Recorded Texas Historic Landmark (RTHL):

 * The Church of the Visitation of the Blessed Virgin, Church Rd. (CR 3000) — Constructed from 1894-1895, the church follows a Latin cross plan measuring 120 by with a 20 feet by 30 feet transept. The building has a symmetrical facade dominated by twin 80 feet bell towers topped by copper-clad domes and Maltese crosses, a common German symbol, along with Gothic windows and fish-scale shingles. The church's design and construction are reminiscent of the German Westphalia region that was the homeland of the town's immigrant pioneers, although the church is more subdued than most similar churches in the town's namesake region. Restoration efforts have provided a distinctive blue and white paint scheme of folk patterns evident in early photographs. The church's interior includes stained-glass windows and a painting on the ceiling of angels, stars, comets, and the moon. A concrete-lined cistern, a remnant of the town's early water supply, is also a historic element of the property. The church was destroyed by a fire on July 29, 2019
 * St. Mary's Cemetery, Church Rd. (CR 3000) — The cemetery was established circa 1895 on a slightly sloping hill within the church's original 100 acre tract; however, the first recorded grave was dug there earlier in 1884. Although some graves are covered with grass, most are neatly graveled in family plots surrounded by low curbs with gravel pathways between. Headstones face east toward the church, and many older headstones have German inscriptions and are topped with Maltese crosses, providing visual continuity with the church towers. Dominating the center of the cemetery is a bronze statue of the crucified Christ donated by local families and imported from France in 1908. Between the statue and the cemetery entrance is a file of seven concrete slabs, also facing east, covering the graves of former parish priests. A ceremonial wrought-iron arch installed around 1950 marks the entrance. The original wrought-iron fencing remains on the north side, while the rest has been removed due to expansion. A chain-link fence along the rear of the cemetery marks the boundary of the church tract.
 * Westphalia Little School, Church Rd. (CR 3000) — This school, built in 1896 likely incorporating ruins from the later of two previous church buildings, is located on the hill near the present church. The vernacular frame building is similar to center-passage dwellings commonly built at the time. The three-room school includes a wing added to the rear typical of the expansion of the area's farmhouses. Other design features common in contemporary structures include the school's pedimented entry portico, fish-scale shingles, and double-hung sash with pedimented surrounds. The building continued serving as a school until 1989.
 * Minnie Hoelscher House, Church Rd. (CR 3000) — This house, built before 1890, is the earliest known residence within Westphalia and belonged to Minnie Hoelscher, a dressmaker and milliner. The 11⁄2-story, two-room home was typical of many contemporary farmhouses. Modest adornments include turned porch brackets and paired turned posts. Despite the home's modest size, Miss Hoelscher opened her home to boarders. The agricultural property also includes a barn, shed, and well.
 * Dr. B.A. and Katie Jansing House, Main Village Rd. (CR 366) — This 1921 home is a one-story bungalow located in the town's commercial heart. The house is located on a 1.7 acre lot, typical of homes on Westphalia's main road, and belonged to a prominent, long-time physician upon whom the town highly depended. The primary contractor was Tom Roberts of Lott with assistance from Will Ranly of Westphalia. The house demonstrates Craftsman influences, including geometric gable ornamentation, simple box columns, triangular knee braces, and a battered foundational skirt. Despite the addition of asbestos siding in the post-World War II period, a common practice at the time, the home's historical elements remain recognizable.
 * Hoelscher/Thornton Store, Main Village Rd. (CR 366) — Built in 1907, the Hoelscher/Thornton Store is distinguished as the oldest remaining commercial building in the historic district. The main entrance of the one-story frame building faces the Main Village Rd., while a secondary, rear entrance has been opened toward SH 320. The false-fronted main facade features a stepped parapet of horizontal boards, and the structure retains its original architectural features, building materials, and interior design. The store originally sold dry goods with groceries sold in a separate building since consumed by fire. Descendants of the original owners still own and operate the business, which continues to serve as a gathering spot for townsfolk.
 * Stefka/Hoelscher/Doskocil Cotton Gin, Cotton Gin Rd. (CR 366) — The cotton gin was built around 1930 on the southwestern edge of town abutting extensive cotton fields. This gin replaced an earlier one located about 1.5 mi to the west. The original cruciform plan of the gin remains recognizable despite numerous technological alterations both contributing and not contributing to its historical integrity. The cotton gin remains operational and continues to serve the local agricultural community.
 * Christopher and Mary Fuchs Farmstead, SH 320 — Christopher and Mary Fuchs, immigrants from Germany, obtained title to a formerly 200 acre tract upon which this farmstead sits in 1890 and finished payments for the property by 1900, although by this time, they no longer farmed. The farmhouse is among the oldest buildings in the district, and the current farmstead property includes more than a dozen outbuildings. The historic structures of the farmstead represent all significant historic periods of the district and remain largely unaltered, rendering the farmstead an epitome of first-generation Westphalia farms. The original farmstead has been subdivided through inheritance and subjected to land swaps among the descendants of the Fuchs family, leaving the current property with the original farmhouse on a parcel of 108 acre. This acreage includes 87.1 acre of cropland and 20.3 acre of pastureland which itself contains 6 acre of prairie grass in a hay meadow that has never been plowed. This expanse of indigenous grassland is a rarity, lending this property special significance within the district's historic context. The farmstead conforms to common local patterns with a building complex centrally located within the cultivated fields. A barbed-wire fence with cedar posts and lined with wild vegetation runs along a dirt road between the fields and the building compound. Decorative wire fencing separates the barnyard from the main house's yard, which is planted with large trees, roses, and other flower beds. The 1890-era family domicile itself is a 11⁄2-story frame house built in the region's common center-passage style with a rear ell. A full-length porch fronts a five-bay façade and features chamfered posts, a gabled roof with twin dormers, and a side-lighted central front door. A hard-packed drive separates the house from the barnyard structures. These include a rectangular, one-story chicken coop with a chimney allowing for chick incubation as early as January. Four hog pens are made up of double pens with frame fencing. Several large animal barns of one and two stories and a 11⁄2-story barn with a hay loft also remain. Other barnyard historic features include storage and garage outbuildings, a plot for vegetable and flower cultivation, a well, and an old privy. Historic barnyard structures are of frame construction with either wood shingle or metal roofs, while noncontributing structures, built since the 1960s, are of metal construction.
 * Anton Jansing Estate, CR 372 — Anton Jansing was one of the earliest German Catholic settlers arriving in 1888, and helped establish the parish church before his death 10 years later. Although the house and some outbuildings remain intact, the historic nature of the surrounding fields has been obscured by modern commercial agriculture. The present farmstead, part of what was originally a 227 acre tract, is dominated by the farmhouse built around 1890. The home, built on a center-passage plan, features a pedimented front door with transom and side lights, pedimented $4⁄4$ windows, and a pedimented front porch with fish-scale shingles. Across a hard-packed drive leading to the county road from the main house is the barnyard compound. This once more substantial complex holds three remaining main buildings that are historically similar to other structures within the district. These are a two-story hay and animal barn with board corrals and open cattle bays, a one-story frame barn, and a metal garage with hasp-hinged doors.
 * Elizabeth Biemer Farmstead, CR 378 — This farmstead, with a house built around 1915, is considered a typical example of a second-generation property within the district. Elizabeth Biemer was a German immigrant whose native-born Texan husband died within a few years after acquiring this property, leaving her to tend the farm along with her four children. This is an early 20th-century standard-plan house with a high-pitched, hipped roof. Historic outbuildings include a one-story frame barn and a one-story garage with large hasp-hung doors. Noncontributing modern structures include a shed, a metal barn, and a cattle feeder. Elsewhere, the fence lines and tree-shaded pasture enhance the farm's historic character, while an intensely cultivated field is a detraction.
 * Joseph and Clothilde Kahlig Farmstead, CR 378 — Joseph A. Kahlig obtained this property in 1884 and lived with his wife in a small log house along a creek until building the farmhouse around 1890. The farmhouse, very representative of others in the district and one of the oldest, is a 11⁄2-story central-passage structure with a rear ell. Among the outbuildings are a two-story metal hay barn, a 11⁄2-story metal animal barn, a one-story frame root cellar, a tractor barn, a buggy barn, a chicken house, a pig pen, and a working well. These are part of an elevated building complex, while other landscape aspects of the farm include an expanse of flat land for cotton cultivation and a grassy slope and large stock pond for cattle grazing.
 * G.P. Hoelscher Farmstead, CR 388 — This farmstead was originally part of a subsequently divided 200 acre tract. The farmstead contains 10 historic buildings along with an ornamental garden, while a second house on another subdivided section of the original property dates to 1908. The G.P. Hoelscher House, built around 1890, is yet another central-passage dwelling common in the district. This 11⁄2-story house is very similar to the Christopher Fuchs House with three gabled dormers and a front porch that was replaced during the district's period of historic interest. Surrounding the home is a yard common among homes in the district with a decorative metal gate and fencing enclosure with symmetrical plantings of trees and shrubs. Rose bushes are planted along the east side of the house, while the front porch is flanked with holly and crape myrtles. Pecan trees shade the house from each of the fence corners. Among the outbuildings are a 11⁄2-story frame hay barn, a 11⁄2-story frame garage with hasp hinged doors, a one-story tractor shed, a one-story frame corn crib, a hen house, a frame privy, a brick cistern and concrete-sheathed brick well, and a hot water house/wash house. This building complex again is placed upon an elevated place within the farmstead, which also features cedar-post fence rows and a timber stand along a creek.
 * Henry Meyer Farmstead, CR 386 — Despite the dilapidated state of much of this property, it remains sufficiently intact to demonstrate crucial elements of the district's historical traditions. The farmhouse is in an I-layout design, the only remaining such structure in the district, although the layout was formerly more common among vernacular buildings in the area, including a nonextant former church rectory. This building, dating from around 1900, also has a vernacular central-passage design with a rear ell. The two-story house has a collapsed full-width porch, unfortunately representative of other vacant historic properties in the district. The home's yard includes a concrete-sheathed brick well and a deteriorated frame privy. Outbuildings include a three-bay 11⁄2-story hay barn, a one-story frame shed, and an open-sided animal barn with corrals. The concrete foundation of a sanitary pit toilet constructed around 1935 by the Works Progress Administration is located nearby.

 * Frank J. and Julia Buckholt Farmstead (RTHL #13048), CR 379 — Frank Bockholt inherited this portion of the original farm from his father, alternatively known as either Alois or Johann Bockholt, and his mother Theresia. This 1912 home is considered a second-generation house within the district. The house incorporates elements of the previous two-room home built by Frank Buckholt's parents, who settled in the area in 1881 and in which Buckholt was raised since his birth in 1884. After studying music at St. Edward's in Austin, Buckholt returned home to be the organist for 52 years at the Catholic church and director of the men's choir. The 11⁄2-story hipped roof bungalow house built in 1912 of American Four Square design represents a style between Craftsman and late Victorian that remains largely unaltered. The home was constructed by carpenters Crier and Sapp. What remains of the farm's outbuildings of frame construction with either board-and-batten or vertical board design include a two-story hay and cattle barn, two one-story chicken houses, a one-story garage and work shed, and a one-story storage and garage building. A metal feed silo and a few pig pens complete the barnyard building complex separated from the house by a field road. Beyond these, the historic nature of cultivated areas has effectively been destroyed due to leasing to modern agricultural interests that have disrupted traditional field patterns and removed fence rows.

title: Westphalia, Texas