DOCSLIB.ORG

Century-Wall-Brochur

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Century-Wall-Brochur Wall I 1900 - 1940 1. Willis Carrier 21. George Marshall Century Wall 2. Jokichi Takamine 22. Helen Keller 3. Will Rogers 23. Mark Twain Pocahontas, Arkansas 4. Geronimo 24. Frank Lloyd Wright 5. Dorothea Lange 25. Margaret Sanger 6. Joe Louis 26. W. E. B. DuBois 7. John Dewey 27. Eleanor Roosevelt 8. Juliette Gordan Low 28. Jesse Owens 9. WIlliam Jennings Bryan 29. Margaret Mitchell 10. Clarence Darrow 30. Thomas Edison 11. John Scopes 31. C. J. Walker 12. Eudora Welty 32. Albert Einstein 13. Ira Gershwin 33. and 34. Wilbur and Orville Wright 14. George Gershwin 35. Louis “Satchmo” Armstrong 15. Jane Addams 36. Babe Ruth 16. George Washington Carver 37. Henry Ford 17. Robert Frost 38. Mary McLeod Bethune 18. Walter Reed 39. Franklin D. Roosevelt 19. Charles Lindbergh 40. Hideyo Noguchi 20. Andrew Carnegie Wall II 1941 - 1965 61. Hattie Caraway 41. Lucille Ball 62. Rita Moreno 42. Leonard Bernstein 63. Robert F. Kennedy 43. Georgia O’Keeffe 64. John Steinbeck 44. Irving Berlin 65. Earl Warren 45. Elvis Presley 66. Maria Tallchief 46. Ray Kroc 67. Walt Disney 47. Aaron Copland 68. Enrico Fermi 48. Linda Brown 69. Jonas Salk 49. Robert Oppenheimer 70. Martha Graham 50. Billy Graham 71. Alan Shepard 51. Jackie Robinson 72. John Glenn, Jr. 52. William Fulbright 73. Harry S. Truman 53. Rosa Parks 74. B. B. King 54. Martin Luther King, Jr. 75. Bill Clinton 55. Rachel Carson 76. Wilma Mankiller 56. Gwendolyn Brooks 77. Amy Tan 57. John F. Kennedy 78. Theodor Geisel 58. Charles Drew 79. Thurgood Marshall 59. Maria Martinez 80. Ryan White 60. William Faulkner This project involved the efforts of BRTC faculty, staff, and Wall III administration, with funding support from the National 1966 - 2000 Endowment for the Humanities, American Association of 81. Christa McAuliffe 96. Ronald Reagan Community Colleges, the Community College Humanities 82. Roberto Clemente 97. Oprah Winfrey 83. Maya Lin 98. David Henry Hwang Association, Phi Theta Kappa, the City of Pocahontas, 84. Maxine Hong Kingston 99. Bill Cosby Randolph County, and the community’s financial institutions. 85. S. I. Hayakawa 100. Annie Wauneka 86. Antonia Novello 101. Barbara Walters BRTC staff members were Melody Walker, Dr. Charlotte Power, 87. Michael Jordan 102. Maya Angelou 88. Neil Armstrong 103. Danny Thomas Dr. Martha Shull, Dr. Sandy Davis-Baltz, artist, and 89. Bob Hope 104. Betty Friedan Project Chair Dr. Jan Fielder Ziegler. 90. Jacquelyn Kennedy Onassis 105. Hillary Rodham Clinton 91. Langston Hughes 106. Heather Whitestone 92. Terry Anderson 107. Cesar Chavez 93. Bill Gates 108. Joan Baez www.blackrivertech.edu 94. Jimmy Carter 109. Lyndon B. Johnson 95. Daniel Inouye The Century Wall The Century Wall was never about ‘the most famous’ 100 Americans. It was about presenting a compelling monument that celebrates this nation and those who played a part in its shaping in the 20th Century. Unveiled on July 4, 2000, The Century Wall is a project This wall makes a special effort to shine a light not just on the famous, spearheaded by Black River Technical College to recognize but also on those Americans who represent the broad spectrum of 100 Americans who helped to shape this country in the 20th America’s people. And it is unique in that this monument reflects the Century. The Wall stands in Black River Overlook Park near thoughts of this community at a particular point in time - as we ended the heart of downtown Historic Pocahontas on U.S. Hwy 67. one century and began another. It is a community project, with local and regional citizens having participated in the suggestions and decisions regarding “The Century Wall includes a few whose faces should appear on the wall. presidents, a few poets, a few inventors, scientists, and artists. It The project began when BRTC’s proposal to the National includes those who challenged us to Endowment for the Humanities’ grant program, “Exploring do more than we ever thought we America’s Communities: In Quest of Common Ground,” could, and those who admonished us was one of only 42 selected nationwide. The original focus when we did less than we should. of the project was to engage the college and the community in discussion of such questions as “What separates us as Americans? What brings us together? What do we have in The Wall will help us remember common?” Its goal was to strengthen the teaching of history those who, with their special gifts, and literature on the two-year college campuses. Criteria for made us smile when we didn’t think selecting the individuals on the wall were developed with there was much to smile about, or assistance from the NEH, and included five elements (listed who helped us to see with eyes we on the panel at right). The selection committee eventually didn’t know we had. It depicts those decided to include more than 100, since some choices involved who, with their extraordinary vision, gave us glimpses of worlds we hadn’t dreamed even existed. more than one single person. The Century Wall The Wall portrays those who walked where we walked at the best and at the worst of times, and those who Selection Criteria: ventured where we never could. The • Personal Sacrifice Wall introduces us to Americans • Positive Impact on the Masses whose footprints went largely un- • Positive Impact on Quality of Life noticed, but not unfelt, and to those who have made us consider • Significance as a Pioneer whether the ways in which we are different are really more important • Potential for Future Positive Impact than the ways in which we are alike. It places before us men and in Cultural Diversity and Acceptance women who, in all the rich and beautiful tapestry that is America, of Pluralism Black River Overlook Park helped to shape this nation in the 20th Century.” ~ JFZ.
Load more

Recommended publications
  • Test Sets G5.Qxd
    Planning for Interactive Read-Aloud: Text Sets Across the Year—Grade Five BIOGRAPHY RELATIONSHIPS WITH OTHERS PIONEER LIFE NOVEL—HISTORICAL FICTION POETRY # Abe Lincoln Remembers # Nobiah’s Well (Guthrre) # Red Flower Goes West (Turner) # The Bronze Bow (Speare) # Been to Yesterday (Hopkins) (Turner) # The Orphan Boy (Mollel) # Cassie’s Journey (Harvey) # Extra Innings (Hopkins) # Thomas Jefferson (Giblin) # Nadia’s Hands (English) # My Prairie Year (Harvey) # Bronx Masquerade (Grimes) # The Amazing Life of Benjamin # Smoky Night (Bunting) # What You Know First Franklin (Giblin) # The Bat Boy and His Violin (MacLachlan) # Ella Fitzgerald: The Tale of a (Curtis) # Sod Houses on the Great Plains Vocal Virtuoso (Pinkney) (Rounds) # # EPTEMBER Duke Ellington: The Piano Prairie Primer A to Z (Stutson) /S Prince and His Orchestra # Josepha: A Prairie Boy’s Story (Pinkney) UGUST (McGugan) A # Snowflake Bentley (Briggs) # The Story of Ruby Bridges (Coles) # Game Day (Root) # Mandela: From the Life of the South Africa Statesman (Cooper) MEMORABLE LANGUAGE INFORMATIONAL REVOLUTIONARY WAR ECOLOGY/NATURE NOVEL—REALISTIC FICTION # Going Back Home: An Artist # The Top of the World (Jenkins) # Redcoats and Petticoats # Cave (Siebert) # Flying Solo (Fletcher) Returns to the South (Igus) # The Snake Scientist (Kilpatrick) # Sugaring Time (Lasky) # # The Wagon (Johnston) (Montgomery) Katie’s Trunk (Turner) # Three Days on a River in a Red POETRY # Now Let Me Fly (Johnson) # A Desert Scrapbook Dawn to # Shh! We’re Writing the Canoe (Williams) # Ordinary
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Women's Center
    University of North Alabama Women’s Center April 2010 Sexual Assault Awareness Month (excerpted from womenshealth.gov) Sexual assault is defined as any type of sexual activity that you do not agree to. The assault can be verbal, visual, or anything that forces a person to join in unwanted sexual contact or attention. Rape is the most common form of sexual assault and in many situations is committed on a date by a friend or acquaintance. If you or someone you know has been sexually assaulted there are some steps you can take right away after the assault. If you plan to report the assault you should not wash, comb, or clean any part of your body and if possible do not change clothes. You should go to the nearest hospital if possible. If you are afraid of going alone call a friend or family member you trust or you can also call a crisis center or hotline. There are some steps you can take to lower your risk of assault. Some of these steps include: -Be aware of your surroundings. -Walk with confidence, it makes you appear -Be assertive and don't let anyone stronger. violate your space. -Lock doors and windows even if you are -Avoid walking or jogging alone leaving for just for a few minutes. especially at night. If you or someone you know has been assaulted and you want to speak to someone Rape Response offers crisis counseling as well as many other services. To receive counseling you do not have to be a new victim and it can even be an anonymous session over the phone.
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • MAYA LIN Lin, Maya, Pin River
    ART GUIDES FOR EDUCATORS: MAYA LIN Lin, Maya, Pin River. Colorado River. 2010.385 ART GUIDES FOR EDUCATORS: MAYA LIN MEET THE ARTIST which was carved by the river millions of years ago. Maya Lin was only 21 years old when her proposal was chosen Interesting facts about the Colorado River: in 1981 for the Vietnam Memorial, in Washington, D.C. Although, initially a controversial choice for its minimalist • The Spanish word Colorado means, “colored red.” The approach, the memorial is now regarded as one of the most name was given first to the Colorado River, which flows notable sights in the United States. through canyons of red stone. • The Colorado River is 1450 miles in length and flows Lin was trained as an artist and architect, and her sculptures, through seven U.S. states (Colorado, New Mexico, Utah, parks, monuments, and architectural projects are linked by her Arizona, Wyoming, California and Nevada) and two ideal of making a place for individuals within the landscape. Mexican states. The artist is passionate about the environment and the power • Its source in La Poudre Pass in Rocky Mountains, and it of nature, saying: “Nature is going to reach out whether you ends in the Gulf of Mexico, between the Mexican states, notice it or not. It’s going to come out and say hello.” Baja California and Sonora. • The Colorado River supplies water to more than 30 Lin is fascinated by maps, and undertakes considerable million people, and irrigates 3.5 million acres of farmland. topographical research in her art making. She remarks: “As the • The depth of the river varies from 6 feet to 90 feet, with child of immigrants, you have that sense of ‘Where are you? the average being about 20 feet.
    [Show full text]
  • Art History High School Self-Guide
    Art History High School Self-Guide We are surrounded by portraits every day—from those on the dollar bills and coins in our wallets to the selfies found in social media and the photographs of our loved ones. Historically, portraiture was an important symbol of power and wealth. Now, readily reproducible and ever-more accessible through photography and modern printing techniques, portraiture has become democratic. This guide will help you and your students think about how we perceive and commemorate people from our history and will ask you to consider how portraiture has changed and remained the same over the past two centuries using highlights from the National Portrait Gallery’s collection. Take a map from one of the Visitor Services desk. Begin in American Origins on the first floor and take a close look at the self-portraits that were created in the nation’s early years, when the influence of European culture mingled with the spirit of the country’s recent independence. On the second floor, explore America’s Presidents and note how the depictions of our nation’s leaders have evolved over time. In 20th-Century Americans, on the third floor, you will find portraits in all mediums: prints, photographs, sculptures, painting and more. READING PORTRAITURE The prompts below will help you encourage your students to “read” a portrait before reading the museum label or other sources. They can also be used as a springboard for broader conversa- tions about art, history, and biography. 1. Start by having your students identify the specific choices that artists make when they create portraits.
    [Show full text]
  • Press Notes 4 of 14 Wilma Mankiller Reads to Young Students
    A Valhalla Entertainment and Red-Horse Native Productions documentary for Vision Maker Media with major funding by the Corporation of Public Broadcasting Directed and Produced by Valerie Red-Horse Mohl Executive Produced by Gale Anne Hurd Publicity: Educational Sales/ All Other Territories Valhalla Entertainment Distribution Valhalla Entertainment 3201 Cahuenga Boulevard Good Docs 3201 Cahuenga Boulevard Los Angeles, CA 90068 Los Angeles, CA 90068 Sarah Feinbloom Lyndsey Miller [email protected] Julie Thomson [email protected] [email protected] (323) 850-3034 Home Sales (323) 850-3030 Vision Maker Media 1800 N 33rd St Red-Horse Native Productions Lincoln, NE 68503 Valerie Red-Horse Mohl Shirley Sneve [email protected] [email protected] (402) 472-3522 Not yet Rated, 74 min, Color © 2017 Red Horse Native Productions/Valhalla Entertainment About the Filmmakers Gale Anne Hurd Valerie Red-Horse Mohl MANKILLER Executive Producer MANKILLER Director/Producer Hurd’s career as a Producer was launched when A filmmaker of Cherokee ancestry, Red-Horse she produced and co-wrote THE TERMINATOR. Mohl’s body of work spans over three decades On location in San Francisco, the Mankiller Documentary crew interviews Roxanne Dunbar Ortiz. Pictured from left to right: Ms. Dunbar Ortiz, Hurd’s additional feature credits include the of film and television content creation and Valerie Red-Horse Mohl (Director/Producer), Tarin Anderson (Director of Photography), Robert Swanson (B-Camera Operator). Photo by Curt Mohl. Academy Award winning films
    [Show full text]
  • Selected Highlights of Women's History
    Selected Highlights of Women’s History United States & Connecticut 1773 to 2015 The Permanent Commission on the Status of Women omen have made many contributions, large and Wsmall, to the history of our state and our nation. Although their accomplishments are too often left un- recorded, women deserve to take their rightful place in the annals of achievement in politics, science and inven- Our tion, medicine, the armed forces, the arts, athletics, and h philanthropy. 40t While this is by no means a complete history, this book attempts to remedy the obscurity to which too many Year women have been relegated. It presents highlights of Connecticut women’s achievements since 1773, and in- cludes entries from notable moments in women’s history nationally. With this edition, as the PCSW celebrates the 40th anniversary of its founding in 1973, we invite you to explore the many ways women have shaped, and continue to shape, our state. Edited and designed by Christine Palm, Communications Director This project was originally created under the direction of Barbara Potopowitz with assistance from Christa Allard. It was updated on the following dates by PCSW’s interns: January, 2003 by Melissa Griswold, Salem College February, 2004 by Nicole Graf, University of Connecticut February, 2005 by Sarah Hoyle, Trinity College November, 2005 by Elizabeth Silverio, St. Joseph’s College July, 2006 by Allison Bloom, Vassar College August, 2007 by Michelle Hodge, Smith College January, 2013 by Andrea Sanders, University of Connecticut Information contained in this book was culled from many sources, including (but not limited to): The Connecticut Women’s Hall of Fame, the U.S.
    [Show full text]
  • Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
    Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change.
    [Show full text]
  • Maria Tall Chief Maria Tall Chief
    Maria Tall Chief Maria Tall Chief (later changed to Tallchief) was born in Oklahoma in 1925. Her father was Osage Native American and her mother of Scotch-Irish descent. It had been an unrealized dream of her mom to study dance and music, so Maria and her sister Marjorie were enrolled early in dance and piano lessons. Maria was only three years old when she began dance classes. It wasn’t long before Maria and Marjorie were performing at local rodeos. When she was eight, Maria’s family moved to California with the hope finding an opportunity for the girls in show business. Her mother asked a pharmacist for a recommendation for a dance teacher and was referred to Ernest Belcher, who was Marge Champion’s father. Maria soon moved on to more noted classical teachers of dance, but was also continuing to study piano and saw herself as having a career as a classical pianist. However, she continued with dance and at 17 went to New York looking for a way into the classical world of dance. Tallchief was soon offered a place with the Ballet Russe de Monte Carlo where she performed for five years. It was there that she met George Balanchine. She eventually married Balanchine and returned to New York. Balanchine had just founded the New York City Ballet and Maria became its first prima ballerina. She was the first American woman and the first Native American to be recognized world wide as a prima ballerina. She was the first American invited to dance with the Bolshoi.
    [Show full text]
  • Photographs Shine at Swann Galleries' African Americana
    FOR IMMEDIATE RELEASE Contact: Alexandra Nelson April 2, 2018 Communications Director 212-254-4710, ext. 19 [email protected] Photographs Shine at Swann Galleries’ African Americana Auction New Record for a Signed Frederick Douglass Photograph at $30k New York—Institutional purchases dominated the buying field at Swann Galleries’ auction of Printed & Manuscript African Americana on March 29. The top lots of the auction were almost entirely manuscripts, archives, early photographs or otherwise unique material. A large percentage—four of the top five, and 13 of the top 20—will be joining public collections. The auction was led by an album of cartes-de-visite featuring abolitionists and African Americans from the Boston area. The most popular lot during the preview week, it was something like a "little sister" to the album handled by Swann in 2017 that contained a previously unrecorded photograph of Harriet Tubman. It was purchased by an institution for $47,500, above a high estimate of $9,000. An archive of six letters by Frederick Douglass, which had remained in a family collection since their receipt, led a significant selection of material related to the abolitionist. The correspondence, addressed to his friend Ebenezer Bassett, concerned race relations, Haiti and politics; it provides fascinating new insights into the mindset of one of the greatest Americans toward the end of his life ($42,500). The only known complete copy of Farewell Song of Frederick Douglass, on Quitting England for America—the Land of his Birth, a songbook by Julia and T. Powis Griffiths, flew past its high estimate of $7,500 to reach $37,500.
    [Show full text]
  • THE SURGEON GENERAL and the BULLY PULPIT Michael Stobbe a Dissertation Submitted to the Faculty of the University of North Carol
    THE SURGEON GENERAL AND THE BULLY PULPIT Michael Stobbe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Public Health in the Department of Health Policy and Administration, School of Public Health Chapel Hill 2008 Approved by: Ned Brooks Jonathan Oberlander Tom Ricketts Karl Stark Bryan Weiner ABSTRACT MIKE STOBBE: The Surgeon General and the Bully Pulpit (Under the direction of Ned Brooks) This project looks at the role of the U.S. Surgeon General in influencing public opinion and public health policy. I examined historical changes in the administrative powers of the Surgeon General, to explain what factors affect how a Surgeon General utilizes the office’s “bully pulpit,” and assess changes in the political environment and in who oversees the Surgeon General that may affect the Surgeon General’s future ability to influence public opinion and health. This research involved collecting and analyzing the opinions of journalists and key informants such as current and former government health officials. I also studied public documents, transcripts of earlier interviews and other materials. ii TABLE OF CONTENTS LIST OF TABLES.................................................................................................................v Chapter 1. INTRODUCTION ...............................................................................................1 Background/Overview .........................................................................................1
    [Show full text]