The Chicago Embroidery Company was founded in 1890 by Johannes Bodenmann, who came to the United States from Switzerland and settled in Chicago in the part of the nineteenth century. He used his lace making skills and knowledge to form the company, formally incorporated in 1894. During long cold winter nights, Swiss farmers and their families concentrated on handicrafts that could be sold for extra income; the Swiss embroidery tradition, which has roots in flax and linen production dating back hundreds of years, led to the development of distinctive Swiss lace, an intricate, interlaced pattern of threads, twisted or braided to other threads, known throughout the world for its quality and workmanship. Handmade lace and so called hand machine embroidery was used in decorative clothing, table linens and many other applications. Lace making and embroidery changed during the Industrial Revolution with the development of automated lace machines, the shiffli embroidery machine which increased production efficiency and provided the capability to reproduce any number of identical pieces.

In 1913, New Yorker John Avery, an advertising counselor and associate sales manager at Arnold B. Heine Co. a New York-based lace and embroidery company, acquired a one-third interest in the Chicago Embroidery Company. The company prospered. During this period, The Chicago Embroidery company was asked to stitch designs on men’s socks, however no one knew how do to this because the sock had to be stitched after it was made and the power looms could not make a design without stitching the sock closed; the company met this challenge by creating a special holder for the socks that allowed the power looms to stitch a design without ruining the sock and in 1938, Otto DeCardy filed for and was granted U. S. patent 2,141,294 for a specialized hose embroidery machine. With the start of World War II, the U. S. military needed for millions of embroidered patches to signify rank and specialty of members of the armed forces. The U. S. Government ordered the major embroidery companies to begin making embroidered patches and the looms were converted from lacemaking to war patch production.

After the war, a Chicago cap manufacturer approached the company with an order for patches to be sewn on to caps and sold to members of the Boys Scouts of America. This was the beginning of many decades of a business relationship between Chicago Embroidery and the Boy Scouts of America and other scouting organizations. In the years following the war, the company continued making military SSI patches and many different designs for large and small companies and fire departments, youth groups, sporting organizations and others. During the 1970s, decorative patches became a fashionable clothing accessory for the general public. Chicago Embroidery opened a second factory, with three shifts working six days a week on more than 20 looms, millions of patches were produced for shipment around the world, but with the introduction of new direct embroidery technology in the 1980s, the embroidered patch industry underwent a major upheaval. Computerized digital sewing machines allowed intricate designs to be sewn directly onto shirts, caps, or other items.

While customers continued to buy patches, demand decreased. Boy Scout membership peaked in 1973 and the number of U. S. military personnel peaked in the early 1980s. Demand for patches began to decline. By the turn of the millennium, direct embroidery had taken a huge portion of market share away from patches, low-cost competition from the Far East pressured U. S. patch manufacturers. More production shifted to China. In 2007, after three generations of family owners, the company was sold to a former employee. For the first time in its history, a Bodenmann family member was not at the helm; the company continues to offer a full line of multi-color patches for a variety of uses and organizations

Following is a list of all Article III United States federal judges appointed by President Abraham Lincoln during his presidency. In total Lincoln appointed 32 Article III federal judges, including 4 Associate Justices and 1 Chief Justice to the Supreme Court of the United States, 27 judges to the United States district courts. Lincoln appointed no judges to the United States circuit courts during his time in office. In 1863, the United States Circuit Court for the District of Columbia, which had existed since 1801, was abolished; the Supreme Court of the District of Columbia was established in its place with 1 Chief Justice and 3 Associate Justices, all 4 positions being filled by Lincoln. These 4 positions are included in the 27 District Judges appointed by Lincoln. Lincoln appointed 4 judges to the United States Court of an Article I tribunal, he laterally reappointed 1 of those judges as Chief Justice of the same court. General Specific Federal Judicial Center

Milton Erwin "Milt" Kahl was an American animator. He was one of Walt Disney's supervisory team of animators, known as Disney's Nine Old Men. Kahl was born in San Francisco, California, to Erwin, a saloon bartender, Grace Kahl, he had three younger sisters, Dorothy and Gladys. He would refine the characters sketches from Bill Peet with the ideas of Ken Anderson. For many years the final look for the characters in the Disney films was designed by Kahl, in his angular style inspired by Ronald Searle and Picasso, he is revered by contemporary masters of the form, such as Andreas Deja, Brad Bird, his protégé at Disney in the early 1970s. In the behind-the-scenes feature "Fine Food and Film" shown on the Ratatouille DVD, Bird referred to Kahl as "tough," but in a gentle way, as he gave Bird advice on where he could improve in animation whenever he came up short, he worked as a character designer for The Black Cauldron. In the book The Animator's Survival Kit, the author Richard Williams makes repeated reference and anecdotes relating to Kahl.

The centenary of Kahl's birth was honored by the Academy on April 27, 2009, with a tribute entitled "Milt Kahl: The Animation Michelangelo" and featured Brad Bird as a panelist. Kahl died of pneumonia, aged 78, in California. Characters animated by Kahl include the following. Snow White and the Seven Dwarfs: animator: The Prince, the Forest Animals Pinocchio: animation director/animator: Pinocchio, some scenes of Jiminy Cricket Bambi: supervising animator: Bambi, Deer Saludos Amigos: animator: rides a Llama sequence The Three Caballeros: animator Make Mine Music: "The Martins and the Coys", "All the Cats Join In" Song of the South: directing animator: Br'er Rabbit, Br'er Fox, Br'er Bear Fun and Fancy Free: Lulubelle, bears Melody Time: directing animator: Johnny Appleseed, Johnny's Guardian Angel, Pecos Bill, Slue Foot Sue The Adventures of Ichabod and Mr. Toad: directing animator: Angus MacBadger, Mole, angry mob, Brom Bones Cinderella: directing animator: Fairy Godmother, Prince Charming, the King, the Grand Duke Alice in Wonderland: directing animator: Alice, the White Rabbit, the Dodo, Hedgehog Peter Pan: directing animator: Peter Pan, Wendy Darling, John Darling, Michael Darling, Mr. Darling, Mrs. Darling, Nana Lady and the Tramp: directing animator: Lady, Tramp, Mr. Busy the Beaver, Trusty Sleeping Beauty: directing animator: Prince Phillip, King Hubert, King Stefan, Maitre D', Samson One Hundred and One Dalmatians:directing animator: Roger and Anita, Perdita, Labrador Walt Disney's Wonderful World of Color: Ludwig Von Drake The Sword in the Stone: character design/directing animator: Wart, Sir Ector, Archimedes, Kitchen Woman, Madame Mim, Dogs Mary Poppins: animator: Master of hounds, fox, stewards The Jungle Book: directing animator: Mowgli, Bagheera, Shere Khan, King Louie, Kaa, the Vultures The Aristocats: directing animator: Thomas O'Malley, Madame Bonfamille, George Bedknobs and Broomsticks: animator: King Leonidas, Secretary Bird, animals Robin Hood: directing animator: Robin Hood, The Sheriff of Nottingham, Little John, Allan-a-Dale, Maid Marian, Lady Kluck, Friar Tuck, King Richard The Many Adventures of Winnie the Pooh: animator: Tigger, Winnie the Pooh, a few scenes of Roo The Rescuers: directing animator: Madame Medusa, Mr. Snoops, Penny and Nero, a few scenes of Bernard and Bianca Milt Kahl on IMDb Disney Legends "King Kahl: A personal look at Disney's master animator, Milt Kahl" by Floyd Norman A Milt Kahl lecture at CalArts from 1976 on The Animation Podcast Interview with Kahl by Michael Barrier and Milton Gray

Ammonite is the extinct Canaanite language of the Ammonite people mentioned in the Bible, who used to live in modern-day Jordan, after whom its capital Amman is named. Only fragments of their language survive - chiefly the 9th century BC Amman Citadel Inscription, the 7th-6th century BC Tell Siran bronze bottle, a few ostraca; as far as can be determined from the small corpus, it was similar to Biblical Hebrew, with some possible Aramaic influence including the use of the verb ‘bd instead of the more common Biblical Hebrew ‘śh for'make'. The only other notable difference with Biblical Hebrew is the sporadic retention of feminine singular -t It was first described as a separate language in 1970 by Italian Orientalist Giovanni Garbini. Subsequently, a number of inscriptions identified as Hebrew, Phoenician, or Aramaic were reclassified, as a result of consensus around the similarity of the Amman Theatre Inscription, Amman Citadel Inscription, Tell Siren Bottle, Heshbon Ostraca, Tell el-Mazer Ostraca.

According to Glottolog, referencing Huehnergard & Rubin, Ammonite was not a distinct language from Hebrew. Cohen, D. "Les Langues Chamito-semitiques". Les langues dans le monde ancien et moderne, part 3. Paris: CNRS. CS1 maint: extra text: authors list Aufrecht, WE. A Corpus of Ammonite Inscriptions. Lewiston: E. Mellen Press. ISBN 0-88946-089-2. Ahituv, Shmuel. "Reviewed Works: A Corpus of Ammonite Inscriptions by Walter E. Aufrecht. I. Davies". Israel Exploration Journal. Israel Exploration Society. 45: 73–75. JSTOR 27926371

In the radio industry, an aircheck is a demonstration recording intended to show off the talent of an announcer or programmer to a prospective employer, but intended for legal archiving purposes. A scoped aircheck contains only segments where the announcer is talking, along with a bit of the music or commercial on either side. In an unscoped aircheck, all programming is left intact and unedited, including music, newscasts and other on-air events. Another category of airchecks are those recorded "off-the-air" by listeners, using consumer or semi-professional equipment; these airchecks became more common with the advent of commercial cassette recorders. One of the oldest known surviving airchecks consists of a 15-minute broadcast by Bing Crosby on Los Angeles station KHJ and the CBS network from September 2, 1931, it was recorded by the RCA Victor company of Hollywood and is documented in the Victor files at the National Archives. The recordings were made by RCA Victor at the request of rival network NBC, which wanted to monitor the then-rising young singer.

The sound of the recording suggests that it was made by placing an open microphone before a high-quality radio. This recording is available online at Reelradio. Airchecks can be recorded directly off the air, from the pre-air feed that goes into the transmitter, or directly from before the station's processing has been applied; some radio stations used "logger reels" for airchecks. On these large reels of tape would be recorded the air signal at super-slow speeds; these reels were kept by the station for regulatory purposes. After a time around 30 days for most stations, these logger reels would be reused or discarded. Many airchecks are made by the announcers themselves on a recorder that begins recording when the microphone is turned on and goes into pause when the microphone goes off. In the 1960s and 1970s reels of tape were used for these "skimmer" airchecks, it was cassettes. Today most stations use computer digital recordings for aircheck creation. Airchecks made by listeners with consumer-grade equipment, are lost to poor quality copies made with tape playback machines that are not aligned to the recording machine.

Many airchecks were made to record DXing reception, which included fading and interference. DJs use airchecks to critique themselves, sometimes with the Program Director listening along with them to provide suggestions for improvements. Announcers keep some of their airchecks as "audio snapshots" of their career. Airchecks are recorded at radio stations to send to clients to show how their live commercials, remote breaks or contests sounded; some airchecks of older radio programs are prized by collectors, due to their nostalgia value. For example, baby boomers enjoy listening to airchecks recorded from Top 40 radio stations in the 1960s and 1970s if they are airchecks of the same stations that the person listened to when they were a teenager or young adult. Many such airchecks were made in the 1960s by DJs who sent them to troops in Vietnam, a surprising number have survived. Another class of aircheck has to do with transitions between programming formats on a given station, where recordings are made of the final hours of an old format or early beginnings of a new format.

A surprising number of airchecks have survived from listeners during the Top 40 era, many of whom recorded talented DJs to learn how to be DJs, many who recorded Top 40 music because it was cheaper than buying the 45s. Airchecks are used in the television industry for billing purposes. An aircheck is the only accurate record of. Stations retain airchecks for one year. Airchecks are recorded by the master control department of most TV stations, for decades were recorded on VHS tapes, although today recordings are made digitally; the standard is three 8-hour tapes per one per shift. On this tape is the video of the off-air receiver at the station recording what was broadcast. Most local TV programs were not recorded until the early 1970s, when video tape became available to consumers. With the advent of video sharing websites such as YouTube, video airchecks have been posted, made viewable by the public, of TV programs not seen since their original broadcast, or otherwise considered rare or lost