Flagstaff, Arizona
Flagstaff is a city in and the county seat of Coconino County in northern Arizona, in the southwestern United States. In 2015, the city's estimated population was 70,320. Flagstaff's combined metropolitan area has an estimated population of 139,097; the city is named after a ponderosa pine flagpole made by a scouting party from Boston to celebrate the United States Centennial on July 4, 1876. Flagstaff lies near the southwestern edge of the Colorado Plateau, along the western side of the largest contiguous ponderosa pine forest in the continental United States. Flagstaff is next to Mount Elden, just south of the San Francisco Peaks, the highest mountain range in the state of Arizona. Humphreys Peak, the highest point in Arizona at 12,633 feet, is about 10 miles north of Flagstaff in Kachina Peaks Wilderness. Flagstaff's early economy was based on the lumber and ranching industries. Today, the city remains an important distribution hub for companies such as Nestlé Purina PetCare, is home to Lowell Observatory, The U.
S. Naval Observatory, the United States Geological Survey Flagstaff Station, Northern Arizona University. Flagstaff has a strong tourism sector, due to its proximity to Grand Canyon National Park, Oak Creek Canyon, the Arizona Snowbowl, Meteor Crater, historic Route 66; the city is a growing center for medical and biotechnology manufacturing, home to corporations such as SenesTech and W. L. Gore and Associates. There are several legends about the origin of the city's name. Surveyors and investors had traveled through the area in the mid- to late-19th century, the act of stripping a pine tree to fly an American flag has been attributed to several individuals over a twenty-year span, it is said that, because of the flag, raised, the area surrounding it became known as Flagstaff. The first permanent settlement was in 1876, when Thomas F. McMillan built a cabin at the base of Mars Hill on the west side of town. During the 1880s, Flagstaff began to grow, opening its first post office and attracting the railroad industry.
The early economy was based on timber and cattle. The Arizona Lumber and Timber Company was prominent. By 1886, Flagstaff was the largest city on the railroad line between Albuquerque and the west coast of the United States. A circa 1900 diary entry by journalist Sharlot Hall described the houses in the city as a "third rate mining camp", with unkempt air and high prices of available goods. In 1894, Massachusetts astronomer Percival Lowell hired A. E. Douglass to scout an ideal site for a new observatory. Douglass, impressed by Flagstaff's elevation, named it as an ideal location for the now famous Lowell Observatory, saying: "other things being equal, the higher we can get the better". Two years the specially designed 24-inch Clark telescope that Lowell had ordered was installed. In 1930, Pluto was discovered using one of the observatory's telescopes. In 1955 the U. S. Naval Observatory joined the growing astronomical presence, established the United States Naval Observatory Flagstaff Station, where Pluto's satellite, was discovered in 1978.
During the Apollo program in the 1960s, the Clark Telescope was used to map the moon for the lunar expeditions, enabling the mission planners to choose a safe landing site for the lunar modules. In homage to the city's importance in the field of astronomy, asteroid 2118 Flagstaff is named for the city, 6582 Flagsymphony for the Flagstaff Symphony Orchestra; the Northern Arizona Normal School was established in 1899, renamed Northern Arizona University in 1966. Flagstaff's cultural history received a significant boost on April 11, 1899, when the Flagstaff Symphony made its concert debut at Babbitt's Opera House; the orchestra continues today as the Flagstaff Symphony Orchestra, with its primary venue at the Ardrey Auditorium on the campus of Northern Arizona University. The city grew primarily due to its location along the east–west transcontinental railroad line in the United States. In the 1880s, the railroads purchased land in the west from the federal government, sold to individuals to help finance the railroad projects.
By the 1890s, Flagstaff found itself along one of the busiest railroad corridors in the U. S. with 80–100 trains travelling through the city every day, destined for Chicago, Los Angeles, elsewhere. Route 66 ran through Flagstaff. Flagstaff was incorporated as a city in 1928, in 1929, the city's first motel, the Motel Du Beau, was built at the intersection of Beaver Street and Phoenix Avenue; the Daily Sun described the motel as "a hotel with garages for the better class of motorists." The units rented for $2.60 to $5.00 each, with baths, double beds and furniture. Flagstaff went on to become a popular tourist stop along Route 66 due to its proximity to the Grand Canyon. Flagstaff prospered through the 1960s. During the 1970s and 1980s, many businesses started to move from the city center, the downtown area entered an economic and social decline. Sears and J. C. Penney left the downtown area in 1979 to open up as anchor stores in the new Flagstaff Mall, joined in 1986 by Dillard's. By 1987, the Babbitt Brothers Trading Company, a retail fixture in Flagstaff since 1891, closed its doors at Aspen Avenue and San Francisco Street.
The Railroad Addition Historic District was added to the National Register of Historic Places in 1983. In 1987, the city drafted a new master plan known as the Growth Management Guide 2000, which would transform downtown Flagstaff from a shopping and trade center into a regional center for finance, office use, government; the city built a new city hall and the Coconino County Admin
Culture
Culture is the social behavior and norms found in human societies. Culture is considered a central concept in anthropology, encompassing the range of phenomena that are transmitted through social learning in human societies. Cultural universals are found in all human societies; the concept of material culture covers the physical expressions of culture, such as technology and art, whereas the immaterial aspects of culture such as principles of social organization, philosophy and science comprise the intangible cultural heritage of a society. In the humanities, one sense of culture as an attribute of the individual has been the degree to which they have cultivated a particular level of sophistication in the arts, education, or manners; the level of cultural sophistication has sometimes been seen to distinguish civilizations from less complex societies. Such hierarchical perspectives on culture are found in class-based distinctions between a high culture of the social elite and a low culture, popular culture, or folk culture of the lower classes, distinguished by the stratified access to cultural capital.
In common parlance, culture is used to refer to the symbolic markers used by ethnic groups to distinguish themselves visibly from each other such as body modification, clothing or jewelry. Mass culture refers to the mass-produced and mass mediated forms of consumer culture that emerged in the 20th century; some schools of philosophy, such as Marxism and critical theory, have argued that culture is used politically as a tool of the elites to manipulate the lower classes and create a false consciousness, such perspectives are common in the discipline of cultural studies. In the wider social sciences, the theoretical perspective of cultural materialism holds that human symbolic culture arises from the material conditions of human life, as humans create the conditions for physical survival, that the basis of culture is found in evolved biological dispositions; when used as a count noun, a "culture" is the set of customs and values of a society or community, such as an ethnic group or nation. Culture is the set of knowledge acquired over time.
In this sense, multiculturalism values the peaceful coexistence and mutual respect between different cultures inhabiting the same planet. Sometimes "culture" is used to describe specific practices within a subgroup of a society, a subculture, or a counterculture. Within cultural anthropology, the ideology and analytical stance of cultural relativism holds that cultures cannot be objectively ranked or evaluated because any evaluation is situated within the value system of a given culture; the modern term "culture" is based on a term used by the Ancient Roman orator Cicero in his Tusculanae Disputationes, where he wrote of a cultivation of the soul or "cultura animi," using an agricultural metaphor for the development of a philosophical soul, understood teleologically as the highest possible ideal for human development. Samuel Pufendorf took over this metaphor in a modern context, meaning something similar, but no longer assuming that philosophy was man's natural perfection, his use, that of many writers after him, "refers to all the ways in which human beings overcome their original barbarism, through artifice, become human."In 1986, philosopher Edward S.
Casey wrote, "The word culture meant'place tilled' in Middle English, the same word goes back to Latin colere,'to inhabit, care for, worship' and cultus,'A cult a religious one.' To be cultural, to have a culture, is to inhabit a place sufficiently intensive to cultivate it—to be responsible for it, to respond to it, to attend to it caringly." Culture described by Richard Velkley:... meant the cultivation of the soul or mind, acquires most of its modern meaning in the writings of the 18th-century German thinkers, who were on various levels developing Rousseau's criticism of "modern liberalism and Enlightenment". Thus a contrast between "culture" and "civilization" is implied in these authors when not expressed as such. In the words of anthropologist E. B. Tylor, it is "that complex whole which includes knowledge, art, law and any other capabilities and habits acquired by man as a member of society." Alternatively, in a contemporary variant, "Culture is defined as a social domain that emphasizes the practices and material expressions, over time, express the continuities and discontinuities of social meaning of a life held in common.
The Cambridge English Dictionary states that culture is "the way of life the general customs and beliefs, of a particular group of people at a particular time." Terror management theory posits that culture is a series of activities and worldviews that provide humans with the basis for perceiving themselves as "person of worth within the world of meaning"—raising themselves above the physical aspects of existence, in order to deny the animal insignificance and death that Homo sapiens became aware of when they acquired a larger brain. The word is used in a general sense as the evolved ability to categorize and represent experiences with symbols and to act imaginatively and creatively; this ability arose with the evolution of behavioral modernity in humans around 50,000 years ago, is thought to be unique to humans, although some other species have demonstrated similar, though much less complex, abilities for social learning. It is used to denote the co
Art museum
An art museum or art gallery is a building or space for the display of art from the museum's own collection. It might be in public or private ownership and may be accessible to all or have restrictions in place. Although concerned with visual art, art galleries are used as a venue for other cultural exchanges and artistic activities, such as performance arts, music concerts, or poetry readings. Art museums frequently host themed temporary exhibitions which include items on loan from other collections. In distinction to a commercial art gallery, run by an art dealer, the primary purpose of an art museum is not the sale of the items on show. Throughout history and expensive works of art have been commissioned by religious institutions and monarchs and been displayed in temples and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as an early form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects donated their collections to temples.
It is unclear. In Europe, from the Late Medieval period onwards, areas in royal palaces and large country houses of the social elite were made accessible to sections of the public, where art collections could be viewed. At the Palace of Versailles, entrance was restricted to people wearing the proper apparel – the appropriate accessories could be hired from shops outside; the treasuries of cathedrals and large churches, or parts of them, were set out for public display. Many of the grander English country houses could be toured by the respectable for a tip to the housekeeper, during the long periods when the family were not in residence. Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with most of the paintings of the Orleans Collection, which were housed in a wing of the Palais-Royal in Paris and could be visited for most of the 18th century. In Italy, the art tourism of the Grand Tour became a major industry from the 18th century onwards, cities made efforts to make their key works accessible.
The Capitoline Museums began in 1471 with a donation of classical sculpture to the city of Rome by the Papacy, while the Vatican Museums, whose collections are still owned by the Pope, trace their foundation to 1506, when the discovered Laocoön and His Sons was put on public display. A series of museums on different subjects were opened over subsequent centuries, many of the buildings of the Vatican were purpose-built as galleries. An early royal treasury opened to the public was the Grünes Gewölbe of the Kingdom of Saxony in the 1720s. Established museums open to the public began to be established from the 17th century onwards based around a collection of the cabinet of curiosities type; the first such museum was the Ashmolean Museum in Oxford, opened in 1683 to house and display the artefacts of Elias Ashmole that were given to Oxford University in a bequest. In the second half of the eighteenth century, many private collections of art were opened to the public, during and after the French Revolution and Napoleonic Wars many royal collections were nationalized where the monarchy remained in place, as in Spain and Bavaria.
In 1753, the British Museum was established and the Old Royal Library collection of manuscripts was donated to it for public viewing. In 1777, a proposal to the British government was put forward by MP John Wilkes to buy the art collection of the late Sir Robert Walpole who had amassed one of the greatest such collections in Europe, house it in a specially built wing of the British Museum for public viewing. After much debate, the idea was abandoned due to the great expense, twenty years the collection was bought by Tsaritsa Catherine the Great of Russia and housed in the State Hermitage Museum in Saint Petersburg; the Bavarian royal collection was opened to the public in 1779 and the Medici collection in Florence around 1789. The opening of the Musée du Louvre during the French Revolution in 1793 as a public museum for much of the former French royal collection marked an important stage in the development of public access to art by transferring the ownership to a republican state; the building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, similar royal galleries were opened to the public in Vienna and other capitals.
In Great Britain, the corresponding Royal Collection remained in the private hands of the monarch and the first purpose-built national art galleries were the Dulwich Picture Gallery, founded in 1814 and the National Gallery opened to the public a decade in 1824. University art museums and galleries constitute collections of art developed and maintained by all kinds of schools, community colleges and universities; this phenomenon exists in the East, making it a global practice. Although overlooked, there are over 700 university art museums in the US alone; this number, compared to other kinds of art museums, makes university art museums the largest category of art museums in the country. While the first of these collections can be traced to learning collections developed in art academies in Western Europe, they are now associated with and housed in centers of higher education of all types; the word gallery being an archite
James Turrell
James Turrell is an American artist concerned with Light and Space. Turrell was a MacArthur Fellow in 1984. Turrell is best known for his work in progress, Roden Crater, a natural cinder cone crater located outside Flagstaff, that he is turning into a massive naked-eye observatory. James Turrell was born in California, his father, Archibald Milton Turrell, was educator. His mother, Margaret Hodges Turrell, trained as a medical doctor and worked in the Peace Corps, his parents were Quakers. Turrell obtained a pilot's license. Registered as a conscientious objector during the Vietnam War, he ended up flying Buddhist monks out of Chinese-controlled Tibet; some writers have suggested. For years he restored antique airplanes to support his "art habit", he received a BA degree from Pomona College in perceptual psychology in 1965 and studied mathematics and astronomy there. Turrell enrolled in the graduate Studio Art program at the University of California, Irvine in 1966, where he began making work using light projections.
His studies at the University of California, Irvine were interrupted in 1966, when he was arrested for coaching young men to avoid the Vietnam draft. He spent about a year in jail, he received an MA degree in art from Claremont Graduate University. In 2004, he was awarded an honorary doctorate by Haverford College. In 1966, Turrell began experimenting with light in his Santa Monica studio, the Mendota Hotel, at a time when the so-called Light and Space group of artists in Los Angeles, including Robert Irwin, Mary Corse and Doug Wheeler, was coming into prominence. By covering the windows and only allowing prescribed amounts of light from the street outside to come through the openings, Turrell created his first light projections. In Shallow Space Constructions he used screened partitions, allowing a radiant effusion of concealed light to create an artificially flattened effect within the given space; that same year, he participated in the Los Angeles County Museum's Art and Technology Program, investigating perceptual phenomena with the artist Robert Irwin and psychologist Edward Wortz.
In 1969, he made sky drawings with Sam Francis, using colored skywriting smoke and cloud-seeding materials. A pivotal environment Turrell developed from 1969 to 1974, The Mendota Stoppages, used several rooms in the former Mendota Hotel in Santa Monica which were sealed off, with the window apertures controlled by the artist to allow natural and artificial light to enter the darkened spaces in specific ways. Turrell is best known for his work in progress, Roden Crater, he acquired an extinct cinder cone volcano located outside Flagstaff, Arizona, in 1979. Since he has spent decades moving tons of dirt and building tunnels and apertures to turn this crater into a massive naked-eye observatory for experiencing celestial phenomena. Although he works in the American desert, Turrell does not consider himself an earthworks artist like Robert Smithson or Michael Heizer: "You could say I'm a mound builder: I make things that take you up into the sky, but it's not about the landforms. I'm working to bring celestial objects like the sun and moon into the spaces that we inhabit."
He added: "I apprehend light — I make events that shape or contain light."The completion date for the Crater has been pushed back several times for funding and construction reasons, with the artist missing early targets in the 1990s. The last time Turrell or his team went on record talking about a completion date, the goal was 2011. During May 2015, Roden Crater was open to a select group of 80 people, as part of a fund raiser, by allowing visits of 20 people per day during the course of four days, at a cost of $6,500 per person; as Roden Crater has been long shrouded in secrecy, fans have attempted to sneak in without the artist's permission. Some have succeeded. In the 1970s, Turrell began his series of "skyspaces" enclosed spaces open to the sky through an aperture in the roof. A Skyspace is an enclosed room large enough for 15 people. Inside, the viewers sit on benches along the edge to view the sky through an opening in the roof; as a lifelong Quaker, Turrell designed the Live Oak Meeting House for the Society of Friends, with an opening or skyhole in the roof, wherein the notion of light takes on a decidedly religious connotation..
His work Meeting at P. S. 1, which consists of a square room with a rectangular opening cut directly into the ceiling, is a recreation of such a meeting house. In 2013, Turrell created another Quaker skyspace, Greet the Light, at the newly rebuilt Chestnut Hill Friends Meeting in Philadelphia. In a New York Times article on L. A. collectors building skyspaces in their backyards, Jori Finkel describes a skyspace as a " celestial viewing room designed to create the rather magical illusion that the sky is within reach -- stretched like a canvas across an opening in the ceiling."In 1992, James Turrell's Irish Sky Garden opened at the Liss Ard Estate, Skibbereen, Co Cork, Ireland. The giant earth and stoneworks has a crater at its center. A visitor enters through a doorway in the perimeter of the rim, walks through a passage and climbs stairs to enter lies on the central plinth and looks upwards to experience the sky framed by the rim of the crater. "The most important thing i
De Stijl
De Stijl, Dutch for "The Style" known as Neoplasticism, was a Dutch art movement founded in 1917 in Leiden. De Stijl consisted of architects. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour. De Stijl is the name of a journal, published by the Dutch painter, designer and critic Theo van Doesburg that served to propagate the group's theories. Along with van Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszár, Bart van der Leck, the architects Gerrit Rietveld, Robert van't Hoff, J. J. P. Oud; the artistic philosophy that formed a basis for the group's work is known as Neoplasticism—the new plastic art. According to Theo van Doesburg in the introduction of the magazine "De Stijl" 1917 no.1, the "De Stijl"-movement was a reaction to the "Modern Baroque" of the Amsterdam School movement with the magazine "Wendingen".
Mondrian sets forth the delimitations of Neoplasticism in his essay "Neo-Plasticism in Pictorial Art". He writes, "this new plastic idea will ignore the particulars of appearance, to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, to say, in the straight line and the defined primary colour". With these constraints, his art allows only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines; the De Stijl movement posited the fundamental principle of the geometry of the straight line, the square, the rectangle, combined with a strong asymmetricality. The name De Stijl is derived from Gottfried Semper's Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik, which Curl suggests was mistakenly believed to advocate materialism and functionalism; the "plastic vision" of De Stijl artists called Neo-Plasticism, saw itself as reaching beyond the changing appearance of natural things to bring an audience into intimate contact with an immutable core of reality, a reality, not so much a visible fact as an underlying spiritual vision.
In general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red and blue, the three primary values, black and grey; the works attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: "a post, jamb or support". In many of the group's three-dimensional works and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements; this feature can be found in the Red and Blue Chair. De Stijl was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms in the neoplatonic philosophy of mathematician M. H. J. Schoenmaekers; the De Stijl movement was influenced by Neopositivism. The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design.
However, it did not follow the general guidelines of an "-ism", nor did it adhere to the principles of art schools like the Bauhaus. In music, De Stijl was an influence only on the work of composer Jakob van Domselaer, a close friend of Mondrian. Between 1913 and 1916, he composed his Proeven van Stijlkunst, inspired by Mondrian's paintings; this minimalistic—and, at the time, revolutionary—music defined "horizontal" and "vertical" musical elements and aimed at balancing those two principles. Van Domselaer was unknown in his lifetime, did not play a significant role within De Stijl. From the flurry of new art movements that followed the Impressionist revolutionary new perception of painting, Cubism arose in the early 20th century as an important and influential new direction. In the Netherlands, there was interest in this "new art". However, because the Netherlands remained neutral in World War I, Dutch artists were not able to leave the country after 1914 and were thus isolated from the international art world—and in particular, from Paris, its centre then.
During that period, Theo van Doesburg started looking for other artists to set up a journal and start an art movement. Van Doesburg was a writer and critic, more successful writing about art than working as an independent artist. Quite adept at making new contacts due to his flamboyant personality and outgoing nature, he had many useful connections in the art world. Around 1915, Van Doesburg started meeting the artists who would become the founders of the journal, he first met Piet Mondrian at an exhibition in Stedelijk Museum Amsterdam. Mondrian, who had moved to Paris in 1912, had be
The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
