Through Being Cool
Through Being Cool is the second studio album by American rock band Saves the Day, released on November 2, 1999 by Equal Vision. The songs on Through Being Cool were written; the album was recorded in 11 days and represented the band's transition from a melodic hardcore sound to a more pop punk style. It was produced by Steve Evetts at Trax East Recording Studio in New Jersey; the band's members dropped out of college to tour alongside Snapcase, New Found Glory, Hot Water Music, Face to Face, among others. A music video was filmed for the song "Shoulder to the Wheel" which the band regretted making. Selling 50,000 copies, the success of Through Being Cool helped Saves the Day to sign with Vagrant Records, it was named one of Alternative Press' 10 most influential albums of 1999. To celebrate the album's 15th anniversary, the band played the album front-to-back on tour and Equal Vision re-pressed the album on vinyl. Vocalist Chris Conley considers it "the most important record that we did". Saves the Day formed in late 1997.
Their debut album, Can't Slow Down, was released through Equal Vision in August 1998. The album helped the band to gain fans in the New Jersey area; the band promoted the album with two tours helping to expand its fan base. They were heckled at each appearance. Drummer Bryan Newman said that the group was "totally out of place" among the other bands on the tour. Saves the Day had three different lineup changes while touring in support of Can't Slow Down, leaving vocalist Chris Conley and Newman as the only original members remaining. Saves the Day's guitarist, Justin Gaylord, had left at the end of their first full tour of the United States. Dave Soloway, who had driven the band to their gigs during high school, was added to the band as Gaylord's replacement. Conley described Soloway as a kid who "came from bluegrass and his family would sit around singing folk songs and stuff at home." Guitarist Ted Alexander was the band's roadie, spent so much time with the band that they "just gave him a guitar".
Sean McGrath, bassist on the band's first album, was kicked out of the band and the group sought a replacement. Around the time, Saves the Day was playing gigs with local bands. Conley called him a "sick" bassist and asked him if he would like to join Saves the Day. With this lineup, the band entered Shoulder to the Wheel studios in March 1999 and recorded an acoustic EP, I'm Sorry I'm Leaving; the EP was released in mid-1999 on Immigrant Sun Records, only 500 copies were pressed. Through Being Cool was recorded with producer Steve Evetts in June 1999 at Trax East Recording Studio in South River, New Jersey. Evetts always kept the band "in line" and was "definitely the guru of the whole thing", according to Newman; the experience of recording in a studio nearly led to Newman having a breakdown, as he was not used to the environment. Recording and mixing was done over a total of eleven days; the band, attempting to finish the album, pulled all-nighters, relaxing in the control room, sleeping in the lounge.
In an interview with Alternative Press, Conley that while other people might have thought the group was trying to rush through production, he and his band members were "just having a blast". The recording sessions included two additional half-day sessions, which were booked due to Conley losing his voice recording the vocals; when it came time to track the album and the band were "really psyched" at how the songs were sounding. Evetts engineered the album, while Alan Douches mastered it at West West Side. Saves the Day wrote the material for Through Being Cool while attending New York University. Conley said, "I had written all the songs while at NYU, writing lyrics during Psychology 101 and writing the guitar parts over at Bryan’s apartment on 7th Street and 2nd Avenue." The music was credited to Conley and Saves the Day, except for "Do You Know What I love the Most?" by Alexander and Saves the Day, "The Vast Spoils of America" by Soloway and Saves the Day. The band rehearsed in Conley's parents' basement and slept over at the home, "working all weekend long."
During these sessions, they refined what Conley had recorded demos of their progress. The album has a more pop punk sound compared to Can't Slow Down, a melodic hardcore-driven record. Allmusic reviewer Vincent Jeffries described the record's sound as "emocore". Conley explained, he liked several hardcore bands, but had played their albums "to death" and wanted to look for other sources of inspiration. While working on Through Being Cool, Conley listened to the Foo Fighters' The Colour and the Shape, Weezer's Pinkerton, Joni Mitchell's Blue, among others. Dan Sandshaw, the head of Equal Vision, said. Conley was unsure about what do with the artwork, went along with Newman and Soloway's ideas; the cover artwork, chosen depicts the band as social outcasts, sitting on a couch during a high school party. The album booklet continues the outcast theme. Sandshaw felt that cover would give the wrong impression to hardcore fans, Newman regretted it after the album was released. Conley said; the band, Luke Hoverman, designed the concept with Frank Davidson providing the layout.
The photographs were taken by Hoverman with assistance from Lenny Zimkus. The CD art features Gabe Saporta kissin
Bug Sessions is a compilation album of three EPs by indie rock band Saves the Day. The EPs consist of acoustic renditions of the band's songs; the first Bug Sessions volume was announced in February 2006, was sold on the band's 2006 tour dates with Moneen and Circa Survive as well as on the 2006 Warped Tour. The EPs were intended to be full-band acoustic studio recordings, however the first volume was the only one to follow this format; the tracks were recorded at The Electric Ladybug. All songs are played on the acoustic guitar, some include drums and bass. Volumes 2 and 3 of the Bug Sessions were recorded on the band's acoustic tour in fall 2007 with only lead singer/guitarist Chris Conley and then-guitarist David Soloway; the two volumes were released in 2008. All tracks on the two volumes are acoustic-only. Only a limited number of all 3 volumes were made available and sold on the band's tour dates. In early 2009, the Bug Sessions compilation of all three EPs was released on the iTunes music service.
All tracks written by Saves the Day
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
In Reverie is the fourth studio album by the American rock band Saves the Day. In Reverie was released in mid-September through DreamWorks. Shortly after its release, DreamWorks was absorbed by Interscope Records, resulting in the band being dropped from the label. In July 2001, Saves the Day released Stay; the album's first single, "At Your Funeral", became. The album would go on to sell over 120,000 copies by early 2002. Frontman Chris Conley was, according to Gigwise's David Renshaw, "hailed as a hero with his lyrics about broken hearts and relationships." Line-up changes soon occurred: drummer Bryan Newman and guitarist Ted Alexander left the group. Conley, who had written songs on guitar, began playing it in the group. Newman was replaced by Face to Face drummer Pete Parada. In February 2002, the group were rumoured to have signed with major label Interscope Records. Sometime afterwards, they signed to major label DreamWorks Records. In January 2003, the group was doing pre-production in Los Angeles.
They were working on 18 songs. Prior to recording, the group wished to "capture the songs" as best as they could, according to Conley. Recording took place at Larrabee Studios East and Cello Studios with producer Rob Schnapf and engineer Doug Boehm; the pair were assisted by engineer Jeff Moses at Larrabee Studios East and by engineer Steven Rhodes at Cello Studios. Richard Barron played organ on "Rise", "Monkey" and "Tomorrow Too Late". Schnapf played the tambourine on "Driving in the Dark". Rhodes performed various percussion instruments on the recordings. Reed Black contributed a number of instruments to different tracks: electric piano, grand piano and synth. Schnapf and Boehm mixed the album at The Sound Factory with assistance from engineer Kevin Dean. Ted Jensen mastered the album at Sterling Sound in New York City. Conley revealed that the group created "a record we're proud of". Two songs that did not make it on to the album, "Shattered" and "Delusional", were re-worked for the group's next album, Sound the Alarm.
While working with Schnapf on Stay What You Are, Conley learned that he was writing songs out of his vocal range. He subsequently learned how to sing notes as opposed to forcing them. Conley's voice subsequently changed for In Reverie. Comparing the material to that of Stay What You Are, Conley described the songs as being "more harmonically intricate" as well as "more complicated melodically", he said that after getting into the Beatles following Stay What You Are, he learned "a bunch of complex chords", which influenced his creativity. Despite being credited to the band, Conley wrote all of the songs. Though, he said he was "nowhere near dictator" and enjoyed what parts the other members came up with, he added, whenever guitarist David Soloway came up with a part "it’s the right thing. Musically, the album has been described as indie rock, melodic punk and power pop. One day, Conley was playing guitar and came up with the opening riff for "Anywhere with You"; the remainder of the song soon followed.
Bassist Eben D'Amico said the track was titled "Cactus Stomp" before it had any lyrics. Conley said it talks about "longing for something better — for a feeling of peace or completeness". "What Went Wrong" was written nine to ten months before the group worked on the album. Conley did not think the track was worthy enough, until one morning when he woke up with the song in his head; the song is about a kid, being strip-searched despite having done nothing wrong. "Driving in the Dark" is about searching for peace in the world and not in a person. Conley said "Rise" was about "looking around and seeing everyone else trying to buy this or that and thinking it's going to make them happy." Conley mentioned that reverie refers to being in a dreamlike state, the title-track is about that: "...floating through life and trying to figure it all out... transcending the things you get pissed off about"."Morning in the Moonlight" talks about joy. "Monkey" is about filling up empty space with material possessions, despite said possessions still leaving you empty.
Conley came up with the melody for "In My Waking Life" while at his mom's house. The track "appeared in my mind as if it were a cloud coming over the horizon." "She" is about being both confused and in love with the various aspects of life. Around the time the band toured with Weezer, Conley was suffering from Crohn's disease, which inspired "Where Are You?". The track is about "taking everything in, the depression and anxiety, but the incredible highs." "Wednesday the Third" is about "telling... off" The Man. Conley explained he's "drawing a line in the sand and crossing over to the other side, which means I'm done with the past – onward and inward." With "Tomorrow Too Late", Conley is personifying the need for peace. On June 10, 2003, In Reverie was announced for release. "Anywhere with You" was released to radio on August 12. Around this time, a music video was filmed for the song in Los Angeles, it features the group performing the song in a recording studio. On August 16, the group released an e-card, which included four new songs: "Anywhere with You", "Driving in the Dark", "What Went Wrong" and "Where Are You?".
In Reverie was released through DreamWorks Records on September 16. The album's artwork was done by Brazilian artist Stephan Doitschinoff, who the group met while in the UK in 2002. A few days In Honor: A Compilation to Beat Cancer, a tribute to the band's former bassist Sean McGrath, was released featuring
Late Night with Conan O'Brien
Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC between 1993 and 2009. The show featured varied comedic material, celebrity interviews, musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; the show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg. The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009. Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, not David Letterman.
NBC said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly angry at not having been given The Tonight Show job. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS unchanged, taking most of the staff and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to re-christen his show Late Show with David Letterman. NBC was not prepared to replace both Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, comedians Jon Stewart, Drew Carey, Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993.
His guests were Jason Alexander and Mimi Rogers, the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, O'Brien made his first meaningful television appearance that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels." O'Brien's Late Night debuted with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, Tony Randall; the episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans; the show's first musical guest was English rock band Radiohead, who performed during the second episode.
American singer-songwriter Jonathan Richman was the show's second musical guest. O'Brien's inexperience was apparent, the show was considered mediocre by critics in terms of hosting; the Chicago Sun-Times' Lon Grankhe called O'Brien "nervous and geeky", Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He titters, jiggles about and fiddles with his cuffs, he has beady little eyes like a rabbit. He's one of the whitest white men ever." The originality and quality of the comedy, led by original head writer Robert Smigel, was praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as reported by the press at the time. O'Brien was almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were canceled at Conan, they changed their minds in August of'94, gave us a reprieve."
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night. Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, he began to receive more favorable reviews and ratings the following year. With the ratings improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales recanted his previous critical review with the headline "I was wrong", O'Brien received his first Emmy nomination for writing, since which he has gone on to receive every year. In 2000, Richter
Melodic hardcore is a broadly defined subgenre of hardcore punk with a strong emphasis on melody in its guitar work. It incorporates fast rhythms and distorted guitar riffs, vocal styles tending towards shouting and screaming; the genre has been diverse, with different bands showcasing different styles. Of the pioneering melodic hardcore bands such as Bad Religion and Descendents, some have proven influential across the spectrum of punk rock, as well as rock music more generally; the term "melodic punk" is used to describe both melodic hardcore and skate punk bands. Melodic hardcore is broadly defined, however incorporates fast rhythms and distorted guitar riffs, vocal styles tending towards shouting and screaming. Many notable bands, such as Dag Nasty and Lifetime use minor interval chords on guitar, such as minor ninth and seventh chords, as well as fifth or ninth harmonies on vocals. Many groups drop tune their instruments, with tempos ranging from 180 to 210 beats per minute, with few bands ranging outside of a 4/4 time signature.
Many modern melodic hardcore bands are incorporating elements of melodic hardcore and emo, relying more upon melody than their hardcore punk predecessors. There are bands take influence from post-hardcore and melodic metalcore. Canadian melodic hardcore heavyweights Comeback Kid put out their 6th full length "Outsider" in 2017 after being in the scene for 17 years. In this album, Comeback Kid are collaborating fast and furious thrash metal Slayer-esque riffs, 90’s punk and grunge flavors and tight and bouncy melodic hardcore rhythms to bring new energy to the modern melodic hardcore scene; as modern melodic hardcore diverges into one more metalcore leaning track as well as one more emotive track, terms such as "melodic emotive hardcore" and "melodic metallic hardcore" have been suggested to distinguish modern melodic hardcore bands with different sounds that still fall into the same genre. Bands such as the Ghost Inside, Blood Youth and Hundredth, have been described as both metalcore and melodic hardcore while While She Sleeps is considered as merging melodic hardcore elements with metalcore.
Casey, La Dispute and Being as an Ocean, who are active in the modern melodic hardcore scene, incorporate elements of post-rock/post-black metal and/or spoken word into their music. The earliest melodic hardcore emerged from the Californian hardcore punk scene by the early 1980s; this includes Descendents, who formed in 1978. Their earliest work was simple, pop-influenced punk rock, but they went on to mix this melodic approach with hardcore, inspiring both melodic hardcore and pop punk groups. Bad Religion, who formed in Los Angeles in 1979, played in a somewhat similar vein, but their approach was more "angry" and politically charged, they recorded their debut album, How Could Hell Be Any Worse?, in 1981. The Faith's 1983 EP Subject to Change is thought of as one of the first melodic hardcore records, as significant as the music of Bad Religion or the Descendents. On the release, the band added and moved away from the more straightforward hardcore punk of their earlier work towards a more complex and melodic sound, accompanied by introspective lyrics.
Dag Nasty are a key melodic hardcore band that formed during the mid-1980s as part of the Washington, D. C. hardcore scene, with Brian Baker on guitar. In 1988, the band All formed; the band made music in a broadly similar vein to the Descendents, were fronted by Dave Smalley of Dag Nasty. Gorilla Biscuits came out of the late 1980s New York hardcore scene, played a melodic form of the hardcore subgenre known as youth crew. Youth crew itself takes a lot of influence from 7 Seconds, who ventured into melodic hardcore on albums such as The Crew. Turning Point, a New Jersey hardcore band emerged from the youth crew movement, but their material moved towards melodic hardcore, with more complex music and introspective lyrics. In 1994, H2O formed, mixing melodic elements of Washington D. C. with New York & California hardcore punk. Lifetime was a notable emo group whose sound drew on pop punk and melodic hardcore. Along with other melodic hardcore groups, they had much influence on subsequent pop punk, including bands such as Fall Out Boy and Saves the Day.
When Lifetime broke up, some of their members formed Kid Dynamite. During the 1990s, the "Epi-Fat" sound was popular, key bands such as NOFX, Pennywise and Strung Out bordered on melodic hardcore influenced by the likes of Descendents and Bad Religion. Rise Against, formed in 1999, achieved widespread commercial success with the release of their major label debut Siren Song of the Counter Culture in 2004, along with bands such as Strike Anywhere, Ignite, Belvedere and A Wilhelm Scream, who continued the traditional style of melodic hardcore. Whereas, in the early to mid-2000s, the genre was transformed through the work of newly formed bands including Killing the Dream, Modern Life Is War, The Hope Conspiracy, Sinking Ships, Have Heart, The Carrier, This Is Hell, as well as the Canadian band Comeback Kid, many of which are housed by key hardcore labels Bridge 9 Records and Deathwish Inc. Thereafter by about 2009, "the likes of Defeater, Touché Amoré, the Ghost Inside, Being as an Ocean, Stick to Your Guns and many more became the new faces of melodic, emotional hardcore", creating an overlap with post-hardcore and metalcore in current melodic hardcore.
Many bands have crossed over into or out of the ge
Princeton, New Jersey
Princeton is a municipality with a borough form of government in Mercer County, New Jersey, United States, established in its current form on January 1, 2013, through the consolidation of the Borough of Princeton and Princeton Township. As of the 2010 United States Census, the municipality's population was 28,572, reflecting the former township's population of 16,265, along with the 12,307 in the former borough. Princeton was founded before the American Revolution, it is the home of Princeton University, which bears its name and moved to the community in 1756 from its previous location in Newark. Although its association with the university is what makes Princeton a college town, other important institutions in the area include the Institute for Advanced Study, Westminster Choir College, Princeton Plasma Physics Laboratory, Princeton Theological Seminary, Opinion Research Corporation, Bristol-Myers Squibb, Siemens Corporate Research, SRI International, FMC Corporation, The Robert Wood Johnson Foundation, Amrep and Dwight, Berlitz International, Dow Jones & Company.
Princeton is equidistant from New York City and Philadelphia. It is close to many major highways that serve both cities, receives major television and radio broadcasts from each, it is close to Trenton, New Jersey's capital city, Edison. The New Jersey governor's official residence has been in Princeton since 1945, when Morven in what was Princeton Borough became the first Governor's mansion, it was replaced by the larger Drumthwacket, a colonial mansion located in the former Township. Morven became a museum property of the New Jersey Historical Society. Princeton was ranked 15th of the top 100 towns in the United States to Live and Work In by Money Magazine in 2005. Throughout much of its history, the community was composed of two separate municipalities: a township and a borough; the central borough was surrounded by the township. The borough seceded from the township in 1894 in a dispute over school taxes. Princeton Borough contained Nassau Street, the main commercial street, most of the University campus, incorporated most of the urban area until the postwar suburbanization.
The borough and township had equal populations. The Lenni Lenape Native Americans were the earliest identifiable inhabitants of the Princeton area. Europeans founded their settlement in the late part of the 17th century; the first European to find his home in the boundaries of the future town was Henry Greenland. He built his house in 1683 along with a tavern. In this drinking hole representatives of West Jersey and East Jersey met to set boundaries for the location of the township. Princeton was known only as part of nearby Stony Brook. Nathaniel Fitz Randolph, a native of the town, attested in his private journal on December 28, 1758, that Princeton was named in 1724 upon the making/construction of the first house in the area by James Leonard, who first referred to the town as Princetown when describing the location of his large estate in his diary; the town bore a variety of names subsequently, including: Princetown, Prince's Town and Princeton. Although there is no official documentary backing, the town is considered to be named after King William III, Prince William of Orange of the House of Nassau.
Another theory suggests that the name came from a large land-owner named Henry Prince, but no evidence backs this contention. A royal prince seems a more eponym for the settlement, as three nearby towns had similar names: Kingston and Princessville; when Richard Stockton, one of the founders of the township, died in 1709 he left his estate to his sons, who helped to expand property and the population. Based on the 1880 United States Census, the population of the town comprised 3,209 persons. Local population has expanded from the nineteenth century. According to the 2010 Census, Princeton Borough had 12,307 inhabitants, while Princeton Township had 16,265; the numbers have become stagnant. Aside from housing the university of the same name, the settlement suffered the revolutionary Battle of Princeton in 1777, when George Washington forced the British to evacuate southern New Jersey. After the victory, the town hosted the first Legislature under the State Constitution to decide the State's seal and organization of its government.
In addition, two of the original signers of the Declaration of Independence—Richard Stockton and John Witherspoon lived in Princeton. Princetonians honored their citizens' legacy by naming two streets in the downtown area after them. On January 10, 1938 Henry Ewing Hale called for a group of citizens to discuss opening a "Historical Society of Princeton." The Bainbridge House would be dedicated for this purpose. The house was used once for a meeting of Continental Congress in 1783, a general office, as the Princeton Public Library; the House is owned by Princeton University and is leased to the Princeton Historical Society for one dollar per year. The house has kept its original staircase and paneled walls. Around 70% of the house has been unaltered. Aside from safety features such as wheelchair access and electrical work, the house was has been restored to its original look. During the most stirring events in its history, Princeton was a wide spot in the ro