William S. Hart

William Surrey Hart was an American silent film actor, screenwriter and producer. He is remembered as a foremost western star of the silent era who "imbued all of his characters with honor and integrity." During the late 1910s and early 1920s, he was one of the most popular movie stars ranking high among male actors in popularity contests held by movie fan magazines. Hart was born in New York, to Nicholas Hart and Rosanna Hart. William had two brothers, who died young, four sisters, his father was born in England, his mother was born in Ireland. He was a distant cousin of the western star Neal Hart, he began his acting career on stage in his 20s, in film when he was 49, which coincided with the beginning of film's transition from curiosity to commercial art form. Hart's stage debut came in 1888 as a member of a company headed by Daniel E. Bandmann; the following year he joined Lawrence Barrett's company in New York and spent several seasons with Mlle. Hortense Rhéa's traveling company, he toured and traveled extensively while trying to make a name for himself as an actor, for a time directed shows at the Asheville Opera House in North Carolina, around the year 1900.

He had some success as a Shakespearean actor on Broadway, working with Margaret Mather and other stars. His family had moved to Asheville but, after his youngest sister Lotta died of typhoid fever in 1901, they all left together for Brooklyn until William went back on tour. Hart went on to become one of the first great stars of the motion picture western. Fascinated by the Old West, he acquired Billy the Kid's "six shooters" and was a friend of legendary lawmen Wyatt Earp and Bat Masterson, he entered films in 1914 where, after playing supporting roles in two short films, he achieved stardom as the lead in the feature The Bargain. Hart was interested in making realistic western films, his films are noted for their authentic costumes and props, as well as Hart's acting ability, honed on Shakespearean theater stages in the United States and England. Beginning in 1915, Hart starred in his own series of two-reel western short subjects for producer Thomas Ince, which were so popular that they were supplanted by a series of feature films.

Many of Hart's early films continued to play in theaters, for another decade. In 1915 and 1916 exhibitors voted him the biggest money making star in the United States. In 1917 Hart accepted a lucrative offer from Adolph Zukor to join Famous Players-Lasky, which merged into Paramount Pictures. In the films Hart began to ride a white pinto he called Fritz. Fritz was the forerunner of famous movie horses known by their own name, e.g. horses like Tom Mix's Tony, Roy Rogers's Trigger and Clayton Moore's Silver. In 1917, to signify "his patriotism and loyalty to Uncle Sam" it was announced to "change the name of his favorite horse from Fritz to one more American." Hart was now making feature films and films like Square Deal Sanderson and The Toll Gate were popular with fans. Hart married young Hollywood actress Winifred Westover. Although their marriage was short-lived, they had one child, William S. Hart, Jr.. In 1921, Roscoe Arbuckle, a silent screen comedy actor, was charged with the rape and manslaughter of an aspiring actress named Virginia Rappe.

The case had many salacious aspects surrounding the bruises found on the victim's body. Many of Arbuckle's fellow actors refused to give any comments to the press. However, Hart who had never met or worked with Arbuckle, made a number of damaging public statements in which he presumed the actor's guilt. Arbuckle wrote a premise for a film parodying Hart as a thief and wife beater, bought by Buster Keaton; the following year, Keaton co-wrote and starred in the 1922 comedy film The Frozen North. As a result, refused to speak to Keaton for many years. By the early 1920s, Hart's brand of gritty, rugged westerns with drab costumes and moralistic themes fell out of fashion; the public became attracted by a new kind of movie cowboy, epitomized by Tom Mix, who wore flashier costumes and was faster with the action. Paramount dropped Hart, who made one last bid for his kind of western, he produced Tumbleweeds with his own money, arranging to release it independently through United Artists. The film turned out well, with an epic land-rush sequence, but did only fair business at the box office.

Hart sued United Artists. The legal proceedings dragged on for years, the courts ruled in Hart's favor, in 1940. After Tumbleweeds, Hart retired to his Newhall, ranch home, "La Loma de los Vientos", designed by architect Arthur R. Kelly. In 1939 he appeared in a spoken prologue for a reissue of Tumbleweeds; the 74-year-old Hart, filmed on location at his Newhall ranch, reflects on the Old West and recalls his silent-movie days fondly. The speech turned out to be William S. Hart's farewell to the screen. Most prints and video versions of Tumbleweeds circulating today include Hart's speech. Hart died on June 23, 1946, in Newhall, California at the age of 81, he was buried in Green-Wood Cemetery in New York. For his contribution to the motion picture industry, William S. Hart has a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd. In 1975, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma; as part of the Natural History Museum of Los Angeles County, Hart's former home and 260-acre (1.1 k

Magdalen Hsu-Li

Magdalen Hsu-Li is an American singer-songwriter, speaker and cultural activist. She is Chinese American. Hsu-Li was born in the southern Virginia city of Martinsville to Chinese immigrant parents, she began piano lessons at age 8 but was interested in painting in her early years. She attended college at the Rhode Island School of Design where she won accolades including the Florence Leif Award for Excellence in Painting, the Talbot Rantoul Scholarship and the Chicago Institute of the Arts Oxbow Fellowship. After graduating, she moved to Seattle and discovered a passion for music over visual art, she matriculated at the Cornish College of the Arts, where she studied classical music and jazz and won a music scholarship in 1995. In 2008 she graduated from Berklee College of Music with a degree in Songwriting, she began public performances in 1996 and released her first album, Evolution, on her own Chickpop Records label in 1998. Her second album, was released in 2001 and was named one of Performing Songwriter magazine's top 12 DIY albums of the year, best producer at the Outvoice Music Awards.

Her song "As I am" was included on Performing Songwriter's ninth compilation album in 2003. Her third album, Smashing The Ceiling, was released and had performances by the drummer Matt Chamberlain, the violinist Eyvind Kang and the guitarist Timothy Young. After releasing Smashing The Ceiling" she graduated summa cum laude from Berklee College of Music with a Bachelor of Music in 2008. While attending Berklee she was a piano principle in the Songwriting Department, a recipient of the Berklee Achievement Scholarship and Jack Maher Scholarship for Excellence in Songwriting, she is a multi-instrumentalist who writes most of her tours with her partner Greane. Hsu-Li's music can be considered derivative of alternative rock, pop and jazz and is described as having "vocals comparable to Tori Amos and Alanis Morissette and music at times reminiscent of Ani DiFranco's solo albums and other times of percussion-driven Rusted Root."Hsu-Li describes her music as "pop rock alt folk singer songwriter music with a tinge of country and punk."

Hsu-Li's music has received positive reviews. It is described as "exquisitely furious and exciting" by Performing Songwriter magazine, "sweet and real" by The New York Times, "an achingly gorgeous collection of piano based rock recalling the finest moments of Tori Amos or Ben Folds Five" by Yolk magazine and a sumptuous feast for the ears by Curve magazine. "A Magazine" wrote, "her blend of hard-grounded folk and sweet siren lyrics makes an enduring impression upon the American music scene her distinguishing factor is her cool, edgy and courage to be sensitive and feminine. As she carves her identity as an artist in an industry where Asian women are not thought of as musical powerhouses or innovators – Magdalen is a rare force with which to reckon." About Fire, the Advocate wrote, "finely crafted, piano-based songs that borrow from pop, jazz and punk." Her songs visually portray what she sees as a trained painter while addressing universal themes about identity, consciousness, love and relationships.

"I write from the heart," she says, "but from my cultural heritages and the places I'm from. "One of the problems in our society is a lack of awareness for the wealth of cultural diversity that surrounds us," she says. "I intend to always be defining issues of identity, raising awareness, bringing communities together through my music and writing. My primary goal as an artist is to help break through the glass ceiling in America so that Asians and other cultural minorities become accepted as artistic and commercial forces in popular music and other artistic mediums." She is working on completing a new book and CD. "This book and its accompanying CD will be the culmination of many stories and tales within the paths that my life has taken," she says. "Throughout my life I have rejected many traditions that were integral to my Chinese heritage, while reclaiming others. I did not start out my life knowing. Rather, the shape and course of my life were composed like a painting or a piece of music, by the flow of events and people I encountered along the way, the choices that I made."

I've always tried to live my life by listening to my heart and following the Dao." She says, "And I've been fortunate to have some amazing teachers and healers in my life. They've steadied me on my path along the way, given me insights and guidance to help me be my highest self in this lifetime. It's time to share what they have taught me with others – and, what this new book and CD will be about". With ChickPop Records1997 Muscle and Bone 1998 Evolution 2001 Fire 2005 Smashing the Ceiling

Charles A. Ellwood

Charles Abram Ellwood was one of the leading American sociologists of the interwar period, studying intolerance and revolutions and using many multidisciplinary methods. He argued that sociology should play a role in directing cultural evolution through education of society, he graduated from Cornell University in 1896 and studied at the Universities of Chicago and Berlin. For one year he was lecturer and instructor at the University of Nebraska and in 1900 became professor of sociology at the University of Missouri, he became advisory editor of the American Journal of Sociology and associate editor of the Journal of Criminal Law and Criminology. In 1904 he served as president of the Missouri Confederated Charities, he was the fourteenth president of the American Sociological Association in 1924. He spent the first 30 years of his career and rose to national prominence at the University of Missouri-Columbia before a 15-year tenure at Duke University. An excerpt from the Missouri University Sociology Web site reads: Charles Ellwood was from the era in which sociology was emerging as a distinct field of study distinguished from philosophy, political economy and other fields.

Ellwood defended a scientific conception of sociology, but he argued that sociology should address social problems and contribute directly to social reform. His moral and religious convictions fed directly into his sociology; some advocates of a more scientific sociology would classify scholars like Ellwood as "do-gooders" who held sociology back from its scientific ambitions. Ellwood wrote an influential textbook on Social Problems which sold over 200,000 copies and established the model for social problems courses around the country. Thesis and dissertation topics at MU in Ellwood's period were focused on social problems including poverty and racial inequality in Columbia and other Missouri towns. One of his students, Terence Pihlblad, earned both his M. A. and Ph. D. at Missouri and subsequently joined the MU department as a professor, serving in that capacity, with minor interruptions, into the 1970s. Pihlblad's dissertation, completed in 1925 under Ellwood's direction, criticized the then-popular notion that intelligence tests might be used to determine which racial and ethnic groups were superior.

Pihlblad argued that intelligence test scores reflect educational and social backgrounds rather than native intelligence. A tragic event in the 1920s illustrates the kind of public controversy that has affected MU sociology since the 1920s. In 1923 a young Black man was lynched in Columbia after being falsely accused of a sexual assault against a young white woman, he was hanged from a bridge over the main road running by the MU campus. In the aftermath of the event, according to Beasley's report, Charles Ellwood was a vocal, public critic of the lynching and of the local citizens for allowing such a thing to happen in Columbia. Ellwood became the target of much local indignation. In the same time period, Terry Pihlblad must have been writing his critique of the use of intelligence tests to determine racial and ethnic superiority. Herbert Blumer to become a prominent sociologist at the University of Chicago and the University of California at Berkeley, completed an M. A. stayed for a few years as a teacher.

He became a target of public criticism around 1927 for suggesting in a guest lecture at Stephens College that there are no pure races, a point which Ellwood and Pihlblad had both argued in their writings. Sociology and Modern Social Problems Sociology in its Psychological Aspects The Social Problem: A Constructive Analysis He monographs and special articles on social psychology. Biography at ASA Works by Charles A. Ellwood at Project Gutenberg Works by or about Charles A. Ellwood at Internet Archive Sociology and Modern Social Problems at The Online Books Page Charles A. Ellwood at Find a Grave