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This week,we saw the death of theatre director Terry Hands, acclaimed for his founding ofthe Everyman in Liverpool among various other theatrical, notablyShakespearean, endeavours. This news came within hours of the RSCsannouncement of their winter season of Shakespeares Wars of the Roses plays, nearlyforty years after Hands production of the Henry VI trilogy as artisticdirector of the RSC supplanted it firmly back into the public psyche.

Handsstyle of directing was distinctive, and often classic. His productions had acertain energetic hum that surrounded them, and in his more than 25 years asDirector Emeritus and Artistic Director of the RSC, it became difficult todisassociate his productions from his latent directorial presence. He came tothe RSC with a track-record of success, having founded the Everyman aftergraduating from RADA; he continued to wield his benevolent hands (pun notintended) over the theatre world when, after leaving the RSC, he saved Wales Theatr Clwyd fromclosure. His styles soon became trademark, as he made his way through Europestheatre circles. He had an almost unparalleled ability to pick out and persuadingtalent to his ends, mentoring the likes of Anthony Sher, Deborah Warner andAdrian Noble.

One of the most recognisable parts of hisdirectorial style, though, is his idiosyncratic use of light, casting himselfas lighting director in a number of productions. Hands made us light-sensitiveas an audience; what were the possibilities of light in Shakespeare, and howcould they enhance a performance? He seems to have tapped into usefuldirectorial opportunities, noticing and exploiting the infinite variety oflights possibility in Shakespeares plays.

Light, for anyone who has pored over an ArdenShakespeare, traipsing through theme after theme, is an image of notablesignificance. Romeo famously asks Juliet: But soft, what light through yonderwindow breaks?; if the window is the east, and Juliet really is the sun, how can a director make herso? The 2006 RSC production, directed by Nancy Meckler, has Juliet perched noton a balcony but on a precarious metal scaffold. The light that bathes her faceis not warm sunlight but the harsh whiteness of stage lights, as we are deniedaccess to the fallacy in which the two lovers find themselves in. To Romeo, hisparamour has the soft warmth of the sun, but to us, she looks harsh anddistant, lit with a clinical pale glow. In the 2010 RSC production, Juliet isoffstage when Romeos dramatic love exposition begins; the visions of grandeurin Romeos mind can be indulged by the director, or gently mocked by way ofdeliberate omission.

The relative scarcity of specific stage directionor set instruction makes a Shakespeare play a useful tabula rasa upon which adirector can build an effective, stylistically distinctive production. However,there are some specific light requirements that are vital to the narrative whilebeing difficult for a director to work with. A distinction between night andday is a recurring feature, a technique that would have been especiallydifficult in the open-air amphitheatre styles of some Elizabethan theatres. Thescript for our case study, Romeo and Juliet, includes the time markers ofmorning, twilight, noon, twilight, night and dawn. It is, obviously, at thedirectors discretion whether they choose to play to these distinctions, orwhether they will allow the play to exist in its own isolated timelessness.Time disorientation works well for the two lovers tragic story; a refusal toacknowledge the passage of time gives the story a cruelly ironic sense ofhaving time to spare, when in reality the events take place over only fourdays. If the director chooses to note these fluctuations in light, the playbecomes more urgent, more visceral and more real.

There are over thirty stage directions inShakespeares oeuvre calling for lights to be carried on-stage. Three kinds oflights are specified: tapers, torches and lanterns. Torches are the most commonby far, and undoubtedly the easiest for an actor to use effectively on stage. However,the Elizabethan nomenclature of specific lights was inconsistent, so relativefree-reign, even then, was given to matters of lighting for the productions. Itis unreasonable to presume that a modern director will feel constricted to theconfines of Shakespeares own light specifications, but some performance spacesnecessitate a modicum of orthodoxy. The Globes primary light source issunlight, making the only significant differentiation in light that betweenLondons night and day. Even the indoor Sam Wanamaker Playhouse, thoughartificially lit with candles, is illuminated uniformly throughout entireperformances. In such spaces, lightscarried on and off stage were not a requirement, but a superfluity to thespace: they were an exercise in aesthetics, rather than function.

Aside from the time markers mentioned previously,the use of hand-held lights in the plays are used traditionally to indicatedark, shadowy loci, where the presence of light indicates a lack it, as well asceremony and metaphor. The extinguishing of these indicates a plummet intototal darkness, in which Cassio can be ambushed and Lear can be left isolate onthe heath. As Lears Fool says: so out went the candle and we were leftdarkling. The audience is trusted to suspend disbelief as we plunge, with thecharacters, into metaphorical darkness.

How, then, has Hands legacy of light been aninfluential force on the modern Shakespeare scene? The 2014 Park AvenueTheatre, New York, staged a production of Macbeth that surpassed audienceexpectations not only of light but also of staging. The plays cavernous spacewas transformed into a barren heath, complete with open flame torches lighting theaudiences way towards the steep, stadium seating. Strange and otherworldlyshadows were cast on the faces of the (floating!) witches. The mass of candlesat the end of the traverse stage that glowed hot in Lady Macbeths fieriestmoments stood cold and dark when, hands stained with blood, she begs: Ohlight! Please take me! I deserve to die! / Nowtake me light! Now cover my darkness!. Though elements of this productioncrumble under accusations of style over substance, it is exemplary in itsmanipulation of, or abject disregard for, Shakespeares original plans forlight in his plays.

Nonconformist lightingtechniques are not specific to tragedy; Shakespeares already farcical,unrealistic comedic scenarios can be made more so with lighting that removes usentirely from reality. The recent production of A Midsummer Nights Dream atLondons Bridge Theatre explores the dark sexuality that runs throughout theplay, by keeping the in-the-round performance space mostly dark and shadowy,save select spots of bright lightness. In a play usually interpreted with thesummer-gaze of cloudless days and soft heat, the Bridges chiaroscuro is arefreshing palate cleanser for some of its more sanguine adaptations. Sequinnedand salacious, the plays purple hue in the final scene gives it permission torevel in its unabashed campness, dragging the audience literally skipping intoits midsummer fever dream.

One wonders whetherShakespeares verse benefits from these techniques; should we give in topurists, and have our open-air theatres lit exclusively by the sun and the oddtaper? Some productions, like Park Avenues, undoubtedly suffer for stylisticdiversity, sacrificing subtleties of language, style and blocking to make roomfor the enormity of these effects. However,in order to guarantee our public appreciation for these plays for years tocome, we have a duty to embrace and support attempts at stylistic innovation,rather than dismissing them as silly or superfluous. Done well, effects such aslighting can enhance audience enjoyment, and Terry Hands productionsexemplified this. He used never-before-seen lighting techniques with consistentsuccess, demonstrating how, even though Shakespeare doesnt need to bemodernised to the 21st century, wed be happy to have him.

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What Light Through Yonder Theatre Breaks? - Cherwell Online

'The Terrace - A Maiden Affair' is located in Andheri, Mumbai and has been designed by Saniya Kantawala Design

Stepping through the doors of The Terrace A Maiden Affair, a newly opened restaurant in Andheri, Mumbai, one is greeted by a neon sign, Here comes the sun, hinting at a happy, cheerful experience that awaits inside. Pastel shades, jewel-shaped lighting, comfortable seaters upholstered in rich fabrics, an outdoor space with an alluring ambience and more, make this restaurant an instant attraction. The brand, The Terrace, located in Juhu is owned by Karan and Kaushal Shah. They have franchised it to Kaplan and Nishiket Shah and the interiors of the new Andheri outlet have been envisioned by interior designer Saniya Kantawala.

This restaurant is primarily for the millennials and Gen-X; the entire theme and decor for the space includes elements that are attractive to this generation. For me, designing the restaurant and understanding the client brief and bringing it to life was instinctive, as I am a millennial myself; hence, pink has been used in a variety of ways in the space, says Kantawala. The finishes on the walls and the flooring have been kept fairly restrained. The predominant use of soft pink hues are offset by pops of blue, green andorange and the use of brass imparts a sleek finish to the furniture incorporated indoors. Theexposed ceiling is adorned with dainty, jewel-shaped lighting. The bar, positioned centrally within the 2,200-square-feet indoor space is surrounded by seating that includes high bar seating and circular booth seating. Pop art dots the walls, perking up the interiors and adding an element of quirk.

On the other side of the glass partition lies the outdoor seating area (600-square-feet) and is easily the most endearing spot in the restaurant. A centrally positioned light installation sets an ideal tone, with the space being further enhanced by the inclusion of several potted plants. Quirky bent chair plates accessorise the walls of the garden and the seating has been arranged in such a way that it makes one feel like they are amidst an art garden. A swing installed in the garden also lifts the ambience of the space and creates a visual that makes the restaurant photo-worthy, adds Kantawala.

The food is helmed by chef Rajesh Talwar, who has two more restaurants in the works in Doha and The Bahamas. The menu comprises a diverse selection. We tried the delicately spiced Tandoori Indian Machhi, the Golden Prawns, Chicken Sesame Seekh and the flavourful Tandoori stuffed Mushrooms. If you happen to be in the mood for some comfort food, the menu includes Khichdi, a dish most of us crave for every now and then. Named after Kantawala herself, Saniya ka pakaya hua khichdi can be paired with veggies and chicken (yes, you read that correctly!). Go ahead and indulge!

In this age of social media and Instagram, the fascination with posting about our wheres and whens has completely re-defined the process of conceptualising a restaurant and its design, says Kantawala. This understanding has translated effortlessly into a design that spatially renders a simple yet efficient layout, imparts a cheerful and soothing vibe, offers picture perfect backdrops and makes it an ideal spot to catch up with a group of friends. If you are wondering where to head out this weekend, we suggest you give The Terrace in Andheri a try. Who knows it might just end up becoming a regular hang-out spot for you and your friends.

Surat: The Kathiyawadi design influences in this restaurant help create an authentic Gujarati vibe

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A new hang-out has cropped up in Mumbai and we are loving its vibe - Architectural Digest India

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Work in EPCOT continues to transform Future World. Today, we saw several notable changes around the area.

At the old Mouse Gear location, the final visible signs of the past are gone after the last decorative gear character window display was removed. Now, all guests see are black tarps.

Next to the Taste Track site, new pavement has been poured for the sidewalk that will connect the old rear exit of Mouse Gear to the Test Track Simporium and Cool Wash.

Over between The Land and Imagination!, the mystery construction site was abuzz with activity.

From above, the dirt behind the newly poured retaining wall was being prepped for new sod to be laid down.

Meanwhile, heavy machinery continued to move dirt around the site.

Several markers remain in place for potential pathway paving in the area.

Stay tuned to WDWNT as we keep you updated on this and other construction projects from around the Disney parks.

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PHOTOS: New Pavement Added Near Taste Track, Mystery Landscaping Construction Continues in Future World at EPCOT - wdwnt.com

YOKOHAMA A teenager was killed Wednesday morning when she was struck by a small landslide while walking through a residential area in the city of Zushi, Kanagawa Prefecture, local police said.

The landslide occurred at around 8 a.m. when a nearly vertical, 10-meter-wide section of a hill underneath an apartment building collapsed onto the street below.

The 18-year-old woman was pronounced dead after being taken to a hospital, according to police and rescue workers. There were no other victims.

Although the lower part of the hill was reinforced by a concrete retaining wall, the upper section collapsed releasing around 20 cubic meters of earth. A pile of dirt up to 2 meters high could be seen on the road, which was strewn with boulders, and a nearby guardrail had been bent by the force of the falling earth.

One person was transported to the hospital on a stretcher, and the ambulance staff had a bloodstained bag with them, said a woman from the neighborhood. The road gets busy in the morning with commuters heading to work and school. I cant believe a landslide could happen here.

The prefectural government had previously flagged the area as being at high risk of such an incident. Rain was unlikely to have been a factor in the collapse as there has been no rainfall in the area since last Thursday, according to the Meteorological Agency.

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18-year-old woman dies after small landslide in Kanagawa - The Japan Times

ST. GEORGE (ABC4 News) Tuesday marks exactly three months since the St. George Temple, the longest-operating temple of The Church of Jesus Christ of Latter-day Saints, closed for a major renovation inside and out for necessary safety and energy-efficient upgrades.

The Church of Jesus Christ of Latter-day Saints closed the 142-year-old temple in November of 2019 for renovations to make it safer and more functional while preserving as much of the original craftsmanship as possible, according to a news release. Project managers announced the first phase of the construction, removing all of the 20th-century additions to the building, is well underway.

One of the aspects of this project is preserving the original building as it stands right now, said Eric Jamison, project manager. The structure of the building is in fantastic condition given its age. Despite its age, the temple has endured very well.

Some system upgrades will be made to the temple, including mechanical, electrical and plumbing work, according to church representatives.

The first phase of this project really has been removing all the 20th-century additions to this building, said Emily Utt, historic site curator for the Church. So, for the first time in 100 years, were able to see where the original door openings were in this building, what the floor plan was, what the paint colors were.

Construction crews have removed the 1970s era north entrance and west addition that will more closely match the original architecture of the historic temple once rebuilt. On the west side of the building, contractors unveiled an exterior window hidden from view for more than 40 years.

Its a really exciting process to see the work and craftsmanship that these people had back then, said Jamison.

Salvaging removed materials for recycling, piles from cement to steel are sorted and loaded, hauled away to recycling plants where almost everything will be re-purposed, church officials said.

The completion date for the entire renovation is anticipated in 2022. Following a public open house, the temple will be rededicated.

Continued here:
St. George Temple renovation hits three month mark, massive construction underway - ABC 4

FALLS CHURCH, VA Falls Church City Council will make final considerations on Monday, Feb. 10 before the Mary Riley Styles Public Library expansion and renovation project can move forward. Council must approve a budget amendment and the awarding of the construction contract for the project.

If Council approves those items, the library will announce the schedule on Tuesday, Feb. 11 for closing and reopening in the temporary location. During the renovation project, the library will move its collection to trailers at Jefferson Elementary School, 601 South Oak Street. Construction is expected to last 12 to 14 months, or February 2020 through May 2021.

The relocation will take two to three weeks and require the library to be closed during this time. It will likely move during February or March. The temporary location will remain open through spring or summer 2021, when the renovated library will open.

The renovation project will bring an addition and numerous changes to the library. The main level will have an addition for its adult fiction section. The nonfiction section, 10 computers, adult reading room, local history room and conference room. The children's and teen area will be on the lower level. Plans for this level include an early literacy zone, school age children zone, teen collection area, teen room and 180-person large conference room with a sink and projector. Library members can expect more tables and chairs next to windows with charging outlets.

The library's website says the renovation and expansion project will address growth in membership, ADA deficiencies, infrastructure repairs or replacements, storage and security measures, public restroom space and the need for larger meeting space. The library's board also recommended separating the adult area and children's areas on different levels.

See more information about the expansion project and temporary location questions and answers.

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Final Vote Would Allow Falls Church Library Renovation To Begin - Patch.com

BALTIMORE (WJZ) The Office of Inspector General has found that Baltimore City Comptroller Joan Pratt had a conflict of interest when voting to give city-owned lots to a church in the Upton community.

In 2017, the Board of Estimates voted to sell 15 vacant lots, valued at $1,000 each, for $1 apiece to Bethel AME, a church that Pratt has been a member of since 1976.

The lots, which had been vacant for over a decade, are situated between 1301 and 1325 Etting Street and 505 and 509 West Lafayette Street in the Upton community, the report said.

The complaint alleges that Comptroller Joan Pratts vote to approve the sale to the church was a conflict of interest because of her membership with the church.

It went on to say that Bethel AME doesnt let residents use the lots for additional parking as they had done before the sale.

The OIG found that the comptroller voted in favor of approving the sale of City property to the church. They also found that administrative oversights of the Office of the Comptroller during the pre-BOE process led to Comptroller Pratts vote in favor of the deal, and found a reliance by the comptroller on her staff to properly vet BOE items for recusal.

The comptroller did acknowledge that she should have abstained from the vote because it was a conflict of interest.

Inspector General Report: Comptroller Joan Pratt Conflict Of Interest by WJZ on Scribd

It was an administrative oversight, Pratt said.

Representatives of Bethel AME said in interviews with OIG that access will remain for residents to use the lots for additional parking, except on Sundays when the lot is needed for church members coming to services.

This all began when the Department of Community and Housing Development received an application from Bethel AME to buy the properties through the Vacants to Value program in May 2017, though none of the lots the church applied to were posted on the DHCD website when they submitted the applications.

The OIG said they got conflicting information about why the church had applied if the City was not offering to sell the properties. The church had said the City inquired with them if they would be interested in buying the land, but DHCD employees said the church came to them.

A DHCD official said the agency doesnt approach private parties to sell the vacant lots, which Comptroller Pratt confirmed to the OIG.

The lots had been used as auxiliary parking for community residents and members of Bethel AME.

The baseline value for a vacant lot in Baltimore City is $1,000; however, the lots were sold to Bethel AME for $1 each, costing them $15 total.

Bethel AME submitted that the church had assumed a custodial role of the lots for 20 years and performed upkeep services, incurring over $35,000 in expenses.

DHCD and the Department of Real Estate did confirm to OIG that its not unusual for the City to sell property for less than the assessed value, especially when the proposed buyer has paid expenses directly related to the property before they buy it.

The church proposed to develop the lots by changing them from unpaved, unofficial parking into formal spaces with pavement and fencing.

That construction was set to begin 90 days after the sale, but when the OIG visited the lots on October 15, 2019, they found the construction hasnt started- to which the church responded they couldnt start construction until ground rent issues are resolved.

DHCD offered no explanation why the church has kept the land after two years of having it, and failing to satisfy the agreement.

The OIG then found that the Real Estate Committee approved the proposal without any community meetings.

When the OIG looked at Comptroller Pratts involvement in the sale, they found that she is a member of the churchs board of trustees, and her personal business, Joan M. Pratt, CPA & Associates, has prepared the churchs tax returns before.

The report noted a Baltimore Fishbowl article from July 2019, which had Comptroller Pratt speaking about the vote, stating, I always abstain on things that relate to Bethel because thats my church.

Comptroller Pratt told the OIG that she relies on her staff to make sure she properly abstains from BOE items that present a conflict of interest and that her staff should recognize items on which shes conflicted based on previous meetings.

She told Fishbowl that her vote was an oversight because of her staffs failing to search on the abstentions list for Bethel A.M.E. with periods in the name. But several Office of the Comptroller employees told the OIG that even when the abstentions list was used, the comptroller and he rstaff went page-by-page through the agenda during pre-BOE meetings.

The OIG learned that she would verbally announce items she planned to abstain from during those meetings, which she confirmed.

Pratt ultimately agreed the responsibility for the voting oversight rests with her, though she told the OIG she verbally announced her intention to abstain when employees in that meeting do not recall that proclamation.

They also found the allegation that Bethel AME would ban residents from using the lots for personal parking to be inaccurate. Community leaders and church officials told the OIG that there was no ban and residents still use the parking lot when it is available.

The OIG recommended a central list of abstentions be maintained for members of the BOE.

Link:
City Comptroller Joan Pratt Voted Yes To Sell City Lots To Church Shes A Member Of, Baltimore OIG Finds - CBS Baltimore

Daily News staff

FridayFeb7,2020at3:30PM

The Newport Lodge of Elks #104 announced that Thomas Nasser has been selected 2020 Citizen of the Year. Nasser, a lifelong Aquidneck Islander, was born in Newport graduated from Rogers High School in 1985 and has resided in Middletown since 1987. A family man he has been married to Kristina for over 21 years; has two children Hannah, a freshman and tennis Player at Colby Sawyer College, and Max a freshman and golfer at Middletown High School.

Through Nassers employment and sports interests he has developed a strong attachment to the community and interest in helping people. Nasser has been in the automobile business on Aquidneck Island as service and parts director for 28 years and is currently the facilities manager for Aspire Dermatology. Nasser an avid baseball and softball player has played on such teams as Strike Zone Lounge, Billy Goodies, Neil Swift Construction and has played for the Taylor Rental softball team for 20 years.

Nasser has been involvement in community service for a long time. Nasser coached in Middletown Little League for 20 years, was president from 2015-2017 and worked with the Middletown Town Council in renovating the baseball and softball fields. He is a member of the Knights of Columbus and was Grand Knight in 2014. He is member of Jesus Savior Church and is the chairman of the Holy Ghost Feast, co-chair of the church bazaar and a member of the Parish Council, Finance Committee and is a Church Usher. Nasser is also a member of the Vasco Da Gama, 7 Castles Scholarship Fund and 3 Angles Fund. Nasser is the founder and chairman of the Aquidneck Island Charity Golf Tournament, which benefits children with life-threatening illnesses. The tournament has raised $225,000 over the last 13 years.

It is for these reasons that the Newport Elks Lodge has picked Tommy Nasser as its 2020 Citizen of the Year. A Dinner will be held in his honor at the Newport Elks Lodge on May 2, 2020. For more information please contact Ron Cudworth at (401) 841-5746.

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Thomas Nasser chosen Newport Lodge of Elks Citizen of the Year - newportri.com

In the mid-19th century, one of the most important writers and historians of the Yucatan Justo Sierra OReilly, said: The Cathedral of Merida speaks to us in a language that perhaps the understanding does not understand, a statement that is still valid today.

The Yucatecan Cathedral has its own architectural characteristics, which have been pointed out since the 20th century by various specialists. In 1929, the architect Federico Mariscal, pointed out that: The facade of the Cathedral of Merida, impossible to be confused with others, has no resemblance to those of other regions of the country.

The towers of this temple are an architectural element, of which some observations have also been made. Federico Mariscal indicated: The towers, seen from the front and from its second body, are not in proportion to the first and appear off-centre.

About this, the specialist Manuel Toussaint, emphasized that: The towers, seen from the front, in the distance, seem cross-eyed, because their tops offer an inexplicable strabism.

The Cathedral was built in a 36-year period, from 1562 to 1598, under the supervision of four bishops: three Franciscans and one Dominican. This Franciscan predominance in the constructive vigilance, is what could explain the aspect of strength that the Cathedral has, since the Franciscan architecture in America, during the colonial time, was characterized by having that appearance of fortification, one of the results of its apocalyptic theology, that aspired to build in the New World, the New Church of Christ, a spiritual construction with a material expression in its convents and churches, made in the likeness of the heavenly Jerusalem, described in the Apocalypse.

The colonial Mayans intervened in a decisive way in the building of the cathedral as laborers, it is known that 300 workers came from a community near Merida: Uman, as well as carpenters from Yucatan.

Beyond the physical participation in the construction of the Cathedral, the link of this temple with the Mayan existence can be observed in the indigenous colonial literature, and it is in this way that it is possible to read in the Mayan books of Chilam Balam, diverse references to the Cathedral.

In the Chilam Balam of Chumayel, some of the most important references to this Catholic temple can be found, in spite of the chronological errors, the quotes are related to the mythology and cosmogony of the pre-Hispanic Maya.

Some of them are: In Ichcaansih (Mrida) the foundations of the Holy Major Church were founded, the palace of God, the virtuous open house of God. Woe to the faces of the Great Figures when the owner of the House of Worship arrives in the middle of the city of Ho (Merida) In Trece Chen, Eb, the foundations of the Great Church were laid, the House of Learning in the Dark, the Great Church of Heaven. In the middle is the city of Ho, the Main Church, the house of all, the house of good, the house of the night, which is of God the Father, God the Son, God the Holy Spirit.

Thus, bearing in mind these brief historical, architectural, documentary and anthropological observations, we can begin a general observation of the Cathedral, as well as tours of its interior, courtyard and roofs, discovering in this Catholic temple, the trace of the Mayan symbols. A trip that we will start next week.

ForThe Yucatan Times,Indalecio Cardea Vzquez

Merida, Yucatan February, 07 2020

Indalecio Cardea Vzquez. Anthropologist, researcher and writer.He has collaborated with theUnidad Yucatn de la Direccin de Culturas Populares,Instituto Nacional Indigenistaand was the director of the Pinacoteca Juan Gamboa Guzmn of the INAHAmong his anthropological works are the iconographic analysis of the colonial sacred art of the Yucatan Peninsula; the symbolisms in the facade of Conquistador Montejoshouse, in Mrida; the Mayan symbolism in the Yucatan Cathedral and the archaeoastronomy among the Mayans.

Professor Cardea has written several books and articles since the mid 1980s to this date.

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The Mayan symbolisms of Merida's cathedral - The Yucatan Times

The names of Frederick Douglass, Harriet Tubman and Martin Luther King likely sound familiar. But what about Lewis W. Pinkney, Joseph Taylor, and Calvin Simmons? The last three lived right here in Southeast Minnesota, and they too made history.

As we celebrate Februarys black history month, we should honor contributions by early black settlers in Rushford and its nearby communities.

Lewis W. Pinkney Rushford, Minn.

Casting a long silver shadow over Highway 43 in the late afternoon this time of year is the Rushford Lutheran Church. The steeple silhouette touches the property of the original high school, bonding the two buildings together. Both were built in 1906, and one of the construction workers was Lewis W. Pinkney.

The Rushford Lutheran Churchs 150-year anniversary book mentions an African-American man was also hired as part of the construction crew....he also worked on the schoolhouse construction before moving south again.

Pinkneys contributions to Rushfords landscape remains today. Take a stroll from the Church steps in any direction and you will find his other structures, including the Episcopal Church and Rectory House. His construction career, spanning from 1899 to 1907, is one of the many threads in Rushfords tapestry.

While still a young man Pinkney, a son of former slaves, achieved his dream of receiving an education, and was listed a student in the 1905 Minnesota census. During his youth in Florida, Pinckney was denied an education due to black code laws.

After Rushfords building boom, Pinkney moved back to Jacksonville, Fla., and became a gardener. He married and had several children. In the 1930s, some of his offspring worked at St. Vincent hospital in Jacksonville. Currently, St. Vincents has mutual collaborations with Jacksonvilles Mayo Clinic.

Joseph Taylor Brownsville Minn.

Before Minnesota was a state, Joseph Taylor resided in Brownsville, Minn., where he worked as a newspaper pressman. Taylors journey to our corner of the state was accelerated when, in 1837, he witnessed the murder of his employer, the Rev. Elijah Lovejoy in Illinois.

Lovejoy owned an anti-slavery newspaper. One night a violent pro-slavery mob set fire to his office and killed the reverend. Watching from afar was Taylor, who saw where the crowd threw the printing press into the river. He later assisted with its retrieval. The infamous printing press and Taylor settled in Brownsville, Minn.

Taylor was considered the best pressman along the Mississippi River from Dubuque, Iowa, to St. Paul, Minn. Often, he would stop at a nearby river hamlet to give the local printer a rest. Given his generous personality, Taylor added to Brownsville prominence along the river corridor. Taylor must have found a deep satisfaction as he was able to join the Minn. Union Army during the Civil War. Sadly, his dream of helping others find freedom was short-lived, as he died from disease during the last days of the war.

Calvin Simmons Houston, Minn.

Finding information on Calvin Simmons proved more difficult, compared to Pinkneys buildings and Taylors life documented in the History of Houston County book. To learn about Simmons I visited where he used to live in Houston, Minn. My tour guide and gracious host to the property was Mark Witt. The farm resides with the Witt family and after many years, one gets to know the lay of the land and its history.

In a document discovered just this past year, there is a description of Houstons founder, W.G. McSpadden, hiding escaping slaves in a cave during the 1850s. Witt heard about the cave and his attempts to find it remain elusive, a testimony to it being a safe hiding spot. Witt shared a dark moment when the McSpadden residence burned to the ground. When helping the owner of the time with cleanup, Witt found a hidden room under the kitchen and Witts first thought was that of a secret room for the Underground Railroad. When I shared the document of McSpadden aiding slaves, it all seemed to come together.

When the Civil War started, McSpadden enlisted for several years. Upon his return to Houston, a young black man from the south, Calvin Simmons, accompanied him.

McSpadden was determined to turn Houston into a destination community and built a three-story mill, snug against the steep, deeply folded bluffs on the narrow ribbon of Silver Creek. Once a massive structure, the mill featured an imposing dam that was so large it created Silver Lake.

Today as you approach the beautiful Silver Creek, evidence of the mill remains. The hand-hewn sluice chiseled out of dense limestone can be traced to its lengthy journey that rotated the mighty mill wheel. The enormity of work, determination and grit, it took to make this mill a contender in its day is breathtaking. McSpadden faced his share of floods and fires, yet each time he would always rebuild bigger and better.

Simmons, his reliable friend and worker, likely shared McSpaddens vision; that one day the mill would secure Houston as the largest community in the area. The aspiration eventually dissipated as other cities outgrew the town.

The sunset details of McSpadden life culminated with his eventual move to South Dakota. There he fulfilled the last item on his bucket-list; building and operating a grand hotel. Joining McSpadden was Simmons, who fulfilled his dream of having his own farm. Born a slave, Simmons ownership of his 80-acre plot was a tremendous achievement.

Later Simmons would marry and have four children and his was the only black family in the county. When he passed away Simmons was laid to rest in the McSpadden family plot. His headstone is engraved with an outline of his beloved farm home.

Reflection

At Silver Creek, catching the last golden rays of the day, one can admire the mills remaining graceful archway and its proud tumbled down walls. The water of the creek seems timeless as it unites the present to the past. This flowing water also ties where they lived, worked and dreamed, thus connecting, Pinkney, Taylor and Simmons. Their accomplishments are among us today; some dreams to see and others to envision.

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The surprising black history of Southeast Minnesota - Bluff Country Newspaper Group