who played adam in bonanza and where is he

Pernell Elven Roberts, Jr. (May 18, 1928 – January 24, 2010) was an American stage, film and television actor, as well as a singer. In addition to guest-starring in over 60 television series, he was best known for his roles as Ben Cartwright's eldest son Adam Cartwright on the Western television series Bonanza (1959–1965), and as chief surgeon Dr. John McIntyre, the title character on Trapper John, M.D. (1979–1986).[2][3]

Pernell Roberts

Roberts was also known for his lifelong activism, which included participation in the Selma to Montgomery marches in 1965[2] and pressuring NBC to refrain from hiring whites to portray minority characters.[4]

Roberts was born in 1928 in Waycross, Georgia, the only child of Pernell Elven Roberts, Sr. (1907–1980), a Dr Pepper salesman, and Minnie (Betty) Myrtle Morgan Roberts (1910–1988). During his high-school years, Pernell played the horn, acted in school and church plays, and sang in local USO shows. He attended, but did not graduate from, Georgia Tech. Enlisting in 1946, he served for two years in the United States Marine Corps. He played the tuba and horn in the Marine Corps Band, and he was also skilled at playing the sousaphone and percussion.[5] He later attended, also without graduating, the University of Maryland, where he had his first exposure to acting in classical theatre. He appeared in four productions while a student, including Othello and Antigone, but left school to act in summer stock.

In 1949, he made his professional stage debut with Moss Hart and Kitty Carlisle in The Man Who Came to Dinner at the Olney Theatre in Olney, Maryland. Later, he spent eight weeks at the Bryn Mawr College Theatre in Philadelphia, portraying Dan in Emlyn Williams' Night Must Fall and Alfred Doolittle in Bernard Shaw's Pygmalion.[6]

Roberts moved to Washington, D.C., in 1950 and supported himself with a variety of jobs while performing with the Arena Stage Theater for two years. He performed in numerous productions, including Steinbeck's Burning Bright, The Adding Machine, The Firebrand, The Deletable Judge, The Taming of the Shrew ("Petruchio"), Playboy of the Western World, Children of Darkness, School for Wives, The Inspector General, The Glass Menagerie, Mr. Arcularis, Twelfth Night, The Scarecrow, The Importance of Being Earnest, Julius Caesar, She Stoops to Conquer, School for Scandal, Three Men on a Horse, Faith of Our Fathers (Sesquicentennial Amphitheatre) and Dark of the Moon.

Roberts performed with the Port Players, in Milwaukee, in the comedy To Dorothy a Son, and other productions. "Roberts again is master of all situations, as he has been in the 9 previous productions of the season".[7] He performed as well with the Brattle Theatre's production of Othello and Henry IV Part I, which was later brought to the New York City Center (Playbill, January 1957) and later, Guys and Dolls with the Cohassett Music Circus.[8]

In 1952, Roberts moved to New York, where he appeared first off-Broadway in one-act operas and ballets with the North American Lyric Theatre, with the Shakespearewrights, at the Equity Library Theatre, and later on Broadway with performances in Tonight in Samarkand (also in Washington, DC), The Lovers opposite Joanne Woodward, and A Clearing in the Woods with Robert Culp and Kim Stanley. He won a Drama Desk Award in 1955 for his performance in an off-Broadway rendition of Macbeth, which was followed by the role of Mercutio in Romeo and Juliet. He performed in Twelfth Night, Merchant of Venice, Dr. Faustus, and The Taming of the Shrew at the American Shakespeare Festival, and later on Broadway. He performed in St. Joan (1954, Cleveland), Down in the Valley (at the Provincetown Playhouse), The Duchess of Malfi, Measure for Measure, and King John..

In 1956, Roberts returned to the Olney Theatre, starring opposite Jan Farrand in Much Ado About Nothing with the Players, Inc. group.[9] The same year, Roberts made his television debut in the "Shadow of Suspicion" episode of Kraft Television Theater, followed by guest-starring roles in Whirlybirds, Gunsmoke, Cimarron City, Buckskin, Sugarfoot, and Cheyenne.[10]

Roberts signed a contract with Columbia Pictures in 1957 and made his film debut a year later as one of Burl Ives' contentious sons in Desire Under the Elms (1958). The film was nominated for a Best Cinematography Academy Award. He also landed a character role in The Sheepman (1958), opposite Glenn Ford and Shirley MacLaine, and continued to guest-star on television shows such as episodes of Shirley Temple Storybook Theater ("The Emperor's New Clothes", "Rumplestiltskin", "The Sleeping Beauty", and "Hiawatha"), the live-broadcast Matinee Theater, where he starred again in Shakespeare's Much Ado About Nothing, and in The Heart's Desire. This was followed by appearances in Trackdown, Buckskin, and episodes of Zane Grey Theater. Roberts guest-starred as Captain Jacques Chavez on the NBC adventure series Northwest Passage (1958), based on the life of Major Robert Rogers in the French and Indian War. He appeared with fellow guest star Fay Spain in the 1958 episode "Pick up the Gun" of Tombstone Territory and played the lead villain in the 31st episode ("Hey Boy's Revenge") of Have Gun – Will Travel, portraying a killer boss exploiter of Chinese coolie laborers.[11]

In 1959, Roberts guest-starred in episodes of General Electric Theater, Cimarron City, Sugarfoot, Lawman, One Step Beyond, Bronco, 77 Sunset Strip, The Detectives, and House Call.[11] Also in 1959, he co-starred in the film Ride Lonesome. "If Roberts felt typecast by Westerns, they also provided his finest role in this film, arguably the greatest of the B-films, starring Randolph Scott and directed by Budd Boetticher. Roberts recognized the film's classic structure; his engaging outlaw, Sam Boone, counterpoints Scott's granite-faced Ben Brigade, maintaining the tension of whether they will work together or clash. He similarly played off James Coburn, who was making his film debut as Boone's quiet sidekick, Whit."[12] The same year, he was cast in Bonanza.

Roberts played Ben Cartwright's urbane eldest son Adam, in the Western television series Bonanza. Unlike his brothers, Adam was a university-educated architectural engineer.

Roberts, having largely been "a stage actor, accustomed as he was to a rigorous diet of the classics"[13] and to freely move about from part to part, found the "transition to a television series", playing the same character, "without costume changes," a difficult one.[3] "It was perhaps not surprising that, despite enormous success, he left Bonanza after the 1964â€“65 season, criticizing the show's simple-minded content and lack of minority actors...".[13] It particularly distressed him that his character, a man in his 30s, had to defer continually to the wishes of his widowed father,[14] and he reportedly disliked the series itself, calling it "junk" television[5] and accusing NBC of "perpetuating banality and contributing to the dehumanization of the industry."[5] The equally self-critical Roberts ("I guess I'll never be satisfied with my own work"[15]), "had long disdained the medium's commercialization of his craft and its mass production, assembly-line mindset."[16] Frustrated with Bonanza and angry, he told a reporter in 1965, "I feel I'm an aristocrat in my field of endeavor. My being part of Bonanza was like Isaac Stern sitting in with Lawrence Welk".[17]

In much later interviews, Roberts denied statements about Bonanza attributed to him. "I did not enjoy Bonanza anymore...but I never said those things people said I said."[18] He was, however, "too smart not to recognize its weaknesses."[19] In a 1963 interview, he asked a reporter, "Isn't it a bit silly for three adult males to have to ask father's permission for everything they do?"[20] "They told me the four characters (Lorne Greene, patriarch Ben, Dan Blocker and Michael Landon as his brothers) would be carefully defined and the scripts carefully prepared; none of it ever happened," he complained to The Associated Press in 1964.[citation needed] He objected to how Bonanza portrayed the relationship between the "father" and adult "sons," describing it as adolescent,[21] lacking in "truth" and lacking in "reality."[22][unreliable source?]

Roberts acknowledged reasons for Bonanza's appeal, but pointed to his personal need for story lines with greater social relevance, adult themes and dialogue. He wanted Bonanza to be "a little more grown up," (Mike Douglas Show, 1966). He also noted that he was not suited to the "procedural" and "confining aspect" of series television, another reason for his dissatisfaction, while on the show (Mike Douglas Show, 1966).

Roberts had high hopes for what he could contribute to Bonanza and was disappointed with the direction of the show, the limitations imposed on his Bonanza character and on his acting range. In a newspaper interview, he said, "I haven't grown at all since the series began...I have an impotent role. Wherever I turn there's the father image." [23] Finally, after disagreements with writers and producers over the quality of the scripts, characterization, and Bonanza's refusal to allow him to perform elsewhere while on contract, Roberts "turned his back on Hollywood wisdom and well-meant advice," and left, largely to return to legitimate theater (Washington Post, January 25, 2010; New York Daily News January 26, 2010; Mike Douglas Show, 1965, 1966); Henry Darrow Archival Interview; USA Today, January 25, 2010).

Roberts fulfilled but did not extend his six-year contract for Bonanza,[14] and when he left the series, his character was eliminated with the explanation that Adam had "moved away."[14] Later episodes suggested variously that Adam was "at sea", had moved to Europe, or was on the East Coast, running that end of the family business. The last episode Pernell Roberts worked on was "Dead and Gone", air date April 4, 1965. He appeared in the next two that aired which were filmed prior to "Dead and Gone" â€” "A Good Night's Rest", air date April 11, 1965, and "To Own The World", air date April 18, 1965. Adam Cartwright was mentioned on occasion in the series (including a 1967 episode which did not air until April 4, 1971 ("Kingdom of Fear"). In television interviews, Roberts said that he would have stayed with Bonanza, had he been allowed to do so on a part-time basis to enable him to return to theater.[24] Bonanza producer David Dortort described Roberts as "rebellious, outspoken... and aloof," but, as one who "could make any scene he was in better...". In a later archive interview, he regretted not having insisted on a "marriage for Adam" and having Roberts continue on the show as a semiregular. He added, "I must confess..I was too hard on him. I did not appreciate him. I knew he was good, but I didn't realize he was that good...none better." [25] In the last two Bonanza movies that aired on NBC in the early 1990s, the story line stated that Adam, now in Australia, had equaled his father's success, dominating the engineering/construction business.

Roberts was the only accomplished singer of the original cast, though David Canary, who joined Bonanza in 1967, had a background in voice and performed on Broadway. During Roberts' Bonanza years, he recorded Come All Ye Fair and Tender Ladies, a folk music album which AllMusic calls "...the softer, lyrical side of folk music â€” pleasant and not challenging, but quite rewarding in its unassuming way."[26] The album, released by RCA Victor and arranged by Dick Rosmini, is available on compact disc only as part of the fourth disc of the Bonanza 4-CD boxed set on Bear Family Records.[27]

On the Bonanza box set albums, Roberts also sings "Early One Morning", "In the Pines", "The New Born King", "The Bold Soldier", "Mary Ann", "They Call the Wind Maria", "Sylvie", "Lily of the West", "The Water is Wide", "Rake and a Ramblin' Boy", "A Quiet Girl", "Shady Grove", "Alberta", and "Empty Pocket Blues".

Roberts stated that he loved his co-stars and did not want to leave them, but the money just was not that important to him at the time. He felt he could do better elsewhere.

After Bonanza, Roberts played the straw hat circuit, regional theaters, and episodic TV, which gave him the opportunity to play a wide variety of roles. He toured with musicals such as The King and I, Kiss Me Kate, Camelot, and The Music Man, and dramas such as Tiny Alice. He played Jigger in an ABC television presentation of Carousel and was featured in a CBS Playhouse production, Dear Friends.

In 1967, Roberts starred in the lavish, but short-lived David Merrick production of Mata Hari, directed by Vincente Minnelli. The show had a much-publicized "chaotic" preview performance due to technical problems stemming from lack of rehearsal time at the Kennedy Center, Washington, DC, where the preview performance took place. "What was offered the people of Washington was a dress rehearsal. David Merrick spoke to the audience beforehand warning them of this."[28] Problems were corrected by the official opening night, when the show received good reviews for Roberts, musical score and lyrics, stage design and costumes, but poor reviews for its co-star and other aspects of the production.[29] The show, nevertheless, was thought to have the potential to continue to Broadway. "Mata Hari was a show with a great story, two fascinating characters, and some accessory mess that could have easily been tidied up by anyone but Vincente Minnelli." But Merrick, "instead of bringing someone to clean house closed the production down" ("Opening A New Window: The Broadway Musical in the 1960s," p.Â 205 Ethan Morrden, October 29, 2002).

In 1972, Roberts returned to Broadway and toured with Ingrid Bergman in Captain Brassbound's Conversion, in which he played the title role.[30] "Particularly helpful is Pernell Roberts in the acted upon title role... This actor is a sturdy, not unamusing leading-man type and may his appearance as a Bergman costar be rewarded beyond Bonanza."[31]

In 1973, Roberts was nominated for a Joseph Jefferson Award for his performance in Welcome Home at the Ivanhoe Theatre in Chicago.[13]

The same year, Roberts starred as Rhett Butler opposite Lesley Ann Warren, in another major production, Gone with the Wind, at the Chandler Pavilion in Los Angeles, again receiving good personal reviews, amidst weak reviews for the rest of the show.[32]

Additional stage credits after Bonanza include Two for the Seesaw, A Thousand Clowns, One Flew Over the Cuckoo's Nest, Any Wednesday, and The Sound of Music (as Captain von Trapp).

He did The Night of the Iguana while still playing in Bonanza in 1963.

Roberts guest-starred in TV shows such as The Girl from U.N.C.L.E., The Virginian, The Big Valley, Lancer, Mission: Impossible, Marcus Welby, M.D., The Wild Wild West, Ironside, The Rockford Files, Gunsmoke, Mannix, Vega$, The Odd Couple, Hawaii Five-O, The Love Boat, Hotel, The Hardy Boys/Nancy Drew Mysteries, San Francisco International Airport, Nakia, Night Gallery, The Bold Ones, The Quest, Police Story, Most Wanted, Westside Medical, Man From Atlantis, Jigsaw John, Sixth Sense, Quincy, M.E. The Feather and Father Gang, Hawkins, Men from Shiloh, Perry Mason, Wide World of Mystery, and The Six Million Dollar Man, and appeared in miniseries, including Captains and the Kings, Centennial, The Immigrants and Around the World in 80 Days. He starred in two cult films, Four Rode Out (1971) and Kashmiri Run (1970), directed by the veteran TV director John Peyser, and other feature films, including The Magic of Lassie (1978). He co-starred or was featured in several TV movies, including, The Adventures of Nick Carter, Dead Man on the Run, Assignment: Munich, The Night Rider, The Silent Gun, The Lives of Jenny Dolan, The Deadly Tower, Hot Rod, Desperado, The Bravos, and High Noon, Part II: The Return of Will Kane.

In 1979, Roberts again achieved "superstar" status [33] as the lead in Trapper John, M.D. (1979–1986), receiving an Emmy nomination in 1981; and playing the character twice as long as Wayne Rogers had (1972–1975) on CBS's M*A*S*H series. Roberts told TV Guide (1979) that he chose to return to weekly television after watching his father age and realizing that it was a vulnerable time to be without financial security. "The show allowed Roberts to both use his dramatic range and address issues," wrote The Independent.

Of the period between series, Roberts said he enjoyed moving around and playing different characters. During that time, he also toured university campuses conducting seminars on play production, acting, and poetry.[34]

In 1980, Roberts reunited with his former Bonanza co-star Lorne Greene, for 2 episodes of Vega$.

In 1988, Roberts co-starred with Milla Jovovich in the TV movie The Night Train to Kathmandu.

He guest-starred as Hezekiah Horn in the powerful Young Riders episode, "Requiem for a Hero", for which he won a Western Heritage Award in 1991.[35]

In interviews, Roberts had described television as a "director's and film cutter's medium,"[36] but he himself was described as a "born television actor........low key." [37]

In the 1980s and 1990s, playing off his Trapper John M.D. persona, Roberts acted as TV spokesman for Ecotrin, a brand of analgesic tablets.

Roles since included Donor (1990) with Melissa Gilbert and Checkered Flag (1990).

He appeared as captain of the CBS teams for Battle of the Network Stars 11 and 12.

He narrated documentaries, including the National Geographic episode, "Alaska, The Great Land" in 1965, "In the Realm of the Alligator" in 1986, the TV special Code One about the work of paramedics in 1989, and "The Mountain Men" episode of the History Channel, 1999.

From 1991 to 1993, in his last venture into series television, Roberts lent his distinctive voice to host and narrate the TV anthology series, FBI: The Untold Stories.

He made his last TV appearance in 1997 on an episode of Diagnosis: Murder, updating a Mannix character he had portrayed decades before.

In his later life, and after the death of all of his former Bonanza co-stars, Roberts "jokingly referred to himself as, 'Pernell, the last one, Roberts'.[38] He read Bonanza Gold Magazine, which was like looking at an old family album, he said, and watched reruns of Bonanza when he wanted to see old friends.[39]

Roberts married four times,[5] first in 1951 to Vera Mowry — a professor of theatre history at Washington State University and subsequently Hunter College, as well as professor emerita of the Ph.D. program in theatre at City University of New York[40] — with whom he had his only child (Jonathan Christopher "Chris" Roberts, b. October 1951).[41] Pernell and his first wife later divorced.[42] Chris Roberts, who lived variously in California and New York, attended Franconia College.[43]

Roberts married Judith Anna LeBrecque on October 15, 1962;[44] they divorced in 1971. He subsequently married Kara Knack in 1972, divorcing in 1996.

At the time of his death[5]â€”from pancreatic cancer on January 24, 2010,[45] Roberts was married to Eleanor Criswell.


when is the next governor election in alaska

The 2018 Alaska gubernatorial election will take place on November 6, 2018, to elect the Governor and Lieutenant Governor of Alaska. Incumbent Governor Bill Walker is running for re-election to a second term again as an Independent candidate. In the primaries for recognized political parties, candidates for Governor and Lieutenant Governor run separately. The winners of each respective primary for Governor and Lieutenant Governor then become a joint ticket in the general election for their political party.

Alaska gubernatorial election, 2018

Bill Walker
Independent

Independent candidates for Governor and Lieutenant Governor may form a ticket that will appear on the general election ballot, provided that both candidates on the ticket collect enough valid petition signatures, as mandated by the Alaska Division of Elections.

Incumbent Independent Governor Bill Walker has a negative approval rating, 55% who disapprove to 29% who approve. He is the most unpopular first term governor and is considered one of the most vulnerable in 2018.[1]

Candidates from the Alaska Democratic Party, Alaska Libertarian Party and Alaskan Independence Party appear on the same ballot, with the highest-placed candidate from each party receiving that party's nomination.


who laid out the streets in washington dc

The District of Columbia was created to serve as the permanent national capital in 1790. Within the District, a new capital city was founded in 1791 to the east of a preexisting settlement at Georgetown. The original street layout in the new City of Washington was designed by Pierre (Peter) Charles L'Enfant.[2][3]

Streets and highways of Washington, D.C.

The streets and highways of Washington, D.C., form the core of the city's surface transportation infrastructure. As a planned city, streets in the capital of the United States follow a distinctive layout and addressing scheme. There are 1,500 miles (2,400 km) of public roads in the city, of which 1,392 miles (2,240 km) are owned and maintained by the District government.[1]

As a planned city, Washington was modeled in the Baroque style and incorporated avenues radiating out from rectangles, providing room for open space and landscaping. At L'Enfant's request, Thomas Jefferson provided plans of cities such as Amsterdam, Paris, Frankfurt, Karlsruhe and Milan, which he had brought back from Europe in 1788.[4] His design also envisioned a garden-lined "grand avenue" approximately 1 mile (1.6 km) in length and 400 feet (120 m) wide in the area that is now the National Mall.[5] The City of Washington was bounded to the north by Boundary Street (now Florida Avenue) at the base of the escarpment of the Atlantic Seaboard Fall Line, to the southeast by the Anacostia River, to the southwest by the Potomac River and to the west by Rock Creek.[2][6]

In March 1792, President Washington dismissed L'Enfant due to his insistence on micromanaging the city's planning, which had resulted in conflicts with the three commissioners appointed by Washington to supervise the capital's construction. Andrew Ellicott, who had worked with L'Enfant surveying the city, was then commissioned to complete the plans. Though Ellicott made revisions to the original plans, including changes to some street patterns, L'Enfant is still credited with the overall design of the city.[7][8][9]

The District is divided into four quadrants of unequal area: Northwest (NW), Northeast (NE), Southeast (SE), and Southwest (SW). The axes bounding the quadrants radiate from the U.S. Capitol building.[10] All road names include the quadrant abbreviation to indicate their location, and house numbers are assigned based on the approximate number of blocks away from the Capitol. In most of the city, the streets are set out in a grid pattern with east–west streets named with letters (e.g., C Street SW) and north–south streets with numbers (e.g., 4th Street NW). Two avenues, Constitution Avenue and Independence Avenue, line each side of the Mall.[10] Many of the diagonal streets and avenues in Washington are named after states. Some of these streets are particularly noteworthy, such as Pennsylvania Avenue, which connects the White House with the U.S. Capitol and Massachusetts Avenue, a section of which is informally known as Embassy Row given the number of foreign embassies located along the street.

Important to note, there is no J Street in any quadrant. This is because, until the mid-19th century, the letters "I" and "J" were indistinguishable when written.[11] Following that same idea, "I" Street is often written as "Eye" Street, to distinguish it from the letter "L" and the numeral "1", and "Q" Street, is often written "Que," "Cue," or "Queue."[citation needed] Urban legend had said that J Street was omitted deliberately by L'Enfant due to a dispute with John Jay, the first Chief Justice of the United States Supreme Court; however, this was later proven to be a myth.[12] Jay Street NE runs through the Deanwood neighborhood; it does not belong to the series of lettered streets. In a nod to this, a food court in the student union at George Washington University is named J Street; J Street is also the name of a Jewish lobbying organization and several companies operating in the District. There are also no X, Y, or Z streets in any quadrant, and most or all of A and B streets are called by other names in the Mall area.[13]

During most of the 19th century, each municipality within the federal district maintained its own separate government and street system. With the passage of the Organic Act of 1871, Congress created a new government for the entire federal district. This Act combined the City of Washington, Georgetown, and unincorporated area then known as Washington County into a single municipality for the whole District of Columbia.[14]

Through much of the 19th century, developers of land outside of the center city tended to build streets wherever they liked. An 1887 report of the Commissioners of the District of Columbia, the three-member panel that governed the District, said that many of these streets "go nowhere and connect with nothing." The Commissioners said that "If the configuration and architecture of a city has a moral influence upon its residents, the rectification of the irreclaimable obliquity of the... streets is manifestly desirable for more than physical reasons."[15]

In 1888, Congress passed a law requiring that future subdivisions built outside of the City of Washington and Georgetown must have streets that conform to the general plan of the City of Washington. However, the law allowed existing streets to remain, contrary to the wishes of the Commissioners of the District of Columbia.[16]

In 1893, Congress passed a law mandating that existing streets must be changed or moved in order to be in conformity with the District's street plan.[17] Some property owners were upset that their private property would need to be seized without compensation in order to move streets in conformance with the street plan.[16] The Supreme Court agreed, striking down the law as unconstitutional.[16] In 1893, Congress mandated a new system of highways within the District that conformed to the City of Washington's street plan but left existing streets in place.[18] A separate act of Congress in 1895 required that the street names in Georgetown be changed to conform to the street naming system used in the City of Washington.[19] However, the old street names were shown on maps as late as 1899.

The Commissioners of the District of Columbia mandated a new system of naming streets in 1901.[20] Streets running north and south would continue to numbered.[20] North of Florida Avenue, streets running east and west would be named after famous Americans.[20] The streets would be given one syllable names in alphabetical order. When the one-syllable series ended, two syllable names would be used and then three syllable names until the Maryland state line was reached.[20] South of the center city, a similar system would be used with streets named after famous Americans or prominent geographical locations.[20] In 1905, the streets east of Rock Creek Park, north of Florida Avenue, and west of North Capitol Street were renamed in conformity with the single street naming system.[21] Eventually all street names in the District of Columbia were made to conform to a single street naming system.

The boundaries of the District of Columbia with the State of Maryland are marked by Western Avenue, Eastern Avenue, and Southern Avenue.

The city's addressing system is best understood in terms of a Cartesian coordinate system with its origin at the Capitol. While the system may appear complex, once learned it allows one to pinpoint not only where one is but also where and how far one may need to travel. For example, if one needed to find 633 A Street SE, the address informs that the address is southeast of the Capitol, with A Street one block south of East Capitol Street, and that the location on that street is on the 600 block, which is between 6th Street and 7th Street SE.

Another example is the White House, located at 1600 Pennsylvania Avenue NW, is located at 16th Street NW (Lafayette Square) and Pennsylvania Avenue NW. This works both ways; an address at 514 19th St NW would be on 19th St west of the Capitol, and since E is the fifth letter of the alphabet, the 514 address would be between E and F Streets NW. Because J is omitted from the scheme, it is not counted in numbering. Thus, the 900 block is in between I and K Streets, and the 1000 block is in between K and L Streets (even though K is the 11th letter of the alphabet).

Address numbers also correspond with a particular side of the street, with odd numbers on the right as one faces in the direction of increasing numbers. This works out by quadrant as shown below:

Interstate 495, also known as the "Capital Beltway", creates an artificial boundary for the inner suburbs of Washington and is the root of the phrase "inside the Beltway". Almost completely circling Washington, D.C., it crosses a tiny portion of the District at its southernmost point at the Woodrow Wilson Bridge. I-66 runs from the eastern edge of Georgetown, connects with the Beltway, and continues through Northern Virginia to I-81. I-295 comes up from the south starting at the eastern edge of the Woodrow Wilson Bridge on the Beltway and ending at the 11th Street Bridges, where it intersects with I-695 (the Southeast Freeway) to cross the Anacostia River into downtown. Just south of the U.S. Capitol Building, I-695 links up with I-395 (the Southwest Freeway), a major commuter route extending from New York Avenue to the Beltway and Interstate 95 in Springfield, Virginia. The Inner Loop was a proposed network of freeways in the city center; however, only portions of it were ever built. Today, the "inner loop" is most frequently used to describe the inside lanes of 495—that is, those that travel clockwise around Washington.

A convergence indexing based road traffic monitoring system was installed on Washington's highways in 2008.[citation needed]

The Anacostia Freeway (DC-295) continues in a northeasterly direction from the point where I-295 ends at its intersection with I-695 near the 11th Street Bridges on the south side of the Anacostia River and links with the Baltimore–Washington Parkway, which eventually becomes Maryland Route 295, via a short section of Maryland Route 201. The Suitland Parkway connects the city with the southeastern suburbs in Prince George's County, Maryland. The Whitehurst Freeway, an elevated freeway over K Street in Georgetown, allows US 29 traffic to bypass congested Georgetown between the Key Bridge and K Street downtown. The E Street Expressway connects I-66 with the city's Foggy Bottom area and the areas immediately to the west of the White House. The Rock Creek and Potomac Parkway provides access to downtown from the northern and western ends of the city.

Among the major roads in the city are MacArthur Boulevard NW, 14th Street NW, 16th Street NW, 18th Street NW, 7th Street NW, Connecticut Avenue NW, K Street NW, H Street NW, Wisconsin Avenue, M Street NW, H Street NE, Pennsylvania Avenue, Constitution Avenue, Independence Avenue, Massachusetts Avenue, U Street NW, South Dakota Ave NE, North Capitol Street, South Capitol Street, East Capitol Street, Georgia Avenue, Minnesota Avenue, Benning Road, Martin Luther King Jr. Avenue, New York Avenue, and Rhode Island Avenue.

While city streets generally do not have route numbers, U.S. Routes 1, 1 Alternate, 29, and 50 are routed predominantly or entirely over city surface streets.


what did the fair pay act of 2009 do

The Lilly Ledbetter Fair Pay Act of 2009 (Pub.L. 111â€“2, S. 181) is a federal statute in the United States that was the first bill signed into law by President Barack Obama on January 29, 2009. The Act amends the Civil Rights Act of 1964. The new act states that the 180-day statute of limitations for filing an equal-pay lawsuit regarding pay discrimination resets with each new paycheck affected by that discriminatory action. The law directly addressed Ledbetter v. Goodyear Tire & Rubber Co., 550 U.S. 618 (2007), a U.S. Supreme Court decision that the statute of limitations for presenting an equal-pay lawsuit begins on the date that the employer makes the initial discriminatory wage decision, not at the date of the most recent paycheck.

Lilly Ledbetter Fair Pay Act of 2009

An earlier bill seeking to supersede the Ledbetter decision, also called the Lilly Ledbetter Fair Pay Act, was first introduced in the 110th United States Congress but was not successfully enacted at that time, as it was passed by the House but failed in the Senate.

During the campaign for the 2008 elections, the Democrats criticized Republicans for defeating the 2007 version of the bill, citing Republican presidential candidate John McCain's opposition to the bill and candidate Barack Obama's support.[1]

The antecedents of the case were posed when Lilly Ledbetter, a production supervisor at a Goodyear tire plant in Alabama, filed an equal-pay lawsuit regarding pay discrimination under Title VII of the Civil Rights Act of 1964 with the Equal Employment Opportunity Commission, six months before her early retirement in 1998.[2][3] The courts gave opposite verdicts, first supporting the complaint and later opposing; in conclusion the complaint brought the case to the attention of the Supreme Court. The latter ruled in 2007 by a 5-4 majority vote that Ledbetter's complaint was time-barred because the discriminatory decisions relating to pay had been made more than 180 days prior to the date she filed her charge, as explained by Justice Samuel Alito.[4] Justice Ruth Bader Ginsburg's dissenting opinion proposed an interpretation according to which the law runs from the date of any paycheck that contains an amount affected by a prior discriminatory pay decision.[5]

The Ledbetter decision was cited by federal judges in 300 cases before the LLFPA was passed. These cases involved not only Title VII of the Civil Rights Act, but also the Age Discrimination in Employment Act, Fair Housing Act, Patsy T. Mink Equal Opportunity in Education Act and Eighth Amendment to the Constitution.[6]

Among the first to criticize the Court's decision that Ledbetter's complaint was time-barred was Marcia Greenberger, president of the National Women's Law Center, that saw in the ruling a "setback for women and a setback for civil rights" and called Ginsburg's opinion a "clarion call to the American people that this slim majority of the court is headed in the wrong direction."[7] Debra L. Ness, president of the National Partnership for Women & Families, also condemned the decision, saying, “If employers can keep the discrimination hidden for a period of time, they can continue to discriminate without being held accountable.”[8] On the other side, the majority's findings were applauded by the US Chamber of Commerce, that called it a "fair decision" that "eliminates a potential wind-fall against employers by employees trying to dredge up stale pay claims."[9]

The House Democrats were fast to react, coming out on June 12 against the Supreme Court. Claiming lead from Justice Ruth Ginsburg's dissenting opinion, which invited the Congress to take action by amending the law, the Democrats announced their intention to intervene: House Majority Leader Steny Hoyer and Education and Labor Committee Chairman George Miller said that a bill was to be passed to avoid future court rulings in line with Ledbetter, clearly putting that "a key provision of the legislation will make it clear that discrimination occurs not just when the decision to discriminate is made, but also when someone becomes subject to that discriminatory decision, and when they are affected by that discriminatory decision, including each time they are issued a discriminatory paycheck", as said by Rep. Miller.[10]

Republicans immediately opposed the bill as drafted, with Education and Labor Committee ranking member Howard McKeon raising the issue that business executives would be held liable for actions taken by managers who weren't leading the company anymore: "At the end of the day, such a loophole conceivably could allow a retiring employee to seek damages against a company now led by executives who had nothing to do with the initial act of discrimination".[10]

The American Bar Association passed a resolution supporting the new bill.[11] Neal Mollen, who represented the United States Chamber of Commerce in the Ledbetter case, argued that extending the term limit would put a strain on the chances of an adequate defense for the employers, as to defend themselves one "has to rely on documents and the memory of individuals, and neither of those is permanent. If a disappointed employee can wait for many years before raising a claim of discrimination... he or she can wait out the employer, that is ensure that the employer effectively unable to offer any meaningful defense to the claim".[10]

Organizations that supported the bill include the:
American Civil Liberties Union, AFL-CIO, American Federation of Teachers, National Education Association, American Rights at Work, American Library Association, People For the American Way, Leadership Conference on Civil Rights, National Employment Lawyers Association, Hadassah, National Women's Law Center, National Network to End Domestic Violence, Center for Inquiry - Washington DC American Association of University Women, Alliance for Justice, Legal Momentum, Bazelon Center for Mental Health Law, National Partnership for Women and Families, Coalition of Labor Union Women, Moms Rising, National Organization for Women, American Association of Retired Persons, Women's Voices, Women Vote Action Fund, 21st Century Democrats, 9to5, National Association of Working Women, Service Employees International Union, Religious Action Center of Reform Judaism,[12] and Women Employed.[13]

Organizations that opposed the bill include the:
U.S. Chamber of Commerce, Eagle Forum, Society for Human Resource Management, National Association of Manufacturers, American Bakers Association, College and University Professional Association for Human Resources, Associated Builders and Contractors, and American Hotel & Lodging Association.[12]

The bill (H.R. 2831 and S. 1843) was defeated in April 2008 by Republicans in the Senate who cited the possibility of frivolous lawsuits in their opposition of the bill[14] and criticized Democrats for refusing to allow compromises.[15]

The bill was re-introduced in the 111th Congress (as H.R. 11 and S. 181) in January 2009. It passed in the House of Representatives with 250 votes in support and 177 against.[16] The vote was split along party lines, with three Republicans voting in favor (Ed Whitfield of Kentucky, and Leonard Lance and Chris Smith both of New Jersey) and five Democrats voting against (Travis Childers of Mississippi, Dan Boren of Oklahoma, Allen Boyd of Florida, Parker Griffith of Alabama, and Bobby Bright of Alabama). The Senate voted 72 to 23 to invoke cloture on S. 181 on January 15, 2009.[17] The Lilly Ledbetter Fair Pay Act passed the Senate, 61-36, on January 22, 2009. Those in favor included every Democratic senator (except Edward Kennedy of Massachusetts, who was absent from the vote because of health issues), two independents who caucused with Democrats, and five Republican senators.[18] The Republican senators voting for the bill included all four women in their ranks: Susan Collins and Olympia Snowe of Maine, Kay Bailey Hutchison of Texas, and Lisa Murkowski of Alaska, as well as Arlen Specter of Pennsylvania. In addition, three months after the Ledbetter vote, Specter switched parties to become a Democrat.[19]

President Obama actively supported the bill. The official White House blog said:

President Obama has long championed this bill and Lilly Ledbetter's cause, and by signing it into law, he will ensure that women like Ms. Ledbetter and other victims of pay discrimination can effectively challenge unequal pay.[20]

House Majority Leader Steny Hoyer announced that the House would vote on S.181 (the bill passed by the Senate) during the week of January 26, getting the bill to President Obama's desk sooner rather than later. On January 27, the House passed S.181 by a 250-177 margin.

On January 29, 2009, Obama signed the bill into law. It was the first act he signed as president, and it fulfilled his campaign pledge to nullify Ledbetter v. Goodyear.[21] However, by signing it only two days after it was passed by the House, he incurred criticism by newspapers, such as the St. Petersburg Times which mentioned his campaign promise to give the public five days of notice to comment on legislation before he signed it. The White House through a spokesman answered that they would be "implementing this policy in full soon", and that currently they were "working through implementation procedures and some initial issues with the congressional calendar".[22]

While the law sought to address the rights of women in the workplace, some conservative editorialists said the law was "[nothing] more than a trial-lawyer payout"[23]

The law has been compared to Wisconsin's Equal Pay Enforcement Act which was repealed by Governor Scott Walker.[24] The Wisconsin law was criticized by some conservatives for allegedly making sex discrimination lawsuits financially attractive to female employees.[25][26]


bought the st louis dispatch and combine it with the st louis post in 1878

In 1878, Joseph Pulitzer purchased the bankrupt St. Louis Dispatch at a public auction[5] and merged it with the St. Louis Evening Post to create the St. Louis Post and Dispatch, whose title was soon shortened to its current form. He appointed John A. Cockerill as the managing editor. Its first edition, 4,020 copies of four pages each, appeared on December 12, 1878.

St. Louis Post-Dispatch

The St. Louis Post-Dispatch is the major regional newspaper in St. Louis, in the U.S. state of Missouri, serving Greater St. Louis. It is the only remaining printed daily newspaper in the city. It is the fifth-largest newspaper in the midwestern United States, and is the 26th-largest newspaper in the U.S.[3] According to its masthead, the publication has received eighteen Pulitzer Prizes.

The paper is owned by Lee Enterprises of Davenport, Iowa, which purchased Pulitzer, Inc. in 2005 in a cash deal valued at $1.46Â billion.

On April 10, 1907, Pulitzer wrote what became known as the paper's platform:

I know that my retirement will make no difference in its cardinal principles, that it will always fight for progress and reform, never tolerate injustice or corruption, always fight demagogues of all parties, never belong to any party, always oppose privileged classes and public plunderers, never lack sympathy with the poor, always remain devoted to the public welfare, never be satisfied with merely printing news, always be drastically independent, never be afraid to attack wrong, whether by predatory plutocracy or predatory poverty.[4]

In 1882, James Overton Broadhead ran for US Congress against John Glover. The St. Louis Post-Dispatch, at Cockerill's direction, ran a number of articles questioning Broadhead's role in a lawsuit between a gaslight company and the city; Broadhead never responded to the charges.[6] Broadhead's friend and law partner, Alonzo W. Slayback, publicly defended Broadhead, asserting that the St. Louis Post-Dispatch was nothing more than a "blackmailing sheet." The next day, 13 Oct 1882, Cockerill re-ran an offensive "card" by John Glover that the paper had published the prior November (11 Nov 1881). Incensed, Slayback barged into Cockerill's offices at the paper demanding an apology. Cockerill shot and killed Slayback; he claimed self-defense, and a pistol was allegedly found on Slayback's body. A grand jury refused to indict Cockerill for murder, but the economic consequences for the paper were severe. Therefore, in May 1883, Pulitzer sent Cockerill to New York to manage the New York World for him.[7]

The Post-Dispatch was one of the first daily newspapers to print a comics section in color, on the back page of the features section, styled the "Everyday Magazine."[citation needed]

At one time, the St. Louis Post-Dispatch had the second-largest news bureau in Washington, D.C. of any newspaper in the Midwestern United States.[8]

After his retirement, generations of Pulitzers guided the newspaper, ending when great-grandson Joseph Pulitzer IV left the company in 1995.

The Post-Dispatch was characterized by a liberal editorial page and columnists, including Marquis Childs. The editorial page was noted also for political cartoons by Daniel R. Fitzpatrick and Bill Mauldin.

Several months prior to the anniversary edition, the newspaper published a 63rd anniversary tribute to "Our Own Oddities", a lighthearted feature that ran from 1940 to 1990.

During the presidency of Harry S. Truman, the paper was one of his most outspoken critics. It associated him with the Pendergast machine in Kansas City, and constantly attacked his integrity.

In 1959 the St. Louis Globe-Democrat entered into a joint operating agreement with the Post-Dispatch. The Postâ€“Globe operation merged advertising, printing functions and shared profits. The Post-Dispatch, distributed evenings, had a smaller circulation than the Globe-Democrat, a morning daily. The Globe-Democrat folded in 1983, leaving the Post-Dispatch as the only daily newspaper in the region.[9]

In August 1973 a Teamsters union representing Globe and Post-Dispatch staffers went on strike, halting production for six weeks.[10]

On January 13, 2004, the Post-Dispatch published a 125th anniversary edition, which included some highlights of the paper's 125Â years:

On January 31, 2005, Michael Pulitzer announced the sale of Pulitzer, Inc. and all its assets, including the Post-Dispatch and a small share of the St. Louis Cardinals, to Lee Enterprises of Davenport, Iowa, for $1.46Â billion. He said no family members would serve on the board of the merged company.

The Post-Dispatch underwent a major redesign in September 2005, which brought a new layout, new fonts, and localized editions for St. Charles County and Illinois. Many readers have criticized the new format for devoting a larger percentage of page space to advertisements and relying too much on wire services and dispatches from other newspapers.[citation needed]

On March 12, 2007, the paper eliminated 31 jobs, mostly in its circulation, classified phone rooms, production, purchasing, telephone operations and marketing departments.[11]

On March 23, 2009, the paper converted to a compact style every day from the previous broadsheet Sunday through Friday and tabloid on Saturday.

On May 4, 2012, the Post-Dispatch named a new editor, Gilbert Bailon. "Robbins steps down as editor of St. Louis Post-Dispatch, Bailon takes role".[citation needed]

The Post-Dispatch prices are: $1.50 daily, $2.50 Sunday/Thanksgiving Day. On October 1, 2012, the price of the daily edition increased by 50% to $1.50. Six days later, its Sunday/Thanksgiving edition increased its price 25%. Sales tax is included at newsracks.

On April 28, 2014, the paper implemented a partial pay wall digital subscription online for $24.80 for eight weeks. The introductory print subscription for the same time length is $31.90[2][12]

Circulation dropped for the daily paper from 213,472 to 191,631 to 178,801 for the two years after 2010, ending on September 30, 2011, and September 30, 2012. The Sunday paper also decreased from 401,427 to 332,825 to 299,227.[13] According to Echomedia.com, the paper's paid print circulation figures (updated on June 5, 2014) were 225,889 daily and 252,000 Sunday,[14] while St. Louis Magazine mentioned the corresponding figures from the Alliance for Audited Media in March 2014 for the previous six-month average were 137,380 daily and 223,826 Sunday.[2]

On February 11, 1901, the paper introduced a front-page feature called the "Weatherbird", a cartoon bird accompanying the daily weather forecast. "Weatherbird" is the oldest continuous cartoon in the United States today. Created by Harry B. Martin who drew it through 1903, it has since been drawn by Oscar Chopin (1903–1910); S. Carlisle Martin (1910–1932); Amadee Wohlschlaeger (1932–1981); Albert Schweitzer, the first one to draw the Weatherbird in color (1981–1986); and Dan Martin (1986–present).[15]


when will robert caro's next book be published

In November 2011, Caro estimated that the fifth and final volume would require another two to three years to write.[11] In March 2013, he affirmed a commitment to completing the series with a fifth volume.[12] As of April 2014, he was continuing to research the book.[13] In a televised interview with C-SPAN in May 2017, Caro confirmed over 400 typed pages as being complete, covering the period 1964-5; and that once he completes the section on Johnson's 1965 legislative achievements, he intends to move to Vietnam to continue his research.[14]

The Years of Lyndon Johnson

The Years of Lyndon Johnson is a biography of Lyndon B. Johnson by the American writer Robert Caro. Four volumes have been published, running to more than 3,000 pages in total, detailing Johnson's early life, education, and political career. A fifth volume will deal with the bulk of Johnson's presidency. The series is published by Alfred A. Knopf.

In the first volume, The Path to Power, Caro retraced Johnson's early life growing up in the Texas Hill Country and Washington, D.C.. (Caro moved to these areas for months to interview numerous people who knew Johnson and his family.) This volume covers Johnson's life through his failed 1941 campaign for the United States Senate. This book was released on November 12, 1982. It won the 1982 National Book Critics Circle Award. It was a finalist for the 1983 National Book Award, hardcover autobiography or biography.[1]

In the second volume, Means of Ascent, Caro detailed Johnson's life from the aftermath of Johnson's first bid to his election to the U.S. Senate in 1948. Much of the book deals with Johnson's bitterly contested Democratic primary against Coke R. Stevenson in that year. The book was released on March 7, 1990.

In the third volume, Master of the Senate, Caro chronicles Johnson's rapid ascent in United States Congress, including his tenure as Senate majority leader. This 1,167-page work examines in particular Johnson's battle to pass a landmark civil rights bill through Congress without it tearing apart his party, whose southern bloc was anti-civil rights with the northern faction more supportive of civil rights. Although its scope was limited, the ensuing Civil Rights Act of 1957 was the first such legislation since the Reconstruction era. The book was released on April 23, 2002. It won the 2003 Pulitzer Prize for Biography or Autobiography, the 2002 National Book Award for Nonfiction,[3] the 2002 Los Angeles Times Book Prize for Biography, and the 2002 D.B. Hardeman Prize.[4]

In the fourth volume, The Passage of Power, Caro covers Johnson's life from 1958 to 1964, the challenges Johnson faced upon his assumption of the presidency, and the significant accomplishments in the months after Kennedyâ€™s assassination.[5] The 736-page book was released on May 1, 2012. It won the National Book Critics Circle Award (2012; Biography),[6] the Los Angeles Times Book Prize (2012; Biography),[7] the Mark Lynton History Prize (2013), the American History Book Prize (2013)[8] and the Biographers International Organization's Plutarch Award (2013).[9] It was a finalist for the National Book Award for Nonfiction (2012).[10] It was selected as one of Time magazine's Best Books of the Year (non-fiction #2).

Throughout the biography, Caro examines the acquisition and use of political power in American democracy, from the perspective both of those who wield it and those who are at its mercy. In an interview with Kurt Vonnegut and Daniel Stern, he once said: "I was never interested in writing biography just to show the life of a great man," saying he wanted instead "to use biography as a means of illuminating the times and the great forces that shape the timesâ€”particularly political power."[15]

Caro's books portray Johnson as alternating between scheming opportunist and visionary progressive. Caro argues, for example, that Johnson's victory in the 1948 runoff for the Democratic nomination for the U.S. Senate was achieved through extensive fraud and ballot stuffing, just as Johnson had lost his 1941 Senate race because his opponent stuffed the ballot boxes more than Johnson. Caro also highlights some of Johnson's campaign contributions, such as those from the Texas construction firm Brown & Root; in 1962 the company was acquired by another Texas firm, Halliburton, which became a major contractor in the Vietnam War. Despite these criticisms, Caro's portrayal of Johnson also notes his struggles on behalf of progressive causes such as the Voting Rights Act of 1965.

Politicians in particular have responded most strongly to The Years of Lyndon Johnson:


who sang the song i want you to stay

"I Want You to Stay" was the fifth single released from Maxïmo Park, taken from their debut album A Certain Trigger. It was the last single from the album, released on 20 February 2006. "I Want You to Stay" reached number 21 on the UK Singles Chart. The music video for the song was also the first video not to feature the band.

I Want You to Stay

Lukas Wooller (Music)

A B-side from MaxÃ¯mo Park's February 2005 single for "Apply Some Pressure" features a song called "I Want You to Leave," a play on the title of "I Want You to Stay." The song is also included on the band's 2006 compilation album Missing Songs.

CD (WAP201CD)

7" #1 (7WAP201, turquoise vinyl)

7" #2 (7WAP201R, white vinyl)

CD
& 7" Turquoise Vinyl

7" White Vinyl


who plays little bo peep in toy story

Anne Hampton Potts (born October 28, 1952)[1] is an American film, television, and stage actress. She is known for her roles in popular 1980s films such as Ghostbusters (1984), Ghostbusters II (1989), Pretty in Pink (1986), Jumpin' Jack Flash (1986), and Who's Harry Crumb? (1989). In the 1990s, she voiced Bo Peep in the animated films Toy Story (1995) and Toy Story 2 (1999). She is also known for playing Mary Jo Jackson Shively on the CBS sitcom Designing Women (1986â€“1993).

Annie Potts

Potts was nominated for a Primetime Emmy Award in 1994 for playing Dana Palladino on the CBS sitcom Love & War (1993–1995), and was nominated for a Screen Actors Guild Award in 1998 and 1999 for playing Mary Elizabeth Sims in the Lifetime drama series Any Day Now (1998–2002). In 2012, she starred as Gigi Stopper on the ABC comedy-drama series GCB. She currently portrays Connie (Meemaw) on the CBS situation comedy Young Sheldon.

Potts was born in Nashville, Tennessee,[2] as the third daughter of Powell Grisette Potts and Dorothy Harris (nÃ©e Billingslea) Potts. Her older sisters are Mary Eleanor (Potts) Hovious and Elizabeth Grissette ("Dollie") Potts. They grew up in Franklin, Kentucky, where she graduated from Franklin-Simpson High School in 1970.

She received a bachelor in fine arts degree (in theater arts) from Stephens College in Columbia, Missouri. At the age of 21, Potts was the victim of a car accident that left several bones below her waist broken.[3]

Potts made her debut on the big screen in 1978 in the Metro-Goldwyn-Mayer comedy film Corvette Summer, with Mark Hamill. She was nominated for a Golden Globe Award in 1979 for her role in the film.[4] In 1982, she won Genie Awards for Best Performance by a Foreign Actress for her role in the film Heartaches, about a young woman married to a stock car racer and carrying his friend's child. In 1980, she played Edith Bedelmeyer, a woman who shared an attic apartment with three other women (played by Georgia Engel, Lorna Patterson, and Francine Tacker) on the short-lived comedy series, Goodtime Girls.

Potts played receptionist Janine Melnitz in the Ghostbusters film series and then achieved fame as the pragmatic interior designer Mary Jo Shively on the CBS television sitcom Designing Women (1986–1993), and has had a wide variety of prominent roles in both television and film. She was nominated for a Primetime Emmy Award for Outstanding Lead Actress in a Comedy Series in 1994 for role as Dana Palladino on Love & War (1993–1995). Other notable roles include Mary Elizabeth (O'Brien) Sims on the Lifetime Television drama series Any Day Now (1998–2002), for which she was nominated for two Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Drama Series, the voice of Little Bo Peep in the first two Toy Story films, a supporting role in John Hughes's Pretty in Pink, and guest-starring roles on such CBS's television series as Magnum, P.I., Joan of Arcadia, Close to Home, Two and a Half Men, and ABC's Men in Trees, Ugly Betty, and Boston Legal. She played a recurring role as Sophie Devere in the NBC's Law & Order: Special Victims Unit from 2005 to 2009.

Potts has done work on audio books, including as the narrator and heroine of Larry McMurtry's Telegraph Days. She starred in the film version of McMurtry's Texasville, a sequel to The Last Picture Show. She made her Broadway debut upon joining the cast of the Tony Awardâ€“winning play God of Carnage on November 17, 2009, succeeding Hope Davis in the role.[5]

In 2012, Potts starred as Elizabeth "Gigi" Stopper in ABC's comedy-drama series GCB, with Leslie Bibb, Kristin Chenoweth, Jennifer Aspen, Miriam Shor, and Marisol Nichols.[6] She says she based her portrayal of the character on Dixie Carter, adding, "Were she still alive, the role would have been hers and should have been."[7] Potts also played a leading role in the 2012 Hallmark Channel original musical movie The Music Teacher, about a high-school music teacher who is on the brink of losing her beloved school music program because of district budget cuts. In an effort to spare the program, Daley's former students band together to stage a musical to raise money to keep the program alive.[8]

In March 2013, Potts signed on for the lead role of the ABC comedy-drama pilot Murder in Manhattan about a mother and daughter who team up as amateur sleuths.[9] ABC later looked for a cable network to distribute the series, opting not to air it on network television.[10] In late 2013, it was announced that Potts would join Diane Paulus' critically acclaimed revival of Pippin beginning January 21, 2014. She replaced Tony Award nominee Tovah Feldshuh in the role of Pippin's grandmother Berthe. This marked her first appearance in a Broadway musical.[11]

Potts is the mother of three sons:[12] Clay (with third husband Scott Senechal, born 1981), and two with James Hayman: James (called Doc, born 1992), and Harry (born 1996). She is a board member of Stephens College, and has been instrumental in fundraising efforts for the college for many years.


when was the first theatre built in america and where was it

Although a theater was built in Williamsburg, Virginia in 1716, and the original Dock Street Theatre opened in Charleston, South Carolina in 1736, the birth of professional theater in America may have begun when Lewis Hallam arrived with his theatrical company in Williamsburg in 1752.[2] Lewis and his brother William, who arrived in 1754, were the first to organize a complete company of actors in Europe and bring them to the colonies. They brought a repertoire of plays popular in London at the time, including Hamlet, Othello, The Recruiting Officer, and Richard III. The Merchant of Venice was their first performance, shown initially on September 15, 1752.[3] Encountering opposition from religious organizations, Hallam and his company left for Jamaica in 1754 or 1755.[citation needed] Soon after, Lewis Hallam, Jr., founded the American Company, opened a theater in New York, and presented the first professionally mounted American play—The Prince of Parthia, by Thomas Godfrey—in 1767.[4]

Theater in the United States

Theater in the United States is part of the European theatrical tradition that dates back to ancient Greek theatre and is heavily influenced by the British theatre. The central hub of the US theater scene is New York City, with its divisions of Broadway, Off-Broadway, and Off-Off-Broadway. Many movie and television stars got their big break working in New York productions. Outside New York, many cities have professional regional or resident theater companies that produce their own seasons, with some works being produced regionally with hopes of eventually moving to New York. US theater also has an active community theatre culture, which relies mainly on local volunteers who may not be actively pursuing a theatrical career.

Before the first English colony was established in 1607, there were Spanish dramas and Native American tribes that performed theatrical events.[1]

In the 18th century, laws forbidding the performance of plays were passed in Massachusetts in 1750, in Pennsylvania in 1759, and in Rhode Island in 1761, and plays were banned in most states during the American Revolutionary War at the urging of the Continental Congress.[3] In 1794, president of Yale College, Timothy Dwight IV, in his "Essay on the Stage", declared that "to indulge a taste for playgoing means nothing more or less than the loss of that most valuable treasure: the immortal soul."[citation needed]

In spite of such laws, however, a few writers tried their hand at playwriting. Most likely, the first plays written in America were by European-born authors—we know of original plays being written by Spaniards, Frenchmen and Englishmen dating back as early as 1567—although no plays were printed in America until Robert Hunter's Androboros in 1714. Still, in the early years, most of the plays produced came from Europe; only with Godfrey's The Prince of Parthia in 1767 do we get a professionally produced play written by an American, although it was a last-minute substitute for Thomas Forrest's comic opera The Disappointment; or, The Force of Credulity, and although the first play to treat American themes seriously, Ponteach; or, the Savages of America by Robert Rogers, had been published in London a year earlier.[5] 'Cato', a play about revolution, was performed for George Washington and his troops at Valley Forge in the winter of 1777–1778.

The Revolutionary period was a boost for dramatists, for whom the political debates were fertile ground for both satire, as seen in the works of Mercy Otis Warren and Colonel Robert Munford, and for plays about heroism, as in the works of Hugh Henry Brackenridge. The post-war period saw the birth of American social comedy in Royall Tyler's The Contrast, which established a much-imitated version of the "Yankee" character, here named "Jonathan". But there were no professional dramatists until William Dunlap, whose work as playwright, translator, manager and theater historian has earned him the title of "Father of American Drama"; in addition to translating the plays of August von Kotzebue and French melodramas, Dunlap wrote plays in a variety of styles, of which André and The Father; or, American Shandyism are his best.[5]

At 825 Walnut Street in Philadelphia, Pennsylvania, is the Walnut Street Theatre, or, "The Walnut." Founded in 1809 by the Circus of Pepin and Breschard, "The Walnut" is the oldest theater in America. The Walnut's first theatrical production, The Rivals, was staged in 1812. In attendance were President Thomas Jefferson and the Marquis de Lafayette.[6]

Provincial theaters frequently lacked heat and minimal theatrical property ("props") and scenery. Apace with the country's westward expansion, some entrepreneurs operated floating theaters on barges or riverboats that would travel from town to town. A large town could afford a long "run"—or period of time during which a touring company would stage consecutive multiple performances—of a production, and in 1841, a single play was shown in New York City for an unprecedented three weeks.[citation needed]

William Shakespeare's works were commonly performed. American plays of the period were mostly melodramas, a famous example of which was Uncle Tom's Cabin, adapted by George Aiken, from the novel of the same name by Harriet Beecher Stowe.

In 1821, William Henry Brown established the African Grove Theatre in New York City. It was the third attempt to have an African-American theater, but this was the most successful of them all. The company put on not only Shakespeare, but also staged the first play written by an African-American, The Drama of King Shotaway. The theater was shut down in 1823.[7] African-American theater was relatively dormant, except for the 1858 play The Escape; or, A Leap for Freedom by William Wells Brown, who was an ex-slave. African-American works would not be regarded again until the 1920s Harlem Renaissance.[7]

A popular form of theater during this time was the minstrel show, which featured white (and sometimes, especially after the Civil War, black) actors dressed in "blackface (painting one's face, etc. with dark makeup to imitate the coloring of an African or African American)." The players entertained the audience using comic skits, parodies of popular plays and musicals, and general buffoonery and slapstick comedy, all with heavy utilization of racial stereotyping and racist themes.[citation needed]

Throughout the 19th century, theater culture was associated with hedonism and even violence, and actors (especially women), were looked upon as little better than prostitutes. Jessie Bond wrote that by the middle of the 19th century, "The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute".[8] On April 15, 1865, less than a week after the end of the United States Civil War, Abraham Lincoln, while watching a play at Ford's Theater in Washington, D.C., was assassinated by a nationally popular stage-actor of the period, John Wilkes Booth.

Victorian burlesque, a form of bawdy comic theater mocking high art and culture, was imported from England about 1860 and in America became a form of farce in which females in male roles mocked the politics and culture of the day. Criticized for its sexuality and outspokenness, this form of entertainment was hounded off the "legitimate stage" and found itself relegated to saloons and barrooms.[citation needed] The female producers, such as Lydia Thompson were replaced by their male counterparts, who toned down the politics and played up the sexuality, until the burlesque shows eventually became little more than pretty girls in skimpy clothing singing songs, while male comedians told raunchy jokes.

The drama of the pre-war period tended to be a derivative in form, imitating European melodramas and romantic tragedies, but native in content, appealing to popular nationalism by dramatizing current events and portraying American heroism. But playwrights were limited by a set of factors, including the need for plays to be profitable, the middle-brow tastes of American theater-goers, and the lack of copyright protection and compensation for playwrights. During this time, the best strategy for a dramatist was to become an actor and/or a manager, after the model of John Howard Payne, Dion Boucicault and John Brougham. This period saw the popularity of certain native character types, especially the "Yankee", the "Negro" and the "Indian", exemplified by the characters of Jonathan, Sambo and Metamora. Meanwhile, increased immigration brought a number of plays about the Irish and Germans, which often dovetailed with concerns over temperance and Roman Catholic. This period also saw plays about American expansion to the West (including plays about Mormonism) and about women's rights. Among the best plays of the period are James Nelson Barker's Superstition; or, the Fanatic Father, Anna Cora Mowatt's Fashion; or, Life in New York, Nathaniel Bannister's Putnam, the Iron Son of '76, Dion Boucicault's The Octoroon; or, Life in Louisiana, and Cornelius Mathews's Witchcraft; or, the Martyrs of Salem. At the same time, America had created new dramatic forms in the Tom Shows, the showboat theater and the minstrel show.[5]

In the postbellum North, theater flourished as a post-war boom allowed longer and more-frequent productions. The advent of American rail transport allowed production companies, its actors, and large, elaborate sets to travel easily between towns, which made permanent theaters in small towns feasible. The invention and practical application of electric lighting also led to changes to and improvements of scenery styles and the designing of theater interiors and seating areas.

In 1896, Charles Frohman, Al Hayman, Abe Erlanger, Mark Klaw, Samuel F. Flenderson, and J. Fred Zimmerman, Sr. formed the Theatrical Syndicate, which established systemized booking networks throughout the United States, and created a management monopoly that controlled every aspect of contracts and bookings until the turn of the 20th century, when the Shubert brothers founded rival agency, The Shubert Organization.

For playwrights, the period after the War brought more financial reward and aesthetic respect (including professional criticism) than was available earlier. In terms of form, spectacles, melodramas and farces remained popular, but poetic drama and romanticism almost died out completely due to the new emphasis upon realism, which was adopted by serious drama, melodrama and comedy alike. This realism was not quite the European realism of Ibsen's Ghosts, but a combination of scenic realism (e.g., the "Belasco Method") with a less romantic view of life that accompanied the cultural turmoil of the period. The most ambitious effort towards realism during this period came from James Herne, who was influenced by the ideas of Ibsen, Hardy and Zola regarding realism, truth, and literary quality; his most important achievement, Margaret Fleming, enacts the principles he expounded in his essay "Art for Truth's Sake in the Drama". Although Fleming did not appeal to audiences—critics and audiences felt it dwelt too much on unseemly topics and included improper scenes, such as Margaret nursing her husband's bastard child onstage—other forms of dramatic realism were becoming more popular in melodrama (e.g., Augustin Daly's Under the Gaslight) and in local color plays (Bronson Howard's Shenandoah). Other key dramatists during this period are David Belasco, Steele MacKaye, William Dean Howells, Dion Boucicault, and Clyde Fitch.[5]

Vaudeville was common in the late 19th and early 20th century, and is notable for heavily influencing early film, radio, and television productions in the country. (This was born from an earlier American practice of having singers and novelty acts perform between acts in a standard play.) George Burns was a very long-lived American comedian who started out in the vaudeville community, but went on to enjoy a career running until the 1990s.

Some vaudeville theaters built between about 1900 and 1920 managed to survive as well, though many went through periods of alternate use, most often as movie theaters until the second half of the century saw many urban populations decline and multiplexes built in the suburbs. Since that time, a number have been restored to original or nearly-original condition and attract new audiences nearly one hundred years later.

By the beginning of the 20th century, legitimate 1752 (non-vaudeville) theater had become decidedly more sophisticated in the United States, as it had in Europe. The stars of this era, such as Ethel Barrymore and John Barrymore, were often seen as even more important than the show itself. The advance of motion pictures also led to many changes in theater. The popularity of musicals may have been due in part to the fact the early films had no sound, and could thus not compete, until The Jazz Singer of 1927, which combined both talking and music in a moving picture. More complex and sophisticated dramas bloomed in this time period, and acting styles became more subdued. Even by 1915, actors were being lured away from theater and to the silver screen, and vaudeville was beginning to face stiff competition.

While revues consisting of mostly unconnected songs, sketches, comedy routines, and dancing girls (Ziegfeld girls) dominated for the first 20 years of the 20th century, musical theater would eventually develop beyond this. One of the first major steps was Show Boat, with music by Jerome Kern and lyrics by Oscar Hammerstein. It featured songs and non-musical scenes which were integrated to develop the show's plot. The next great step forward was Oklahoma!, with lyrics by Hammerstein and music by Richard Rodgers. Its "dream ballets" used dance to carry forward the plot and develop the characters.

Amateur performing groups have always had a place alongside professional acting companies. The Amateur Comedy Club, Inc. was founded in New York City on April 18, 1884. It was organized by seven gentlemen who broke away from the Madison Square Dramatic Organization, a socially prominent company presided over by Mrs. James Brown Potter and David Belasco. The ACC staged its first performance on February 13, 1885. It has performed continuously ever since, making it the oldest, continuously performing theatrical society in the United States. Prominent New Yorkers who have been members of the ACC include Theodore, Frederick and John Steinway of the piano manufacturing family; Gordon Grant, the marine artist; Christopher La Farge, the architect; Van H. Cartmell, the publisher; Albert Sterner, the painter; and Edward Fales Coward, the theater critic and playwright. Elsie De Wolfe, Lady Mendl, later famous as the world's first professional interior decorator, acted in Club productions in the early years of the 20th Century, as did Hope Williams, and Julie Harris in the 1940s.

Early 20th century theater was dominated by the Barrymoresâ€”Ethel Barrymore, John Barrymore, and Lionel Barrymore. Other greats included Laurette Taylor, Jeanne Eagels, and Eva Le Gallienne. The massive social change that went on during the Great Depression also had an effect on theater in the United States. Plays took on social roles, identifying with immigrants and the unemployed. The Federal Theatre Project, a New Deal program set up by Franklin D. Roosevelt, helped to promote theater and provide jobs for actors. The program staged many elaborate and controversial plays such as It Can't Happen Here by Sinclair Lewis and The Cradle Will Rock by Marc Blitzstein. By contrast, the legendary producer Brock Pemberton (founder of the Tony Awards) was among those who felt that it was more than ever a time for comic entertainment, in order to provide an escape from the prevailing harsh social conditions: typical of his productions was Lawrence Riley's comedy Personal Appearance (1934), whose success on Broadway (501 performances) vindicated Pemberton.

The years between the World Wars were years of extremes. Eugene O'Neill's plays were the high point for serious dramatic plays leading up to the outbreak of war in Europe. Beyond the Horizon (1920), for which he won his first Pulitzer Prize; he later won Pulitzers for Anna Christie (1922) and Strange Interlude (1928) as well as the Nobel Prize in Literature. Alfred Lunt and Lynn Fontanne remained a popular acting couple in the 1930s.

1940 proved to be a pivotal year for African-American theater. Frederick O'Neal and Abram Hill founded ANT, or the American Negro Theater, the most renowned African-American theater group of the 1940s. Their stage was small and located in the basement of a library in Harlem, and most of the shows were attended and written by African-Americans. Some shows include Theodore Browne's Natural Man (1941), Abram Hill's Walk Hard (1944), and Owen Dodson's Garden of Time (1945). Many famous actors received their training at ANT, including Harry Belafonte, Sidney Poitier, Alice and Alvin Childress, Osceola Archer, Ruby Dee, Earle Hyman, Hilda Simms, among many others.[9]

Mid-20th century theater saw a wealth of Great Leading Ladies, including Helen Hayes, Katherine Cornell, Tallulah Bankhead, Judith Anderson, and Ruth Gordon. Musical theater saw stars such as Ethel Merman, Beatrice Lillie, Mary Martin, and Gertrude Lawrence.

After World War II, American theater came into its own. Several American playwrights, such as Arthur Miller and Tennessee Williams, became world-renowned.

In the 1950s and 1960s, experimentation in the Arts spread into theater as well, with plays such as Hair including nudity and drug culture references. Musicals remained popular as well, and musicals such as West Side Story and A Chorus Line broke previous records. At the same time, shows like Stephen Sondheim's Company began to deconstruct the musical form as it has been practiced through the mid-century, moving away from traditional plot and realistic external settings to explore the central character's inner state; his Follies relied on pastiches of the Ziegfeld Follies-styled revue; his Pacific Overtures used Japanese kabuki theatrical practices; and Merrily We Roll Along told its story backwards. Similarly, Bob Fosse's production of Chicago returned the musical to its vaudeville origins.

Facts and figures of the post-war theater

The post-war American theater audiences and box offices constantly diminished, due to the undeclared "offensive" of television and radio upon the classical, legitimate theater. According to James F. Reilly, executive director of the League of New York Theatres, between 1930 and 1951 the number of legitimate theaters in New York City dwindled from 68 to 30. Besides of that, the admissions tax, has been a burden on the theater since 1918. It was never relaxed ever since, and was doubled in 1943.[10] Total seating capacity of thirty most renown legitimate theaters amounted 35,697 seats in 1951. Since 1937 in New York City alone, 14 former legitimate theaters with a normal seating capacity of 16,955, have been taken over for either radio broadcasts or television performances.[11]

In the late 1990s and 2000s, American theater began to borrow from cinema and operas. For instance, Julie Taymor, director of The Lion King directed Die Zauberflöte at the Metropolitan Opera. Also, Broadway musicals were developed around Disney's Mary Poppins, Tarzan, The Little Mermaid, and the one that started it all, Beauty and the Beast, which may have contributed to Times Square's revitalization in the 1990s. Also, Mel Brooks's The Producers and Young Frankenstein are based on his hit films.

The early years of the 20th century, before World War I, continued to see realism as the main development in drama. But starting around 1900, there was a revival of poetic drama in the States, corresponding to a similar revival in Europe (e.g. Yeats, Maeterlinck and Hauptmann). The most notable example of this trend was the "Biblical trilogy" of William Vaughn Moody, which also illustrate the rise of religious-themed drama during the same years, as seen in the 1899 production of Ben-Hur and two 1901 adaptations of Quo Vadis. Moody, however, is best known for two prose plays, The Great Divide (1906, later adapted into three film versions) and The Faith Healer (1909), which together point the way to modern American drama in their emphasis on the emotional conflicts that lie at the heart of contemporary social conflicts. Other key playwrights from this period (in addition to continued work by Howells and Fitch) include Edward Sheldon, Charles Rann Kennedy and one of the most successful women playwrights in American drama, Rachel Crothers, whose interest in women's issues can be seen in such plays as He and She (1911).[5]

During the period between the World Wars, American drama came to maturity, thanks in large part to the works of Eugene O'Neill and of the Provincetown Players. O'Neill's experiments with theatrical form and his combination of Naturalist and Expressionist techniques inspired other playwrights to use greater freedom in their works, whether expanding the techniques of Realism, as in Susan Glaspell's Trifles, or borrowing more heavily from German Expressionism (e.g., Elmer Rice's The Adding Machine), Other distinct movements during this period include folk-drama/regionalism (Paul Green's Pulitzer-winning In Abraham's Bosom), "pageant" drama (Green's The Lost Colony, about the mysterious Roanoke Colony), and even a return to poetic drama (Maxwell Anderson's Winterset). At the same time, the economic crisis of the Great Depression led to the growth of protest drama, as seen in the Federal Theatre Project's Living Newspaper productions and in the works of Clifford Odets (e.g., Waiting for Lefty) and of moralist drama, as in Lillian Hellman's The Little Foxes and The Children's Hour. Other key figures of this era include George S. Kaufman, George Kelly, Langston Hughes, S. N. Behrman, Sidney Howard, Robert E. Sherwood, and a set of playwrights who followed O'Neill's path of philosophical searching, Philip Barry, Thornton Wilder (Our Town) and William Saroyan (The Time of Your Life). Theater criticism kept pace with the drama, such as in the work of George Jean Nathan and in the numerous books and journals on American theater that were published during this time.[5]

The stature that American drama had achieved between the Wars was cemented during the post-World War II generation, with the final works of O'Neill and his generation being joined by such towering figures as Tennessee Williams and Arthur Miller, as well as by the maturation of the musical theatre form. Other key dramatists include William Inge, Arthur Laurents and Paddy Chayefsky in the 1950s, the avant garde movement of Jack Richardson, Arthur Kopit, Jack Gelber and Edward Albee the 1960s, and the maturation of black drama through Lorraine Hansberry, James Baldwin and Amiri Baraka. In the musical theater, important figures include Rodgers and Hammerstein, Lerner and Loewe, Betty Comden and Adolph Green, Richard Adler and Jerry Ross, Frank Loesser, Jule Styne, Jerry Bock, Meredith Willson and Stephen Sondheim.[5]

The period beginning in the mid-1960s, with the passing of Civil Rights legislation and its repercussions, came the rise of an "agenda" theater comparable to that of the 1930s. Many of the major playwrights from the mid-century continued to produce new works, but were joined by names like Sam Shepard, Neil Simon, Romulus Linney, David Rabe, Lanford Wilson, David Mamet, and John Guare. Many important dramatists were women, including Beth Henley, Marsha Norman, Wendy Wasserstein, Megan Terry, Paula Vogel and María Irene Fornés. The growth of ethnic pride movements led to more success by dramatists from racial minorities, such as black playwrights Douglas Turner Ward, Adrienne Kennedy, Ed Bullins, Charles Fuller, Suzan-Lori Parks, Ntozake Shange, George C. Wolfe and August Wilson, who created a dramatic history of United States with his cycle of plays, The Pittsburgh Cycle, one for each decade of the 20th century. Asian-American theater is represented in the early 1970s by Frank Chin and achieved international success with David Henry Hwang's M. Butterfly. Latino theater grew from the local activist performances of Luis Valdez's Chicano-focused Teatro Campesino to his more formal plays, such as Zoot Suit, and later to the award-winning work of Cuban Americans Fornés (multiple Obies) and her student Nilo Cruz (Pulitzer), to Puerto Rican playwrights José Rivera and Miguel Piñero, and to the Tony Award-winning musical about Dominicans in New York City, In the Heights. Finally, the rise of the gay rights movement and of the AIDS crisis led to a number of important gay and lesbian dramatists, including Christopher Durang, Holly Hughes, Karen Malpede, Terrence McNally, Larry Kramer, Tony Kushner, whose Angels in America won the Tony Award two years in a row, and composer-playwright Jonathan Larson, whose musical Rent ran for over twelve years.[5]

Earlier styles of theater such as minstrel shows and Vaudeville acts have disappeared from the landscape, but theater remains a popular American art form. Broadway productions still entertain millions of theater-goers as productions have become more elaborate and expensive. At the same time, theater has also served as a platform for expression, and a venue for identity exploration for under-represented, minority communities, who have formed their own companies and created their own genres of works, notably East West Players, founded in 1965 as the first Asian-American theatre group. Notable contemporary American playwrights include Edward Albee, August Wilson, Tony Kushner, David Henry Hwang, John Guare, and Wendy Wasserstein. Smaller urban theaters have stayed a source of innovation, and regional theaters remain an important part of theater life. Drama is also taught in high schools and colleges, which was not done in previous eras, and many become interested in theater through this.

The Faster Times, an online newspaper that ran from 2009 to 2013, featured a weekly column that discussed issues and trends in American theater.[12]

HowlRound, an online "commons", features opinions and essays by artists and academics in American Theater today.[13]


when was the last time the us open was at shinnecock

Its routing was retained, and several new tees were added, in preparation for the 2018 U.S. Open; the course was extended to 7,440 yards, retaining its par of 70. The design modifications were performed by Ben Crenshaw and Bill Coore. The club also maintains a nine-hole secondary course.[11]

Shinnecock Hills Golf Club

Shinnecock Hills Golf Club is a links-style golf club located in an unincorporated area of the Town of Southampton on Long Island, New York, situated between the Peconic Bay and the Atlantic Ocean.[4]

Shinnecock Hills claims to be the oldest formal organized golf club in the United States (1891), to have the oldest golf clubhouse in the U.S. (1892), and to have been the first to admit women, which it did from the start.

Shinnecock Hills is a founding member of the United States Golf Association. It has hosted several important events, notably five U.S. Opens, and is scheduled to host a sixth in 2026. It was added to the National Register of Historic Places in 2000.[5][6] It is routinely ranked as one of the top golf courses in the United States.[7]

The club traces its roots to an 1889â€“1890 trip by William K. Vanderbilt, Edward Meade, and Duncan Cryder, to Biarritz in southern France where they encountered champion golfer Willie Dunn, from Scotland, who was building a golf course at the resort.[4][8]

Back in the United States, Meade and Cryder scouted for a place for a golf course near New York City. Meade, known for his cowboy-ish antics trading commodities, was convinced that upstate New York would be the ideal location, but Cryder preferred a parcel of land in Yonkers. Ultimately, they chose the sandhills adjoining the Long Island Rail Road just east of the Shinnecock Canal. The 80-acre (32Â ha) parcel was purchased for $2,500 and 44 original members signed up for $100 each.[8]

Willie Davis, the club professional from the Royal Montreal Club, designed a 12-hole course that opened in late summer 1891.[8] Members of Shinnecock Indian Nation helped build the course,[9] which is on land they have laid claim to and which remains in litigation. Stanford White designed the 1892 clubhouse, said to be the oldest golf clubhouse in the United States.[8] A nine-hole ladies-only course was designed and built at Shinnecock Hills in 1893.[10]

In 1894, Dunn arrived and added six more holes bringing the total to 18. That same year Dunn won the tournament which was an inaugural attempt to establish a national championship at Newport, Rhode Island, but this victory was not recognized as official. Later in 1894, Shinnecock Hills was one of five founding clubs of the United States Golf Association, established in New York City. The new USGA held the first U.S. Open in 1895 in Newport, Rhode Island.[8]

In 1896 the then–5,000 yd (4,570 m) Shinnecock hosted the second U.S. Open. Many players broke 80 in the 36-hole event, which led to demands to increase the course's difficulty. Participating in the 1896 Open was black professional player John Shippen, believed by many historians to have been the first USA-born golf professional.

The popular ladies' course was abandoned in 1901 to allow for a lengthening and redesign by Charles B. Macdonald and Seth Raynor, retaining five of Dunn's original holes.[10]

William Flynn extensively redesigned the course in 1931 into a 6,740-yard (6,163 m) configuration. Flynn's design retains five of the holes by Macdonald and Raynor, and the green of a sixth hole designed by those two. Prior to the 2004 U.S. Open, the course was extended to a length of 6,996 yards (6,397 m) by the addition of extra tees.[1]

Shinnecock Hills was ranked second in Golf Digest's 100 Greatest Courses Ranking for 2007, 2008, and third in 2009.[citation needed]