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"John Chinoweth, Gent., blacksmith and surveyor, was born at St. Martins in Menage, Cornwall Co., Wales--now England about 1682-3 ... John Chinoweth and Mary Calvert, daughter of Charles Calvert, third Lord Baltimore were married about 1705 ..."--Page 39. John came to America, date unknown, and " ... settled on Gunpowder River, near Joppa, Baltimore County, Maryland, on an estate belonging to the Calverts which was called "Gunpowder Manor."--Page 39. "In Frederick County, Virginia, on April 11, 1746, John Chinoweth, blacksmith, made his will, probated May 6, 1746." ... From this will it is shown that he must have been visiting his sons in Virginia, for there are no land grants, patents, or deeds showing that he ever purchased land there ..."--Page 40. Descendants lived in Maryland, Virginia, West Virginia, Pennsylvania, Iowa, South Dakota, Kentucky, Missouri, Indiana, Ohio, Colorado, Idaho, Oregon, Arizona and elsewhere.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
You can have it all! Abby Barton's TV career is taking off and now she and her husband can have the life they've always dreamed of in a lovely Irish town -- at least, in theory! But when your husband takes you for granted and your teenage daughter hates you, an adoring old flame can spell danger to your seemingly perfect life. Fortunately, Abby has her friends to keep her sane. For starters, her best friend, Sally, owns a beauty salon, and Sally and her husband throw fantastic parties, where there are still more friends to be made. Just be sure to share. Sally's friend Lizzie makes time for everybody: her gal pals, her grown children, even her ex-husband. But when her ex finds someone new, Lizzie can't help but wonder if she'll ever love again. The women are all thrilled to meet Erin, who has moved home to Ireland from Chicago for her husband's new job. But is she cut out for small-town life, and what of the family she left behind years ago? Together and on their own, these four women are about to face highs and lows they never anticipated. Only from each other can they learn that life is for the living and that they need to grab it with both hands....
Trinity student Charles Stanihurst, the son of a Dublin merchant and a Roscommon chambermaid, flees his native city after assaulting an English officer and heads for the West of Ireland, where he encounters a culture virtually unknown within the pale. Beyond the Shannon much of the old Gaelic way of life is still intact, though under growing threat from the political power and land greed of the 'foreigners'. Charles is forced to confront divisions between his Anglo-Irish and Gaelic loyalties, while seeking his spiritual father, Bishop William Bedell, who is translating the Old Testament into Irish. Set in post-Flight of the Earls, pre-Cromwellian Ireland of 1641, this novel tells the gripping story of a struggle between two opposing cultures that set the scene for the rebellion sealing the fate of Gaelic Ireland.
A heartwarming and inspirational Christmas novel in the tradition of The Christmas Box, Grace, The Gift, and Finding Noel. The New York Times bestselling author of The Christmas Box and The Walk series returns with a holiday novel of hope, love, and redemption. Dear Reader, When I was in seventh grade, my English teacher, Mrs. Johnson, gave our class the intriguing (if somewhat macabre) assignment of writing our own obituaries. Oddly, I don't remember much of what I wrote about my life, but I do remember how I died: in first place on the final lap of the Daytona 500. At the time, I hadn't considered writing as an occupation, a field with a remarkably low on-the-job casualty rate. What intrigues me most about Mrs. Johnson's assignment is the opportunity she gave us to confront our own legacy. How do we want to be remembered? That question has motivated our species since the beginning of time: from building pyramids to putting our names on skyscrapers. As I began to write this book, I had two objectives: First, I wanted to explore what could happen if someone read their obituary before they died and saw, firsthand, what the world really thought of them. Their legacy. Second, I wanted to write a Christmas story of true redemption. One of my family's holiday traditions is to see a local production of Charles Dickens's A Christmas Carol. I don't know how many times I've seen it (perhaps a dozen), but it still thrills me to see the change that comes over Ebenezer Scrooge as he transforms from a dull, tight-fisted miser into a penitent, "giddy-as-aschoolboy" man with love in his heart. I always leave the show with a smile on my face and a resolve to be a better person. That's what I wanted to share with you, my dear readers, this Christmas—a holiday tale to warm your season, your homes, and your hearts. Merry Christmas