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Jan Ernst Matzeliger – Inventor of One of USAs Most Prized Inventions – The Shoe Laster
Black Entrepreneur History December 13, 2020 3 min read
Once upon a time in Black Entrepreneur History lived a Black man named Jan Ernst Matzeliger who invented the shoe lasting machine, one of the most important inventions in United States history and which changed the manufacturing of shoes for generations.
Jan E. Matzeliger was born on September 15, 1852 and raised on a coffee plantation on what is now known as the very small country of Suriname, previously known as the country Dutch Guiana, on the coast of South America. The city of his birth was Paramairbo.
His mother was an enslaved African descendant who worked on his father's plantation located in Paramaribo. His father was a white man, descended from German background. Jan Ernst Matzeliger's native tongue was Dutch, and his second language became English once he moved to the USA.
As a young boy in Suriname before he was a teenager, he ended up apprenticing in the Colonial Ship Works which was located in Paramairbo and found that he was mechanically inclined, a natural with knowledge of how things worked. Therefore, he became a mechanic on a ship in the Dutch East Indies and moved to Massachusetts at the age of 15 on November 1, 1867.
He became a naturalized citizen of the United States of America on October 29, 1878 at the age of 26 years old[1].
In the state of Massachusetts, he worked in the shoe industry, working with the Harney Brothers Shoe Factory on Alley Street. Harney Brothers Shoe Factory workers would go on strike time and time again for better wages, leaving people without shoes[2]. It was tedious work because shoes were made by hand in a process called lasting in the 1800s, so it was a fairly slow process that required much skill.
"Lasting" a shoe is when you shape and fit the upper portion of the shoe to the bottom mold, or the sole. Although other attempts were made to make lasting of shoes easier, it was Jan Matzeliger who sealed it with his invention.
While working crafting shoes at Harney Brothers Shoe Factory, he secretly began to work on a machine that could "last" the shoes together without the tedious task of having to do it individually and by hand.
For over ten years he worked on the lasting machine until finally in 1882, he succeeded, inventing the state of the art lasting machine – the first one the world has ever known. He had complex diagrams that even the US Patent Office couldn't comprehend at all, so the inspectors had to go and see it for themselves from the Patent office. When they did, the patent was granted to Matzeliger on March 20, 1883[3].
With Jan Ernst Matzeliger's shoe lasting machine, instead of a small amount of shoes molds being done by hand expensively, now up to 700 pairs of shoes could be done in one day, reducing the cost and speeding up production to provide more people with shoes at one time.
Unfortunately, this great inventor passed away at the age of 37 from Tuberculosis in Lynn, Massachusetts on August 24, 1889. He was buried in Pine Grove Cemetery in the city of his passing[4]. It was only 6 years after his invention.
Though his invention is noted as one of the most important inventions in the shoe industry and the fact that Matzeliger is responsible for the way shoes are manufactured today, many white people didn't ever want to credit a Black man properly for his invention in those times. Therefore, his name was revoked from history books. They even called his invention in the papers "nigger-head laster" instead of "Lasting Machine" when they were hiring for people in ads to operate the machine after his death.
It is only in the 1990s where the public was made aware and he was praised for his brilliance and his awesome invention.
[1]National Archives at Boston; Waltham, Massachusetts; ARC Title: Copies of Petitions and Records of Naturalization in New England Courts, 1939 – ca. 1942; NAI Number: 4752894; Record Group Title: Records of the Immigration and Naturalization Service, 1787-2004; Record Group Number: RG 85
[2]The Fall River Daily Herald (Fall River, Massachusetts)28 Mar 1894, Wed Page 3
[3]The Courier (Waterloo, Iowa)· Sun, Feb 26, 1995 · Page 47
[4]Find a Grave, database and images (https://www.findagrave.com : accessed 12 December 2020), memorial page for Jan Earnst Matzeliger (15 Sep 1852–24 Aug 1889), Find a Grave Memorial no. 31868269, citing Pine Grove Cemetery, Lynn, Essex County, Massachusetts, USA ; Maintained by Find A Grave
Tags: Boston Jan Ernst Matzeliger Shoe Lasting Machine Shoes Suriname
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José Delgado Guerra, més conegut com a «Pepe-Hillo» (Sevilla, 14 de març de 1754 - Madrid, 11 de maig de 1801), va ser un torero espanyol. És considerat al costat de «Costillares» (de qui va ser deixeble) i Pedro Romero (amb qui va tenir una coneguda rivalidad) com un dels que van fixar les regles i l'estil de la corrida de toros.

Biografia

Va néixer el 1754 a Sevilla. Se li ha descrit com d'estil fràgil, sensual i com a gran torero. Va adornar el seu toreig amb tota classe de sorts i filigranes, conformant un estil, inspirat en el del seu mestre, que es coneixerà com a «escola sevillana». És considerat un dels primers toreros estilistes. També se suposa que és l'inventor del pase de capa, que va qualificar de «mas interesante e sumamente sencilla» (més interessant i summament senzilla) i que va nomenar Aragonesa. Es creu que va debutar cap a 1769 i va rebre l'alternativa el 1774, a Màlaga, de mans de Juan Romero.

En 1796 va publicar el tractat de tauromàquia Tauromaquia ó Arte de torear á cabalo y á pie (Tauromàquia o Art de torejar a cavall i a peu, 1796), text important per conèixer l'evolució de la tauromàquia, citat sovint per José María de Cossío en la seva obra Los Toros, tratado técnico e histórico (Els toros, tractar tècnic i històric, 1943). L'obra va ser molt probablement redactada per José de la Tixera, amic del torero.

Es diu que de la seva rivalitat taurina amb Pedro Romero no va sortir sempre molt ben parat. No obstant això, va ser ídol del públic i va lluir la seva gallardia i seducció en els salons de l'aristocràcia que el tractava com un igual.

Agafada mortal
L'11 de maig de 1801 Pepe-Hillo alternava amb José Romero (germà de Pedro Romero) i Antonio de los Santos a la Plaça de la Corte. Quan entrava a matar el setè toro, anomenat Barbudo, aquest el va fer caure i el va enganxar a terra, imatge immortalitzada en l'últim gravat de la sèrie La tauromàquia de Goya i narrada de forma minuciosa per José de la Tixera en una carta que es va imprimir a Barcelona el 1801.

Segons la seva narració, el toro, de la ganadería de José Gabriel Rodríguez Sanjuán de la localitat salmantina de Peñaranda de Bracamonte, va enganxar al destre amb la banya dreta «pel canó esquerre dels calçons i li va tirar per sobre de l'espatlla a terra, caient cap per amunt». El cop de la caiguda li va fer perdre el sentit, i la contusió va ser suficient per evitar que esquivés o es cobrís almenys de més dany del toro. El toro li va escometre de nou i amb la mateixa banya clavada a la boca de l'estómac el va «aixecar i voltejar», en diferents posicions, durant més d'un minut, trencant-li diversos òrgans i artèries de la cavitat del ventre i pit (intestí gros, estómac, pulmó dret, i el fetge per complet), a més de les vuit costelles i una vèrtebra fracturades, fins que li va deixar anar a terra, immòbil i amb només pocs minuts ja de vida, mentrestant a la resta de toreros van acabar amb el toro, moribund també.

Aquesta segona part de l'agafada va ser representada en altres dos gravats inèdits de Goya de la sèrie esmentada, en els quals es mostra a Pepe-Hillo sacsejat pel toro, penjat de la banya dreta i cap per avall. La fidelitat i exactitud documental d'aquests dos gravats inèdits, unit al fet que representessin la imatge de l'agafada en moments diferents, fa pensar a alguns crítics que Goya va ser testimoni presencial a la plaça.

Va haver-hi a més altres testimonis presencials il·lustres, com la mateixa reina Maria Lluïsa de Parma, que va deixar un impressionant testimoni del fet en una carta enviada a Manuel Godoy. El succés va impressionar als madrilenys i va ser llargament recordat en el món taurí; sens dubte va ajudar a això que hagués tants testimonis gràfics i escrits.

Referències

Vegeu també
 Corrida

Bibliografia

Enllaços externs

 Pepe-Hillo a PortalTaurino

Toreros sevillans
Morts a Madrid
Toreros morts a l'arena

redpajama_set_name: RedPajamaWikipedia


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Album Review: Beneath the Sun
Chris Field
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Beneath the Sun
2020 / Tosca Road
Review by Kathy Parsons
Until recently, I didn't know that Film Trailer Music was even a genre. Film music, yes, but film trailer music? I had aways assumed that excerpts from the actual movie soundtracks were used in film trailers, but that's not necessarily true. Chris Field is one of the leading and most successful film trailer composers ever and is recognized by his peers as having started a new direction in film music. In many cases, film music (other than the opening and closing themes) is supposed to go unnoticed, adding tonal colors and enhancements to the film-watching experience, but it can't divert people's attention away from the film itself. On the other hand, film trailers are supposed to be powerful and attractive in order to make people want to see the actual movie. Field's themes are grounded in classical composition but also reflect his rock background. Big, dramatic and inspiring, Field's music has been used in trailers for Lord of the Rings, Pirates of the Caribbean, Atonement, The Secret, and Harry Potter, to name a few, and some of the eleven tracks on Beneath the Sun are built on themes that were used in film trailers. This is Chris Field's second album, following Sub-Conscious (2006), which was awarded "Best Neo-Classical Album For 2006" by New Age Reporter.
Beneath the Sun begins with "Time Will Tell," a piece used in the trailer for Kinsey (2004). Sometimes big and powerful with full orchestration and sometimes delicate and haunting with Native flute, it's a breathtaking opener! "Metamorphosis" is a new, more ambient piece with mostly symphonic strings plus drums, percussion, and an assortment of other instruments. "From the Heart" mixes piano and strings in a gentle but deeply emotional piece that becomes more orchestrated as it evolves. "Summerland" is another new piece and does a great job of combining rock and classical forces by utilizing orchestral strings with electric guitars, keyboard and percussion - both exciting and soothing, if that's even possible. The title track does something similar, but is much bigger and more dramatic. Almost seven minutes long, "Interlude" is darkly mysterious and intense, putting us into an imaginary situation of our own making. Much of the piece is ambient with drums, a repeated guitar pattern, keyboards and a touch of magic. "The Vision" was used for Atonement (2007) and is "the slow build of a moment's realization" (quoting promotional materials). More ambient than melodic, strings, piano and flute create suspense with a dramatic effect. "The Journey" is derived from Field's music for the end title credits of the movie The Secret. Heart-tugging while expressing a sense of adventure, it's a great piece with strings, flutes and driving percussion.
Beneath the Sun covers a huge amount of musical territory yet holds together beautifully - and it taught me about film trailer music! The album is available from Amazon, Apple Music/ iTunes, Spotify and other outlets. Don't miss this one!
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redpajama_set_name: RedPajamaCommonCrawl


How creating and displaying "social" status updates works.
This stack of functionality used to be split into various packages (plonesocial.*). After the unification, the packages are now part of ploneintranet, but still under their original folder names (e.g. ploneintranet.microblog, which used to be plonesocial.microblog).
This package was not previously part of the plonesocial namespace. It is used for handling attachment previews on stream items.
Activity streams with statusupdates are a pervasive feature in ploneintranet and key to the 'social' character of the system.
Per-document streams provide a conversation directly on the document that the conversation is about.
The per-document streams in a workspace are part of the per-workspace stream for that workspace. All per-workspace streams in turn are shown as part of the overall "global" activity stream.
At all levels, what a specific user can see is filtered by security permissions. In the global stream, you will only see updates from workspaces that you have access to - if you don't have access to the workspace you will not see the conversation that team is having, while team members will see their conversation both within the workspace and in the global stream.
Likewise, you will only see updates referencing a specific content object, if you have access to both the content object _and_ to the workspace the content object is contained in.
The social functionality heavily relies on pat-inject for AJAX interactions.
The Plone implementation tries to closely follow the template naming from the Ploneintranet Prototype so that any changes in the prototype can easily be ported to the corresponding TAL template.
The dotted arrows show the AJAX HTTP POST targets for the two types of update-social.html input forms: the standalone box targets post-well-done.html whereas the inline reply form targets comment-well-said.html.
Those helper pages are fetched in the background and then pat-inject inserts the elements as indicated by the colored arrows, always replacing the original update-social.html input box with a new version as returned by the helper view.
The nested colored boxes show how each of the pages and all the elements in there are composed from templates that delegate to sub-templates for inner elements. So activity-stream.html is composed of posts rendered by post.html which in turn has comments (comment.html) and a reply box update-social.html.
For each of the prototype templates mentioned above, you will find a corresponding view and template in the implementation. The templates closely match the prototype templates on which they're based.
where these views start delegating calls to each other.
Instead, any template now has a matching view class that encapsulates state. All view composition is done by delegating to full view calls. So no state leakage between views.
The main starting point for the rendering are tiles, but these have been stripped of functionality and delegate the heavy lifting to specialized views.
The template used is microblog/browser/templates/update-social.html from microblog. The corresponding view class microblog/browser/update_social.py is bound to @@update-social.html Its main purpose is rendering the form for creating a post.
Since a new post form can be present multiple times on a page the id of the form needs to be unique. It defaults to "new-post" for the stand-alone version and contains the thread_id in case it's displayed under an existing post.
In the outer <fieldset> the first section is a <p> with class "content-mirror". It is used for storing data for the Pattern of the same name. Apart from the actual text, it also holds tags and mentions. See Tagging and Mentioning for details.
There's the actual <textarea> in which the user enters text.
There's an inner <fieldset> with class "attachments" for Adding an attachment.
Finally a <div> with the "button-bar" with buttons for Tagging and Mentioning as well as Cancel and Submit.
UpdateSocialBase is used both when displaying the postbox form, and when handling the HTTP POST.
UpdateSocialHandler extends UpdateSocialBase and is used when `Creating and displaying a post`_ and `Creating and displaying a comment`_, but not for rendering the postbox form itself.
The actual rendering class UpdateSocialView extends only UpdateSocialBase.
Creating a new post, and rendering it in a way that enables injection into the activitystream, is handled by the PostWellDoneView view in microblog/browser/post_well_done.py, which is bound to URL @@post-well-done.html and uses template microblog/templates/post-well-done.html.
This view extends the UpdateSocialBase base class mentioned above for the actual HTTP POST handling. It renders a new @@update-social.html form and a fake activitystream with one post @@post.html, both of which will be injected back into the originating page by the injection specified on the original update-social.html.
Be aware that we have two different update-social.html instances in play here: - The original one on the dashboard in which the user has filled in their text, mentions, tags etc.
The HTTP POST from this is used to create a new post.
A new empty one in post-well-done.html, suitable for injecting a pristine empty postbox.
Because post-well-done.html is the form action, this view also handles the actual post creation. To keep related code together this is executed via the UpdateSocialHandler mixin.
Creating a new post, and rendering it in a way that enables injection into the activitystream, is handled by the CommentWellSaidView view in microblog/browser/comment_well_said.py, which is bound to URL @@comment-well-said.html and uses template microblog/templates/comment-well-said.html.
This view also extends the UpdateSocialBase base class mentioned above for the actual HTTP POST handling.
It differs from post-well-done.html in that it renders the new post as a reply instead of as a toplevel post, and it renders a new update-social.html widget in reply mode below the reply, rather than as a standalone box.
Because comment-well-said.html is the form action, this view also handles the actual post creation. To keep related code together this is executed via the UpdateSocialHandler mixin.
The link "Add tags" uses pat-tooltip with the helper view @@panel-tags as both source and target. Via the href attribute the current thread_id is passed to @@panel-tags. This is important so that the panel select form knows into which post box the tags need to be injected, since there might be more than one on the current page.
As mentioned above, this is the helper view panel_tags from microblog/browser that opens in a tooltip.
A form to search for tags.
A form that displays the list of tags provided by the view: either all tags in the site, or if a search was done all tags matching the search. The search text entered by the user is always part of the results, so that new tags can be added this way.
The first replacement is done on the "update-social" template into the content-mirror. It causes the text of the tag to be written into the content-mirror (thereby appearing as visible inside the text-area to the user), and it causes the value of the tag to be placed into a hidden input field with the id tags:list. It is from this input that the handling method of UpdateSocialHandler takes the tag(s) to be added to the status update.
The second replacement done by pat-inject targets a span with the id "selected-tags-data", also in the "update-social" template, that is filled with hidden inputs for every tag. But those inputs land, via injection, in the form that lets the user search for tags in the current "panel-tags". Since searching for and selecting tags is handled in two separate forms, this is how we hand-over already selected tags to the search form.
Mentioning works very similar to tagging. The same kind of template structure is used ("panel-users" for the tooltip). Also, the same interactions as with tagging (pat-inject magic and handover of selected values) are present.
Only difference: for mentions, we distinguish between a user's name (shown for example inside the post box preceded by an "@") and a user's id (used internally in the storage).
The <fieldset> with class "attachments" contains an <input> of type "file" that tells the browser to open a file-picker if clicked. Additionally there's an empty <p> as a place-holder that will show the preview image (or fallback image) once the user has selected an attachment.
pat-subform in combination with pat-autosubmit causes the file data to be sent immediately to the backend (autosubmit), but the request will only contain the file data (and authentication token) and not the complete post (subform).
pat-inject makes sure the request gets sent to the correct View ("@@upload-attachments"). This View handles the correct conversion and storing of the attachments, and returns markup that lists the generated preview images. This markup replaces the <p> with the id "attachment-previews" via pat-inject. This way, the user sees immediate feedback (preview images or fallback image) while they are composing a status update.
On the <label> around the file input field pat-switch is used to set the class "status-attach" on the surrounding <form>. This will cause the previously hidden (via "height: 0") section for the attachment previews to be shown.
The activity stream is defined in activitystream/browser/stream_tile.py in class StreamTile.
Section "comments": It iterates over all replies that the current statusupdate defines and renders those - see Displaying a comment. It has a unique id that consists of the word "comments-" and the thread_id.
Finally, the macro for `Creating and displaying a new reply`_ is shown under the comments, so that a new new comment can be added to the comment trail.
For each reply to a statusupdate, post.html, renders that reply with @@comment.html, which re-uses the StatusUpdateView class also used by post.html but with a different template activitystream/browser/templates/comment.html.