Ellis S. Chesbrough

Ellis Sylvester Chesbrough (1813–1886) was an engineer credited with the design of the Chicago sewer system, which are sometimes known as the ‘Chesbrough sewers’. This was the first comprehensive sewer system in the United States. He is responsible for the plan to raise Chicago, construction of the first water crib in Chicago, and designing the Boston water distribution system. The water system he designed for Chicago is on the National Register of Historic Places and has been designated a Historical Civil Engineering Landmark by the American Society of Civil Engineers.

Chesbrough was born in 1813 in Baltimore, Maryland to Isaac M. Chesbrough and Phrania Jones. Chesbrough’s father was originally a farmer in Massachusetts, but he pursued other means of business, which mostly failed phone band for running. One of these failed ventures forced Chesbrough to abandon regular schooling when he was nine. Chesbrough spent the next few years working for mercantile houses in Baltimore. Chesbrough’s father became a surveyor for the Baltimore and Ohio Railroad in 1828, and Chesbrough became a surveyor for the city of Baltimore later that year through his father’s job. Chesbrough moved to Pennsylvania in 1830 to become a surveyor for the Allegheny Portage Railroad under the command of Colonel Stephen Harriman Long. From 1831 to 1842, Chesbrough worked on the construction of railroads under the command of William Gibbs McNeill and his brother-in-law George Washington Whistler glass water bottle australia, the father of the artist James Abbott McNeill Whistler. Chesbrough worked as a farmer between 1842 and 1844 as the effects of the Panic of 1837 deprived him of employment as an engineer. After he returned to his profession, Chesbrough became the engineer for the water systems of Boston, and helped to build the Cochituate Aqueduct.

In the late 1840s inexpensive football jerseys, Chicago was growing rapidly and was plagued with health issues: the majority of the city sat at water level, which meant water was unable to drain out of the city. The problem was fully realized in the summer of 1849, when a cholera epidemic struck Chicago. In response, the public held meetings and demanded that the City Council rid the city of filth. The legislature of Illinois created the Board of Sewerage Commissioners on February 14, 1855, leading to the appointment of Assistant health officers to aid the cleanup, and by August the Council resolved to build a sewage system.

Chesbrough was appointed engineer of the Board of Sewerage Commissioners because of his work on Boston’s water distribution system. From an engineering standpoint, the main problems were moving waste water out of the city and keeping it from polluting the city’s drinking water supply, drawn from Lake Michigan. His plan was twofold: first, to build the sewer system above ground, and then raise all of the city buildings as much as ten feet using an elaborate system of jacks. The new sewer system featured innovations such as manhole covers, which eased access to and cleaning of the sewers. However, sewage still flowed into the lake and polluted the city’s drinking water. In 1864, work began on a two-mile Chicago lake tunnel, sixty feet under the lake, out to a new intake crib. This allowed drinking water to be drawn from farther out in the lake, past the contaminating sewage. Eventually, however, sewage water seeped all the way to the crib, giving Chesbrough a third chance. Plans were made to reverse the flow of the Chicago River, leading water away from Lake Michigan and carrying Chicago’s sewage into the Mississippi River. In the late 1860s, the Illinois and Michigan Canal was dredged and deepened to expand its ability to handle the city’s sewage and move it away from the lake, but continued population growth quickly outstripped the canal’s waste management capacity. The project of reversing the river was completed after Chesbrough’s death by the Sanitary District of Chicago (now The Metropolitan Water Reclamation District), created in 1889, which undertook the undertook the construction of the Chicago Sanitary and Ship Canal.

Kathryn Stockett

Kathryn Stockett (* 1969 in Jackson liverpool football shirt, Mississippi) ist eine US-amerikanische Schriftstellerin.

Stockett wuchs unter der Obhut einer schwarzen Hausangestellten in Jackson auf aluminum water bottles safe, da ihre Mutter die Familie verlassen hatte. Sie machte ihren Abschluss in Englisch und kreativem Schreiben an der University of Alabama in Tuscaloosa und ging danach nach New York City. Sie arbeitete dort bis 2001 neun Jahre lang bei verschiedenen Zeitschriften und im Bereich Marketing football officials uniform.

Stocketts erster Roman Gute Geister (Engl inexpensive football jerseys. The Help) beschreibt die Arbeit von schwarzen Hausangestellten in den Haushalten weißer Familien zu Beginn der 1960er Jahre in ihrer Heimatstadt. Vor seinem Erscheinen 2009 war er von zahlreichen Verlagen abgelehnt worden. Das Buch wurde ein großer Erfolg, stand 100 Wochen auf der Bestsellerliste der New York Times und wurde in 40 Sprachen übersetzt. Unter dem Titel The Help wurde er 2011 fürs Kino verfilmt. Stockett lebt mit ihrer Familie in Atlanta, Georgia.

Sanho Kim

Sanho Kim (born 1939 in Korea) is a South Korean comic book artist, considered the first artist working in a manhwa style to be published regularly in the United States. The bulk of Kim’s American work was for Charlton Comics’ horror comics, as well as the Kung fu title House of Yang.

In South Korea, Kim is known for the bestselling title Lifi, as well as his more recent History of Great Korean Empire. Lifi encouraged the Korean people to rise from the destruction of the Korean War, and is still imprinted in the minds of many people as Korea’s first science fiction comic. Though Kim has worked in many styles and genres, the common theme that runs through his work is the pride and spirit of the Korean people.

While a child during the Korean War, Kim lived in a refugee camp, where he read the comic strip “Mr. Manhong,” featured in a Busan newspaper. Inspired to become a cartoonist himself, Kim studied fine arts (including Western painting) at Seorabeol Art College in Seoul.

While still at university, Kim made his professional debut in Manhwa Segye Magazine with “A Shining Star at Dawn,” a well-received story about fighters for Korean independence from Japan. Kim released his first full-length book, The Brilliant Twilight Star, in 1958.

In 1959, Kim published the science fiction bestseller Lifi the Fighter of Justice, set in the 22nd century. Published during a post-war period of great economic distress, Kim used his hero to express the spirit of the Korean people and to urge his readers to overcome their hardships. With a “ㄹ”-shaped badge on the chest (based on the Taebaek Mountains), and armed with futuristic weapons, Lifi fought against crowds of devils. Despite comics being dismissed as a lowly genre jersey of football teams, Lifi was a huge success and his image was ubiquitous throughout the country.

From 1961–1967, Kim published the long-running series Rhye Pye (a.k.a. Frieple). He drew comics in several genres, including adventure, police, and war stories.

In 1966, Kim moved to the United States, setting up a publishing house and working as an art director at the magazines Off Broadway and Village Times.

By 1969, Kim had connected with the American comic book industry, eventually garnering over 300 credits during the period 1969–1976. The bulk of Kim’s output during this time was for Charlton Comics, but he also worked for Warren Publishing, Skywald Publications, and Marvel Comics. With his Korean-informed style, Kim became the first manhwa artist working to be published regularly in the United States.

For Charlton, Kim worked on a number of the company’s horror and suspense titles, particularly The Many Ghosts of Doctor Graves, Ghost Manor, Ghostly Haunts, Ghostly Tales, and Haunted. (In addition to providing artwork for many interior stories, Kim drew most of the covers for Ghost Manor vol. 1.) He also illustrated stories for the Charlton Western comics Billy the Kid and Cheyenne Kid, and the war comic War.

Kim’s most important and artistically successful effort was for House of Yang (1975–1976), a spinoff of the Charlton title Yang, which ran from 1973–1976. The Yang titles were intended to capitalize on the mid-1970s Kung Fu craze in general and the television show Kung Fu in particular. House of Yang was set in Asia, which perfectly suited Kim’s background and style. Kim had been slated to design and illustrate the original series, which he had titled Wrong Country, but the artwork was misplaced and Charlton regulars Joe Gill and Warren Sattler filled in for the duration of Yang’s run. (The lost artwork for Wrong Country later turned up and was printed the CPL Gang fanzine Charlton Bullseye.)

Other Charlton titles Kim contributed to inexpensive football jerseys, though in a more sporadic fashion, included Beyond the Grave, Bounty Hunter, Fightin’ Army, Fightin’ Marines, Haunted Love, Scary Tales, Space Adventures, and Sword & Sorcery. During the period 1969–1976 conair fabric shaver, Kim did over 60 covers for Charlton titles as well as interior lettering.

While working for Charlton, Kim freelanced for Warren Publishing, crafting a backup feature in Vampirella and contributing to Eerie in 1971–1972. Kim illustrated The Sword and the Maiden (vol. 1 of Sword’s Edge) dritz lint shaver, which was written by Michael Juliar and published by Iron Horse Publishing in 1973. For Skywald Publications from 1974–1976, Kim did the art for The Fiend of Changsha and Horror. Benefiting from the notoriety of his Asian-themed work for Charlton, Kim moved to Marvel Comics in 1975, contributing stories to the black-and-white comics magazines Deadly Hands of Kung Fu and Monsters Unleashed.

In the early 1990s Kim traveled to China, where he came to believe that six thousand years earlier, ancient Koreans had governed broad areas of that country, including the Shandong Peninsula and Manchuria. Following his visit to China, Kim changed the focus of his comics to historical topics, including Daejusinjeguksa (History of Great Korean Empire). In this project, as well as The Duman River and The Story of Buddha, Kim has combined Western painting with comics art, in his words inventing a new form of “picture scenario” to tell his stories.

Kim returned to South Korea in 1996. In October 2008, he was awarded the Order of Cultural Merit by the South Korean government.