Jessup
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Jessup, Maryland
Jessup (pronounced JES-əp) is an unincorporated community and census-designated place in Howard County, Maryland and Anne Arundel County, Maryland, United States. The population was 7,137 at the 2010 census. The center of population of Maryland is located in Jessup.
Geography
Jessup is located at 39°08′18″N 76°46′30″W / 39.138374°N 76.774929°W / 39.138374; -76.774929 (39.138374, -76.774929). According to the United States Census Bureau, the CDP has a total area of 5.3 square miles (13.6 km2), all of it land. As of the 2010 census, the center of population for the state of Maryland is located on the grounds of the Clifton T. Perkins Hospital Center in Jessup.
History
Jessup is located near the site of the historic Spurrier's Tavern, a farm and tavern located on the post road between Baltimore and Washington (Route One) where George Washington travelled regularly.
The location of the town was named Pierceland on early maps, but the post-civil war name more commonly given was Jessup's Cut, or Jessop's Cut, a post village in Howard County on the Baltimore and Ohio Railroad. The name is generally attributed to Jonathan Jessup, a civil engineer who worked on the Baltimore and Ohio Railroad and the hand-dug "cut" though Merrill's Ridge he managed as a project. The name was shortened in 1863. Into the mid 20th century, the town was called "Jessups", then was shortened to "Jessup".
Jessup, Pennsylvania
Jessup is a borough in Lackawanna County, Pennsylvania, United States. The population was 4,676 at the 2010 census.
Geography
Jessup is located at 41°28′16″N 75°33′44″W / 41.47111°N 75.56222°W / 41.47111; -75.56222 (41.471131, -75.562171).
According to the United States Census Bureau, the borough has a total area of 6.75 square miles (17.5 km2), of which, 6.7 square miles (17 km2) of it is land and 0.05 square miles (0.13 km2) of it (0.74%) is water.
History
Settled in 1849, the town of Jessup was named after Judge William Jessup. It was presented to the Luzerne County Court for incorporation as the Borough of Winton in December 1876. Two years later, Lackawanna County was incorporated. The early 1890s were very significant for the little town, as numerous new mining operations were opened. Shortly after these were opened, immigrants from Europe were lured to the area by the work available in the booming anthracite coal fields.
Demographics
As of the census of 2010, there were 4,676 people, 2,007 households, and 1,272 families residing in the borough. The population density was 697.9 people per square mile (269.5/km²). There were 2,134 housing units at an average density of 318.5 per square mile (124.4/km²). The racial makeup of the borough was 96.9% White, 0.8% African American, 0.2% American Indian, 0.4% Asian, 0.05% Pacific Islander, 0.4% from other races, and 1.2% from two or more races. Hispanic or Latino of any race were 1.9% of the population.
Beverley Craven (album)
Beverley Craven is the debut album by British singer Beverley Craven. It was released in July 1990. The album was fully written by Craven herself.
Craven signed to Epic Records in 1988, and initially recorded the album with American producer Stewart Levine (of Simply Red fame). The initial results, however, were not of Craven's liking and, with the agreement of her label, she restarted from scratch working with Paul Samwell-Smith, who eventually produced the whole album. Levine's production of her songs were eventually released as b-sides to some of her singles, under the label "West Coast Version".
Released in July 1990, the album was initially a flop in the UK, with its singles and the album failing to reach the charts. She found however some success around continental Europe in 1990 and toured there to support the release. Craven made her first UK tour in early 1991, which was successful. In April 1991, the original lead single "Promise Me" was re-released, and this time it was heavily promoted. Appearances on British TV led to exposure of the single and it eventually peaked at #3 in the UK in May 1991, becoming her biggest hit.
Joey (1985 film)
Joey, also known as Making Contact, is a 1985 West German/American fantasy film from Centropolis Film Productions (now Centropolis Entertainment). The film was co-written and directed by Roland Emmerich. The plot concerns a boy (Joshua Morell) who loses his father, but makes contact with what he believes is his deceased parent via a small phone and is terrorized by a demonic ventriloquist dummy named Fletcher who is possessed by a demon and summons demons to threaten his friends as only the boy must go into the spirit world to destroy this evil in a battle of good vs. evil. The boy develops the power of telekinesis, which soon gets out of hand.
Release
Joey was released in North America as Making Contact. The North American version was heavily cut and ran 79 minutes. Since, Joey has been released as a 2 disc DVD set featuring the original 98 minutes version along with the edited North American cut.
References
External links
Joey (Bob Dylan song)
"Joey" is a song from Bob Dylan's 1976 album Desire. It was written by Dylan and Jacques Levy, who collaborated with Dylan on most of the songs on the album. In a 2009 interview with Bill Flanagan, Dylan claimed that Levy wrote all the words to this song. Like another long song on the album, "Hurricane", "Joey" is biographical. The song is about the life and death of mobster Joey Gallo, who had been killed on his birthday at Umberto's Clam House in Little Italy, on April 7, 1972.
Meaning
The song treats Gallo sympathetically, despite his violent history. Gallo had been accused of at least two murders and had been convicted of several felonies. But in the song he is given credit for distrusting guns, being reluctant to kill hostages and for shielding his family when he was being killed, and makes him appear to be an unwilling participant in the crimes of his henchmen, thus not deserving his fate. As a result of the sympathetic treatment, critics such as Lester Bangs harshly criticized Dylan and the song. Bangs described it as "repellent romanticist bullshit." However, Dylan claims that he always thought of Gallo as a kind of hero and an underdog fighting against the elements. Besides his status as an outsider, Dylan was likely also drawn to the fact that Gallo's best friends in prison were black men. In addition Gallo was able to gain sympathy in artistic circles by passing himself off as a cultured person victimized by the "system".
