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Knowledge About Led Street Light

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Promoted to rear admiral on 10 March 1707, Norris became second-in-command of the Mediterranean Fleet, with his flag in the third rate HMS Torbay. After taking part in the British defeat at the Battle of Toulon in July 1707 and, while sailing aboard his flagship HMS Torbay, Norris was present during the great naval disaster off the Isles of Scilly in October 1707 when Shovell and four of his ships were lost, claiming the lives of nearly 2,000 sailors. Promoted to vice admiral on 26 January 1708, Norris transferred his flag to the third-rate HMS Ranelagh. At the 1708 British general election, Norris was returned as Member of Parliament for Rye. He was a supporter of the Whig Junto, but whle on active service, made little contribution in Parliament. While still serving as second-in-command of the Mediterranean Fleet, he took personal charge a squadron deployed to the Baltic Sea to prevent Swedish grain arriving in France in 1709. Promoted to full admiral on 21 December 1709, he became Commander-in-Chief of the Mediterranean Fleet early in 1710.

Norris was returned again as MP for Rye at the 1710 British general election. The new Tory Administration relieved him of the Mediterranean command in October 1711 which allowed him to devote more time to Parliamentary business. He followed the progress of the war and took an interest in naval matters. He voted with the Whigs for the motion No Peace Without Spain on 7 December 1711 and against the French commerce bill on 18 June 1713. At the 1713 British general election, he was returned again as Whig MP for Rye, and voted against the expulsion of Richard Steele on 18 March 1714.

Norris was returned again for Rye at the 1715 British general election. With the new Whig Administration, he returned to active service. He was sent with a fleet to the Baltic Sea to support a coalition of naval forces from Russia, Denmark and Hanover taking in the Great Northern War. Tsar Peter took personal command of the coalition fleet and appointed Norris as his deputy in 1716: together they protected British and other allied merchant vessels from attack by warships of the Swedish Empire. Norris joined the Board of Admiralty led by the Earl of Berkeley in March 1718. In November 1718, following the death of Charles XII of Sweden, Britain switched sides and Norris returned to the region to protect British merchant shipping from attack by Russian raiders. Norris also acted as a commissioner in the negotiations leading to the Treaty of Nystad which ended the War in September 1721. At the 1722 British general election, he was returned unopposed as Member of Parliament for Portsmouth. and was advanced to Senior Naval Lord on the Admiralty Board in June 1727 but stood down as a Lord Commissioner of the Admiralty when the WalpoleTownshend Ministry fell in May 1730.

Norris lost his post as Lord on the Admiralty in 1730, and lost his command to Sir Charles Wager in 1731. In Parliament he joined the opposition and voted against the Government on the army in 1732 and on the excise bill in 1733. At the beginning of 1734, the government came to terms and he was promoted to Admiral of the Fleet on 20 February 1734 and, with his flag in HMS Britannia, he became commander-in-chief of a fleet sent to the Iberian Peninsula to protect Portugal from Spanish attack. He was returned as Member of Parliament for Rye again at the 1734 British general election. and was appointed Vice-Admiral of Great Britain in April 1739 and went on to be Commander-in-Chief of the Channel Fleet at the outset of the War of Jenkins' Ear in Autumn 1739.

In 1744 Norris was asked to defend Britain from an imminent French Invasion and in 1745 made Captain of Deal Castle. He was preparing for battle against the French fleet, when storms intervened scattering the invasion transports, with heavy loss of life, thereby ending the immediate threat of invasion. Norris retired from the navy later in the year.

Norris died at his country home, Hemsted Park in Kent, on 13 June 1749 and was buried at St George's Church in Benenden.

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Notable figures of led street light

The company, established in the 1820s by William Henry Brown, was created in response to the demand for entertainment centers open to Black communities. Brown was a businessman looking for ways to generate profit, but he also aimed to create a community in the arts for Black people to socialize, perform, and foster self-determination.

The Theater's leading actor, James Hewlett, is also the co-founder of the troupe who advocated for the hiring of more black actors. Prior to working full-time as a performer, Hewlett worked as a steward. Hewlett is the first African-American Shakespearean actor. Before co-founding, he was known to be a regular visitor and entertainer at Brown's backyard poetry functions, which are the known origins of The African Theater. Since Brown could not pay Hewlett a full salary, Hewlett continued working as a steward while performing. His last performance at the African Theater took place in 1824 prior to its close before being sold. The play was a solo, performed as a benefit in support of Greece during their war of independence from Turkey.

The first performance of Richard III starred Charles Taft in the lead role because Hewlett was working on a ship and did not return until the second performance. Taft, fired from his job as a servant, became infatuated with theatre and was destroyed emotionally, in shambles, when Hewlett returned. During his work on the ship, Hewlett created a fancy costume for his performance. Taft, on the other hand, wore a robe made of a curtain. Hewlett had no competition, and was quickly welcomed back into the role.

The company is also known for the introduction of Ira Aldridge, considered to be one of the first impactful Black American Shakespearean actors, who was born in 1807 in New York City. His theatrical career was notably interesting and extremely prominent, but prior to taking a larger stage, he worked as a costume carrier for British actors and performed in smaller drama productions of ragtag companies. Aldridge worked as an actor in the British Isles beforehand, knowing that there was not yet opportunity for him to pursue acting in The United States. The actor garnered recognition with the role of Othello in Shakespeare's play of the same name. This proved a struggle to Aldridge both as a performer and financially, as there were few roles that African Americans would be given the allowance to take on at this time in history. However, he also proved himself through taking on roles that carried anti-slavery sentiments, and consisted of portraying various roles that captured the struggles of slaves in what would then be called The New World. It was not until he reached mid-life, aged approximately 40, that Aldridge was able to perform other Shakespearean roles such as Macbeth or Richard III, breaking free of his role as Othello. The launch of the roles are recorded to have taken place in Hull, a town that his biographers say is a place where "...one could take risks that might not have been so well-received elsewhere."

Knowledge About Led Street Light 1

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Early African Theater of led street light

The theatre had promenades for patrons to explore, as well as separate stalls furnished with tables and chairs where guests could recline for refreshments. There was a bar or service area and possibly an al fresco platform for performers. Originally the Grove itself was more of a place to hang out outside. Unfortunately the Grove did not last long. The neighbors did not take the noise too well. They complained about having to contend with loud noisy crowds on a regular basis. William Henry Brown used the impromptu performances from patrons at the Grove as a casual form of auditions for possible recruits to the stage for his fledgling theatre company. He quickly converted the rooms upstairs into a small theatre. He selected a play and quickly recruited a cast based on those who performed at the Grove. He posted playbills all around announcing their opening performance.

The African Theatre formally opened on September 17, 1821, with a performance of Shakespeare's renowned play Richard III, starring an all-black cast. The instability of the current venue prompted an eventual relocation. The neighbors reportedly complained again, which led to Brown to decide to move his theatre to a unoccupied suburban house on the corner of Mercer and Bleeker Streets. About a week later, his troupe offered an evening's entertainment consisting of a reenactment of Richard III as well as an opera, a pantomime, and a ballet. Performances continued at this site on Monday evenings throughout October and November, with Friday being added eventually thanks to popular demand. During early performances, a group of people, including a man named George Bellmont, invaded the playhouse, assaulting the actors and destroying costumes and pieces of the sets. This preceded into a fight between the actors and Bellmont's group. Bellmont and a number of his group were arrested after the attack.

Very little is known about the interior of the Theatre or its settings, though it has been described by patrons in a negative light as "pathetic and ominous", and "resembling a dirty kitchen", harking back to the theatre's humble origins as a local hangout. These descriptions are also indicative of the theatre's lack of commercial success and proper funding. The theatre contained a room for an orchestra, which was composed of two white men, and one black. The auditorium included a box, pit, and gallery, with exceptionally high prices of 75, 50, and 37 cents. When trying to summarize the activities of the African Theatre, it is important to note that the known record remains incomplete. Rather than placing advertisements or articles in any newspapers about performances, Brown generally just handed playbills and advertisements out on the streets and invited people to the theatre. The African Theatre productions were not taken seriously by any journalists of important newspapers, resulting in the performances being ignored by the press for the most part. During the first year it changed from only being directed towards the Black community to being directed at New Yorkers in general, which meant that the white audience grew significantly. Many of the performers were servants in their day jobs, and many of their employers would attend the theatre at night.

The issues relating to the theatre on Mercer and Bleeker prompted another change in venue, this time to the City Hotel, a venue with better accommodation and in a better location. This new location also happened to be next door to the Park Theatre, a well established white theatre. A controversy ensued among the white theatre patrons, who claimed that the African Theatre patrons were too riotous of character, and as a result the police would eventually mandate that the African Theatre announce their last performance. Defying the authorities, the theatre continued to put on nightly performances. Despite its best efforts, however, the theatre was eventually forced to return to the prior location on Mercer Street.

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