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              <text>&lt;p&gt;“&lt;a href="https://tcomg.com/founder-clyde-otis/"&gt;Clyde Otis Biography&lt;/a&gt;.” &lt;i&gt;The Clyde Otis Music Group.&lt;/i&gt;&lt;/p&gt;
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                <text>Clyde Otis created the Clyde Otis Music Group Records in the 1960s after he left Mercury Records. Under this independent label, he had sessions with artists like Aretha Franklin, Elvis Presley, Johnny Mathis, and Patti Page.</text>
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                <text>“&lt;a href="https://tcomg.com/founder-clyde-otis/"&gt;Clyde Otis Biography&lt;/a&gt;.” &lt;i&gt;The Clyde Otis Music Group.&lt;/i&gt;</text>
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                <text>&lt;span&gt;“&lt;/span&gt;&lt;a href="https://en.wikipedia.org/wiki/Clyde_Otis.%20"&gt;Clyde Otis&lt;/a&gt;&lt;span&gt;.” &lt;/span&gt;&lt;i&gt;Wikipedia&lt;/i&gt;&lt;span&gt;, Wikimedia Foundation, 7 Dec. 2023.&lt;/span&gt;</text>
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                <text>&lt;strong&gt;Arnett Cobb&lt;/strong&gt; (August 10, 1918 – March 16, 1989) was a renowned American jazz tenor saxophonist, celebrated for his powerful, blues-infused sound and his central role in the Texas tenor tradition. Born in Houston, Texas, Cobb came up through a rich Black musical scene and was influenced by figures such as Ben Webster and Illinois Jacquet, developing a style marked by emotional intensity, robust tone, and deep blues feeling. By the late 1940s, Cobb had gained national recognition through his work with Lionel Hampton’s orchestra and as a featured performer at major jazz venues, including Birdland in New York City. His popularity during this period brought him beyond traditional jazz clubs and into broader community spaces. One such appearance took place in Englewood, New Jersey, where Cobb was billed as a featured attraction at the sixteenth annual dance of the Knights of the Mystic Sea, held at the Jewish Community Center. Advertised as a major event, the performance reflected Cobb’s stature at the time and illustrates how nationally prominent Black jazz artists were regularly booked for civic, fraternal, and social organizations in northern New Jersey during the postwar era. Throughout the 1950s, Cobb recorded extensively as a bandleader, particularly for Prestige Records, producing music that bridged swing, blues, and early rhythm-and-blues. Despite lifelong health challenges—including spinal tuberculosis and later the loss of both legs due to diabetes—he continued to perform and record with extraordinary determination. Arnett Cobb is remembered as one of the most expressive tenor saxophonists of his generation, whose career connected elite jazz stages like Birdland with community venues such as those in Englewood, leaving a lasting imprint on jazz, blues, and Black popular music traditions.</text>
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                <text>Brian McMillen&#13;
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                <text>Arnett Cobb at Bach Dancing &amp; Dynamite Society, Half Moon Bay CA, 1979.</text>
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                <text>George S. Coe (George Simmons Coe), born on March 27, 1817, in Newport, Rhode Island, and deceased on May 3, 1896, in Englewood, New Jersey, was a prominent banker, real estate investor, and civic leader whose influence was central to Englewood’s development in the late nineteenth century. Best known nationally as president of the American Exchange Bank in New York City, Coe also maintained deep local ties to Englewood, where he invested heavily in land and community institutions as the area evolved from a rural enclave into a suburban town. He was actively involved in supporting churches, infrastructure, and civic life, using both his financial resources and leadership to help shape Englewood’s growth and character. Coe’s legacy remains embedded in Englewood’s early history, reflecting the role he played in guiding the community during a formative period of expansion and change.</text>
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                <text>Colman, David</text>
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                <text>The photograph was uploaded to findagrave.com by Carl Robert Coe.</text>
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                <text>It isn't clear who took the photograph.</text>
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              <text>&lt;span&gt;"A Bad Burglar." &lt;/span&gt;&lt;em&gt;The Morning Call&lt;/em&gt;&lt;span&gt;, 7 May 1886, p.7.&lt;/span&gt;</text>
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                <text>Coe, George Simmons, Jr. (1861-1927)</text>
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                <text>George Simmons Coe Jr. was a banker in Englewood. &lt;br /&gt;&lt;br /&gt;His brother was Louis Coe. He was the son of William P. Coe. His uncle was George Simmons Coe Sr. He married Grace Simpson Brown Coe who was involved in local women's clubs. He had at least one daughter, Caroline.</text>
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                <text>"George S Coe in the 1900 United States Federal Census." &lt;em&gt;Ancestry&lt;/em&gt;.</text>
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                <text>"Vote No On Item." &lt;em&gt;The Record, &lt;/em&gt;16 Feb. 1927, p.6.</text>
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                <text>"Mrs. Grace Coe." &lt;em&gt;The Record&lt;/em&gt;, 6 Apr. 1949, p.2.</text>
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                <text>Ludder, Rachelle</text>
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              <text>"&lt;a href="https://www.findagrave.com/memorial/88232111/george_simmons_coe"&gt;George Simmons Coe&lt;/a&gt;." &lt;em&gt;Find A Grave.&lt;/em&gt;</text>
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                <text>Coe, George Simmons, Sr. (1817-1896)</text>
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                <text>George Simmons Coe was the president of the American Exchange Bank and a resident of Englewood Cliffs. He became the president of the National Bankers Association in 1881. He was also the treasurer of the Children's Aid Society. He acted as a director of the Mutual Life Insurance Company, the Fidelity and Casualty Insurance Company, and the Postal Telegraph Company. He was a trustee of the Board of Foreign Missions of the Presbyterian Church. He also was an advisor on finances during the Civil War.  &lt;br /&gt;&lt;br /&gt;His nephews were George S. Coe Jr. and Louis Coe. His brother was William P. Coe. He married Almira Stanley Coe in 1843. She passed in 1844 and Coe married Mary Emma Duryee Coe. He had five children.</text>
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                <text>"George S. Coe." &lt;em&gt;Buffalo Courier Express, &lt;/em&gt;4 May 1896, p.2.</text>
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                <text>"&lt;a href="https://www.findagrave.com/memorial/88232111/george_simmons_coe"&gt;George Simmons Coe&lt;/a&gt;." &lt;em&gt;Find A Grave.&lt;/em&gt;</text>
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                <text>Ludder, Rachelle</text>
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&#13;
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                <text>&lt;div&gt;

&lt;/div&gt;
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&lt;p&gt;Peter Coyote (born Robert Peter Cohon, 1941) is an American actor, writer, narrator, and cultural figure whose career spans more than five decades across theater, film, literature, and documentary media. His work is distinguished by a sustained engagement with American countercultural movements, a commitment to political critique, and a later-life turn toward Zen Buddhist practice and philosophical inquiry.&lt;/p&gt;
&lt;p&gt;Coyote first came to prominence in the San Francisco counterculture of the 1960s, most notably as a central member of the Diggers, a radical street-theater and anarchist collective that merged performance, direct action, and anti-capitalist critique. The Diggers’ interventions—free stores, guerrilla theater, communal experiments—helped shape the political and aesthetic sensibilities of the Haight-Ashbury era. Coyote’s participation placed him at the intersection of art, activism, and alternative social organization, themes that would echo throughout his later work.&lt;/p&gt;
&lt;p&gt;Transitioning into film in the late 1970s, Coyote established himself as a character actor of intellectual authority and moral ambiguity, frequently cast in roles that balance institutional power with underlying ethical complexity. His filmography includes prominent performances in &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;E.T. the Extra-Terrestrial&lt;/span&gt;&lt;/span&gt; (1982), &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;Jagged Edge&lt;/span&gt;&lt;/span&gt; (1985), &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;Bitter Moon&lt;/span&gt;&lt;/span&gt; (1992), and numerous independent and international productions.&lt;/p&gt;
&lt;p&gt;Perhaps most significantly, Coyote has become one of the most recognizable voices in contemporary documentary culture. His distinctive vocal presence—measured, resonant, and rhetorically restrained—has made him a primary narrator for &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;Ken Burns&lt;/span&gt;&lt;/span&gt;, PBS, and major historical documentary projects. Through this work, he has contributed to the shaping of public memory and national historiography, particularly in films on subjects such as the Vietnam War, American presidents, and major cultural movements.&lt;/p&gt;
&lt;p&gt;As an author, Coyote has produced two memoirs, &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;Sleeping Where I Fall&lt;/span&gt;&lt;/span&gt; (1998) and &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;The Rainman’s Third Cure&lt;/span&gt;&lt;/span&gt; (2015), both of which offer reflexive, literate accounts of his experiences in the counterculture and his later philosophical development. These texts are valuable primary sources for scholars of the 1960s, communal movements, and American spiritual history.&lt;/p&gt;
&lt;p&gt;A committed Zen Buddhist, Coyote was ordained as a priest in the Soto Zen tradition. His spiritual practice informs both his public persona and his written work, providing a lens through which he reinterprets earlier experiences in activism, addiction, and artistic life. Taken together, Coyote’s career constitutes a unique case study in the interrelation of countercultural politics, media performance, narrative historiography, and spiritual inquiry in late-20th- and early-21st-century American culture.&lt;/p&gt;
&lt;p&gt;Growing up in &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;Englewood&lt;/span&gt;&lt;/span&gt; during the 1940s and early 1950s left a profound mark on Peter Coyote’s identity, worldview, and early understanding of race, community, and belonging. He remembers Englewood as a place of trees, woods, and freedom—a landscape that offered a “be back before dark” kind of childhood. Yet the most significant influence came from the people who raised him.&lt;/p&gt;
&lt;p&gt;From ages three to fourteen, Coyote was essentially brought up within a Black community. His family’s housekeeper at 90 Booth Avenue, Sue Howard—an 18-year-old Black woman sent by his aunt to stabilize the household during his mother’s breakdown—became his primary caregiver. Sue, her boyfriend Ozzie, and their friends created a kitchen filled with laughter, gospel music, and emotional warmth, in sharp contrast to the isolation of his birth mother in the next room. This environment shaped his early emotional life and gave him a deep sense of comfort and connection with Black culture.&lt;/p&gt;
&lt;p&gt;Englewood also taught Coyote about race and exclusion. He saw firsthand how Sue Howard was treated as a Black woman in public spaces, and he experienced his own form of outsider status as a Jewish child in the 1940s, when Jews were not considered fully “white.” He was barred from the local country club except as a limited guest, giving him an early sense of social marginality.&lt;/p&gt;
&lt;p&gt;His school experiences reflected the town’s segregation. At the elite all-white Boys’ School he felt uncomfortable, eventually failing out and transferring to &lt;span class="hover:entity-accent entity-underline inline cursor-pointer align-baseline"&gt;&lt;span class="whitespace-normal"&gt;Dwight Morrow High School&lt;/span&gt;&lt;/span&gt;, which was racially diverse and where many of his friends from the Fourth Ward attended. This environment felt more like home. In 1958 he brought a Black girl to the junior prom, defying social expectations—an early expression of the rebellious moral independence that would later define his activism.&lt;/p&gt;
&lt;p&gt;Englewood’s physical landscape did not strongly shape Coyote’s relationship to American history, but the social landscape—its racial divisions, its communities, and its injustices—left lasting emotional and ethical imprints. The warmth of Black domestic life, the sting of exclusion, and the realities of segregation formed the backdrop against which he later developed his political consciousness, countercultural commitments, and storytelling sensibility.&lt;/p&gt;
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                <text>Peter Coyote at Durell Vineyard, Sonoma, on the occasion of 10 Years Project Coyote, April 2019</text>
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