The Coming Energy Revolution

July 31, 2001
Return of the Dove, Zero Point Energy, and the Citizens Peaceful Energy Plan/1998:
By the “Return of John Brown and Davey Crockett”

A little over a year ago, I featured a writing here on this web site called “Return of the Dove” . It tells of my experiences with three events between the time periods of April,1998 and the Spring of 2,000. Although most of the story deals with my experiences with the “Great Experiment”, it also mentions my affiliation with a group from Maryland University concerning a “political-environmental-social” event called the “March for Peaceful Energy” (MFPE). Within the planning for this event, the core group of organizers which included myself, a man named David Crockett Williams, and members of D.C. Solar, wrote a petitional document called the “Citizens Peaceful Energy Plan” (CPEP). This was done as a counter-active move on behalf of the citizens of the United States who were opposed to the present Energy Plan presented by it’s government as well as the growing concern over global warming and the contributions of fossil fuel emissions to the greenhouse effect. Another main motivator behind the movement, and the call for a national alternative energy plan, was the desire for long term world peace.

In 1998, the intent of CPEP was to present a viable alternative to this country’s centralized energy system based on fossilized fuels of coal, oil, and nuclear power (which relies on the mining of Uranium). At the time, the national DOE plan under the Clinton administration was called CNEP, the Comprehensive National Energy Plan. Also at the time, the citizens of this country had little reason to pay attention to such matters as the economy and stock market roared to all time highs and fuel was plentiful and cheap for the most part. The March for Peaceful Energy and the Citizens Peaceful Energy Plan seemed to most as a ’cause out of time”. Now, just three years later, the current energy crisis in California and other parts of the world, as well as growing concerns over the reality of global warming, present a different scenario. This, as well as the irresponsible approach to the energy issue under the new Bush administration, as well as it’s ignorance in regards to the 1997 Kyoto Protocol, has prompted current grave concerns for both our immediate and long term future.

It all goes much deeper than the type of ‘energy” we talk about when it comes to filling our gas tanks, heating our homes and providing our electricity. Energy also has to do with the fundemental, living essence of all things, consciousness. My involvement in the events beginning in April of 1998 with a ‘world-wide meditation and prayer” event, to a political and social event as the “March for Peaceful Energy” in Washington, D.C. had everything to do with the my subsequent involvement with energizing “geomantic telluric activations” (see glossary ) in the Sierra Mountains in the Spring of 1999 and in the Joshua Tree desert in April of 2000. Simply put, “Energy is Everything..and Everything is Energy”. This relationship between consciousness and energy has been slowly gaining understanding through current scientific discoveries, along with recognition of past contributions from the likes of people like Nickola Tesla.

Zero Point Energy: Welcome to the coming “Energy Revolution”.

The following transripts were taken from the organizational communications for the March for Peaceful Energy in 1998 as well as the final draft for the Citizens Peaceful Energy Plan. What will follow after these transcripts on the second page, will be a proposal for a current “redrafting” of the CPEP document, as well as other current planned events for this year concerning energy,..and peace.

\ILLEGALK\ 11MAY98 “ILLEGAL KNOWLEDGE CAN SOLVE ENVIRONMENT CRISIS” (p1of4) by David Crockett Williams, Global Emergency Alert Response, 805-822-3309

A modern scientific revolution began quietly one Santa Barbara day in 1979 when a local inventor demonstrated his free-energy generator to US DOE (Department of Energy) representatives. The late Bruce DePalma’s “n-Machine” discovery inspired a new genre of energy technology to replace nuclear and fossil fuel power but Federal secrecy orders and intellectual inertia have so far prevented its commercial development. Until last month when this technology was noted in the new National Energy Policy Plan on page 55 of the DOE’s Comprehensive National Energy Strategy (CNES), the first revision in national energy policy since 1992, in response to the DEC97 Kyoto Protocol for reducing energy industry carbon dioxide emissions to address global climate change.

The problems of the greenhouse effect, ozone layer depletion, acid rain, and the dangers of nuclear power and waste are all solvable by widespread implementation of these new technologies, according to the authors of two new books on the subject which feature DePalma’s research, “The Coming Energy Revolution” by journalist Jeane Manning and “Miracle in the Void” by former NASA scientist/astronaut and physics teacher Dr. Brian O’Leary who was also the science and energy policy advisor to four US Presidential candidates. Manning also explains that, after that DOE 1979 visit to Santa Barbara, a Federal secrecy policy was discovered under the Freedom of Information Act by the Federation of American Scientists, a policy in which these free energy inventions are ordered secret by the US Government under authority of Title 35, US Code, sections 181-188, because of “national security” concerns about “dual-use” inventions with potential military applications. At the same time these new energy technologies have also been branded “illegal” as “violating the laws of physics” by closed-minded “mainstream” scientists whose professional positions have influenced public opinion and stonewalled their development (at the time of the invention of the airplane, most scientists thought that heavier-than-air aircraft would violate the “law of gravity”).

Physicists at UCSB have gone on record consistently since 1980 against DePalma’s results. For example, the first Director of UCSB’s national Institute for Theoretical Physics, and a prominent board member of the Nuclear Age Peace Foundation, has rejected their investigation repeatedly. First saying that, being a theoretical physicist, he had never even been inside of a physics laboratory so he could not comment at all on DePalma’s results. Then after reviewing the verification of DePalma’s n-Machine tests done in 1986 by Stanford electrical engineering Professor Emeritus Dr. Robert Kincheloe, he dismissed the results as “inconclusive”. When presented with the work of Dr. Paramahamsa Tewari of the Government of India’s Nuclear Power Board, which verified DePalma’s tests, Dr. Kohn said he was “not interested”. Quoted in the August 14, 1986, issue of the Santa Barbara Weekly, former chairman of the UCBS Physics Department Dr. Daniel Hone alternately called DePalma’s claims a hoax and then a simple misunderstanding of Faraday’s principle of induction. During this same time period eleven different members of the 99th US Congress introduced legislation to grant a patent to another free-energy inventor, Joseph Newman of Mississippi, to overcome a Patent Office that wouldn’t give him a patent because his invention, although proven, “violated the laws of physics”. Then on January 21, 1987, Santa Barbara Congressman Robert Lagomarsino introduced another such bill, H.R.716, again unsuccessfully, into the 100th Congress.

Yet other evidence exists that the Federal Government has been secretly developing these technologies for military purposes, through research contracts with universities and industry, while withholding it from the public. In the June 15, 1981, edition of Satellite News the n-Machine invention by former MIT engineering instructor and Polaroid Senior Scientist Bruce DePalma was touted, as a superior power source for satellites, by former astronaut Dr. Edgar Mitchell, by former chief of strategic planning for AT&T Dr. George Ainsworth-Land, and by University of Colorado physicist Adam Trombly. Trombly is a record-IQ multi-disciplinary scientist (following the synergistic global view advocated by his mentor R. Buckminster Fuller) who from NASA space probe planetary measurements became aware of the source of the n-Machine’s energy as the “zero point quantum dynamic energy of vacuum space”, as it is referred to on page 193, section AF 86-87, subsection 6, of the fiscal 1986 Department of Defense Program Solicitation request for research efforts in this field. This is the energy field in all of empty space predicted to exist at absolute zero and determined in 1963 to be on the order of ten to the ninety third power grams per cubic centimeter energy equivalent, based on the calculations of John Archibald Wheeler, the prominent US theoretical physicist who finished the H-bomb project and is credited with the development of the neutron bomb and the breeder reactor. This is the same zero point energy field which is the subject of the 1987 paper published in “Physical Review D” by former Stanford Research Institute physicist Dr. Harold Puthoff of the Institute for Advanced Studies in Austin, Texas. After finding out about the n-Machine Trombly and an associate developed an improved model receiving an international patent for this Trombly/Kahn closed path homopolar generator in 1982 (#W082/02126) which was promptly gagged by US secrecy order after Trombly visited the naval submarine laboratory in Connecticutt and found them working there on this generator for submarine propulsion (Michael Faraday, who discovered the principle of induction at the basis of all of our electric power technology today, also in December 1831 recorded his baffling discovery of the homopolar principle that DePalma independently rediscovered and proved could tap into this energy field inherent in the space in which matter resides). With another colleague, David Farnsworth, Trombly developed a superior solid state device of “500% efficiency” (5x over-unity) in 1989 which he has been trying to manufacture. In May of 1997 Trombly said he has so far survived 47 assassination attempts over this technology which threatens current energy industry monopolies. By the mid-1980’s rumors started surfacing that the n-Machine was being secretly developed by the DOD for satellite weapons. In Congressional testimony for budget requests in 1985 the chief scientist of the Strategic Defense Initiative, Dr. Yonas, testified that the homopolar generator was one of SDI’s “critical technologies” requiring research funding. Reports came in that it was being used in the “rail-gun” satellite weapon and within about five years later a space shuttle live TV camera showed this weapon firing on unidentified moving objects in Earth’s atmosphere in footage shown again on television recently. Dr. Wheeler’s publishing quote is featured on the back cover of the 1996 book “Physics of Free Power Generation” by Dr. Paramahamsa Tewari, formerly of the Government of India’s Nuclear Power Board, who has since 1987 acknowledged the collaboration of DePalma and of Wheeler in the development of Tewari’s version of the n-Machine he calls the Space Power Generator which O’Leary and Manning write about in their books. It was Edgar Mitchell who in November of 1980 relayed to DePalma a threat on his life attributed to the CIA which deeply affected DePalma’s work and led to his expatriation a few years ago to New Zealand where he died October 3, 1997. In the Fall of 1983 DePalma gave a series of three lectures at UCSB on the n-Machine and his earlier experiments documenting unsuspected influences of rotation on the gravitational and inertial properties of rotating objects. The only UCSB employee to attend, the head of the Physics Department machine shop, expressed keen interest and vowed to “do something with this”. A few years later, after UCSB had been hired to help US development of the free electron laser, in 1987 DePalma spoke of his work on KTMS radio and afterwards got an anonymous but believable phone call from “an old physicist here in Santa Barbara” who asked “did you know that your generator is being secretly developed by UCSB under contract to the US Army?”. In January 1990 DePalma explained at a panel discussion at UCSB that the secrecy agreements signed by government contracted researchers authorize the use of deadly force if the researcher reveals details of what he is working on for the government. If this means they cannot even acknowledge such an agreement exists, without risking their lives, how can we ever know details of UCSB’s complicity in this mess?

Recent events, especially the inclusion of the n-Machine reference in the CNES, indicate a possible loosening of government secrecy on these matters. Several scientists, including Dr. Kincheloe, came to UCSB for the June 1, 1997, free energy briefing for the science advisor to His Holiness Dalai Lama, Dr. Robert Livingston, professor emeritus of neurosciences at UCSD and former national president of Physicians for Social Responsibility. As a result, His secretary enthused His Holiness’ interest in these results consistent with Buddhism’s conception of “the void” and one scientist with previous government research and secrecy experience began intensifying his lobbying efforts to get Federal secrecy requirements relaxed for data over six years old, out of his knowledgable concern for weapons applications of this new physics in which potential US enemies have an advantage. From these lobbying efforts a phone call was received in Santa Barbara at midnight on June 10, 1997, as an alert to tape the June 11th ABC News “Good Morning America” segment about Dr. James Patterson’s Power Cell free energy device which also neutralizes radioactive material. This device is classified as a “cold fusion” device and was featured at the June ’97 annual conference of the conservative American Nuclear Society where it will again be discussed June 8-11, 1998. Dr. Livingston was given an extra set of the compiled briefing research reports, including a copy of Tewari’s book, for him to give the next day to his old friend, Dr. Kohn. At the briefing, long time electronics industry test engineer Walter Rosenthal, from Santa Maria, impressed even the skeptics with testimony about his successful testing of free energy devices.

By now the accumulated body of knowledge in this new science field, coupled with the imperative to address our global environmental emergency that threatens life on Earth, is bringing us closer to fruition of these free energy technologies. The CNES was inspired by the Kyoto protocol to reduce US energy industry carbon dioxide emissions over the next ten to fifteen years to a point 7% below 1990 levels, which represents about 13% below the present levels that are projected to increase by at least 20% over the same period. This 33% disparity between goal and projection seems impossible to reconcile without rapid implementation of free energy technologies. The US Senate has already indicated it will not ratify the Kyoto treaty on climate control without the participation of third world countries like China and Mexico who are balking at any commitment, citing economic inability. What better solution than for California and the US to take lead in developing these new technologies to implement domestically and sell globally to help all countries reduce greenhouse emissions. Presently the dominant alternative is more nuclear power plants which Japan, China, and India are pursuing while the Ukraine prepares to fire up the only operational nuclear reactor left at Chernobyl after one blew up in 1989 and one was ruined by fire in 1991.

It is very clear that drastic emergency actions are necessary to resolve this environmental crisis. The global warming from the greenhouse effect is altering the global climate with more devastating storms, droughts and fires. According to Project Earth, 70% of current rates of destruction of rainforests is from fires, some of which are still burning since last year! Besides carbon dioxide emissions from the energy industry, the greenhouse effect is exacerbated by the destruction of the trees that normally produce oxygen and consume carbon dioxide, especially when the trees are burned up consuming oxygen and releasing carbon dioxide. In addition, the effect of the reduction in atmospheric oxygen from combustion of fossil fuels (and trees) combined with the deforestation of the trees that produce oxygen has produced an oxygen crisis that is largely responsible for the depletion in the protective ozone layer. Project Earth computer modeling presented on July 31, 1988, by Adam Trombly, predicted 1998 as a “point of no return” whereafter, if solutions are not implemented this year, we may lose all the phytoplankton in the oceans from lethal levels of solar radiation penetrating the depleted ozone layer by the year 2008. Phytoplankton are not only the beginning of the oceanic food-chain but supply over half of Earth’s oxygen production. In 1991, Dr. Susan Weiler, executive director of the American Society of Limnology and Oceanography, said that the growth of phytoplankton had already been found to be severely retarded — as much as 20 percent in some cases — in water beneath areas where the ozone layer has been damaged, and so eventually impacting the availability of fish and seafood. Lately, reduction in fishing harvests have been so severe that the White House is convening an Ocean Summit in Monterey, June 11-12, 1998.

This all means that carbon dioxide emissions must not just be reduced but they must be reversed by some method to reduce overall atmospheric carbon dioxide and, more importantly, to dramatically increase atmospheric oxygen to replenish the ozone layer whose delicate chemistry (ozone is created by sunlight acting on oxygen), is severly hampered by atmospheric pollutions such as chlorine and halogenated hydrocarbons. This is the driving imperative for the implementation of the free energy technologies by a “crash program” analogous to the Manhattan Project or the Apollo Project, as recommended by Dr. O’Leary whose book explains that this could be accomplished with a budget on the order of $100 million per year. The Federal budget surplus this year is projected to be $43-63 billion, and for fiscal 1999 beginning October 1st, $30-40 billion. Even the State of California is projecting a 1998 budget surplus of billions of dollars. Now this money is available towards this $100 milion annual budget, which only represents about twenty five cents per person in the US, to eliminate the need for nuclear and fossil fuel costs, pollutions and dangers.

What is the best method to actually reduce atmospheric carbon dioxide and replenish atmospheric oxygen? Like the free energy technologies, the other half of the solution is also illegal. According to the USDA, the most bioefficient plant produces four times more biomass per acre than other plants, including trees, (therefore consuming four times more carbon dioxide and producing four times more oxygen) and it could replace the need to cut trees for paper. This plant is the hemp plant which has been one of human history’s most valuable resources since time immemorial but it was outlawed in 1937, as “marijuana” by defrauding the US Congress and the American people. This fraud was perpetrated by fomenting racial hatred and outlawing hemp by its mexican slang name to prevent Congress and the people from understanding that it is the same hemp plant that was the very basis of the American economy since colonial times. The purpose of this fraud is to maintain the monopolistic business practices of the industries that would be threatened by its legalization. But to help solve our global environmental emergency we need a reversal in the US and global hemp policy in order to plant it everywhere possible to heal the atmosphere. This would be practical only because of its exceptional economic value for the overall majority of Earth’s paper, fiber, food, fuel, medicines, chemical feedstocks, composite construction materials, etc. (see “Hemp and the Marijuana Conspiracy: The Emperor Wears No Clothes”, by Jack Herer). For more information on the free energy technologies, one may also see the new video “Free Energy: The Race to Zero Point” (800-795-TAPE), or visit , , and . I will be tabling on these issues at UCSB’s Harder Stadium Extravaganza, Saturday May 16th, and speaking at the California State Capitol May 28th.

Date: Tue, 1 Sep 1998 08:12:08 -0700 (PDT)

September 1, 1998
For Immediate Release

D.C. Solar
University of Maryland

WHO: Citizens respond to DOE’s 1998 CNES

WHAT: 1998 March for Peaceful Energy (MFPE)

WHERE: Washington, DC, Lincoln Memorial to U.S. Capitol Mall Rally

WHEN: October 24, 1998 United Nations Day
“UN International Year of The Oceans”
“UN International Decade of the World’s Indigenous Peoples”

WHY: To affect implementation of the 1998 Comprehensive National Energy Strategy (CNES) that President Clinton has submitted in Congress for $6.3 billion funding to ameliorate global warming pursuant to last December’s Kyoto Protocol

Employing a global internet campaign for a Citizens Peaceful Energy Plan, grassroots organizers headed by University of Maryland students are determined to help President Clinton pass legislation to implement his “Million Solar Rooftops Initiative” and the “New Energy” technologies to replace nuclear and fossil fuel power and to neutralize radioactive wastes. Hemp activists are joining in to champion a National Hemp Reform Act for cheap non©polluting biofuels and to heal the atmosphere by reducing carbon dioxide to reverse the greenhouse effect and increase oxygen to repair the ozone layer. All are concerned about the lethal threat posed to the oceanic phytoplankton by ozone layer depletion and the oppression of indigenous peoples by current energy industry policies. Speakers will include William Thomas, author of Proposition One, now in Congress as HR©3750 Nuclear Disarmament & Economic Conversion Act sponsored by DC Congresswoman Eleanor Holmes Norton, and chemical physicist David Crockett Williams, a 1996 Independent Candidate for United States President.

—————- ==================
Washington, DC: October 24, 1998 and October 24, 1999
Contact: Richard Lasken
(for regularly updated info see )

Gathering before noon at the Lincoln Memorial, proponents of the “Resolution for a Citizens’ Peaceful Energy Plan (CPEP)” will march at Noon, Saturday, October 24, 1998, United Nations Day, to a 1 PM afternoon rally at the Nation’s Capitol Mall (between 3rd & 4th) to promote their resolution to Congress and the DOE in a grassroots effort to end wars, terrorism, and oppression of indigenous peoples over energy resource exploitation, to promote clean energy technologies to replace nuclear and fossil fuel technologies, and to foster global peace through a New Energy policy, delivering the Citizens Peaceful Energy Plan (CPEP) to government representatives and media. This event will be broadcast over the internet. This year’s event is to mobilize communities around the world to conduct local Marches for Peaceful Energy culminating with a larger MFPE event in Washington, 24OCT99. CPEP endorsements will be gathered during the year in person and over the internet. This year’s event will initiate a global “Power Down for Peace” ceremony designed to unite millions of people in solidarity with CPEP and “Global Peace Now!” as a universal human resolve. Participants everywhere will switch off electricity at once for a period of time in a show of respect and love for our Mother Earth, challenging consumerism and environmental poisoning.

Speakers will address enery conservation and the advantages of alternative and renewable energy technologies, such as solar (including the Million Solar Rooftops Initiative), hemp biofuels, and the newly recognized potential of Zero Point Energy (ZPE) technology as the Holy Grail of energy research (see DOE letter), as discussed in the new national energy policy plan, Comprehensive National Energy Strategy (CNES), produced this year by DOE and now in Congress for implementing legislation to address global climate change as mandated by last December’s Kyoto Protocol. The event will conclude with a musical “Celebration of Peaceful Energy”.

This year, 1998, has been proclaimed by the United Nations as the “International Year of the Oceans” and is the fifth year of the UN “International Decade of the World’s Indigenous Peoples”. Speakers will also discuss how CPEP will ameliorate the threat posed to the oceanic phytoplankton (over half of Earth’s oxygen supply) by the fossil fuel combustion of oxygen that is exacerbating ozone layer depletion. The adverse impact of current energy policy on indigenous people will also be discussed, such as coal and uranium mining in places like the Black Hills of South Dakota and on the Black Mesa of Arizona that is causing the Big Mountain relocation, and the dumping of nuclear waste in Nevada in violation of the Ruby Valley Treaty while new Low Energy Nuclear Transmutation (LENT) technologies have now become available to neutralize radioactive wastes where they are created (as reported again this year to the annual meeting of the American Nuclear Society and slated with ZPE for research and development by the Department of Energy).


WHEREAS, the present global energy policies exploiting coal, oil and nuclear technologies may be contributing to tensions leading to wars and terrorism as well as oppressing indigenous peoples, and

WHEREAS, present fossil fuel combustion of oxygen and production of carbon dioxide may be contributing to global warming and ozone layer depletion, and,

WHEREAS, the pollutions and dangers of nuclear and fossil fuel power technologies may threaten the health of life on earth with such things as nuclear waste, acid rain, air pollution, etc., and,

WHEREAS, according to the new US national energy policy plan, CNES Comprehensive National Energy Strategy, alternative technologies are available which can effectively ameliorate these problems while increasing America’s energy independence, furthering global peace,


1) Implemention of the “Million Solar Rooftops Initiative”, with special attention to solar assisted air conditioning for the poor in the sunbelt and to MSRI contributions to the electicity grid,

2) Special tax incentives on renewable energy technologies,

3) A ban on new construction of nuclear power plants and a resolve to shut down existing plants in a timely manner,

4) Special funding on the order of $108 million per year for a “crash program” to rapidly research and develop both the promising new Zero Point Energy (ZPE) technologies alluded to in a DOE letter as the Holy Grail of energy research, and the Low Energy Nuclear Transmutation (LENT) technologies to neutralize radioactive wastes,

5) Allocate funding for an accelerated public education campaign about the ecological and economic benefits of energy conservation, electric vehicles, hybrid vehicles, and other alternative and renewable energy technologies including simple mechanical adjustments to allow gasoline and diesel engines to run on non© polluting biofuels as they were originally designed,

6) Implementation of a new energy strategy to prevent the US from ever going to war again over oil supplies and to stop oppression of indigenous peoples from imposed mining and waste dumping,

7) Urgent agriculture reforms, to foster rapid reduction of atmospheric carbon dioxide levels to reduce the greenhouse effect and increase atmospheric oxygen to help replenish the ozone layer,ï including a National Hemp Reform Act for the relegalization and recommercialization of the hemp plant for biofuels, to save the trees, and to heal the atmosphere in a revival of the USDA’s 1941 “Hemp for Victory” program to affect the widespread cultivation of this extremely bioefficient and useful plant (for the overall majority of Earth’s paper, fiber, food, fuel, medicines, chemical feedstocks, and composite construction materials,) by ending the fraud on the Congress and the people whereby in 1937 this historically valuable plant has been outlawed as “marihuana”. This is not an advocacy of using this plant as a drug.

For this, and all the before mentioned statements of intent and purpose, we urge you to sign this document empowering you as not just a citizen of the United States of America, but as a citizen of the planet Earth.

SIGNED: X____________________________________________________
(contact info:_________________) ( ) will help for 10/24/98-9

Part 2 of this update to be posted shortly, including a proposal for an updated draft of a Citizens Energy Plan in order to petition the current administrations energy policies and to press for alternative energy sources. Part 2 will also list related events coming up during the rest of 2001, including a Jerusalem Peace walk in December. Please stay tuned for further details and information.


49 Water Street – 1729 Accounting House



Newburyport; A Contemporary Perspective

Spirit of Newburport Gallery
Historical Perspective
‘1729 Counting House’

Digital StillCameraThe building that originally housed the ‘Spirit of Newburyport’ Gallery in 2006 was built in 1729 out of recycled ship mast, when Newburyport was still part of the ‘Newberry Plantation’. The three and a half story frame still exhibits the exposed hand hewed beams, complete with original hardware and sail riggings. It is one of the very few remaining original testaments to Newburyport’s rich merchant and shipbuilding history. In the late 18th and early 19th century the second floor was used as counting offices for recording imports and sea logs. The third floor was designed for a sail loft with its 25’x 60’ open space. Some of its wide wooden planked floors are just shy of the 24 inches required for ‘Captain’ Houses.


marycushingpenink4_72_w7o0_g9pi_4lmuThe pen & ink drawing on the left depicts this site (Currently the Newburyport Harbor Marina) as it appeared in 1883 and what was then known as ‘Cushing’s Wharf’. It’s owner, John Cushing Jr, was a prominent Newburyport merchant and brother to one of Newburyport’s most celebrated citizens, Caleb Cushing. The Cushing House Museum is located on the corner of Fruit and High Street. Referred to as the ‘Caleb Cushing House’, it currently exhibits the family’s artifacts. It is also the home of the Historical Society of Old Newbury. Caleb Cushing was Newburyport’s very first mayor and went on to be United States Attorney General and United States Ambassador to China. The last merchant ship built on the Merrimac was docked right here at her home pier and named after John Cushing’s wife, the ‘Mary L. Cushing’ also depicted in picture above in 1883. Mary Cushing’s maiden name was Mary Brown, relative of Laurence Brown, Captain of the Mary L. Cushing. The back of this ‘counting house’ which currently houses the ‘Spirit of Newburyport Gallery’ is also shown in the picture with a ‘Sail Loft’ sign clearly imprinted on its side. Directories indicate that Charles Currier owned a sail loft at Cushing’s Wharf between 1850 and 1868. After his death, his son continued to make sails in the building until 1884.

The picture was drawn from a famous original photograph in the ‘George Noyes collection’ used in Robert K. Cheney’s book, ‘History of the Merrimac; Shipbuilding’. Even though the privateer and shipbuilding ways of the Merrimac River were to soon change, the Cushing family continued to own the wharf until at least 1924. An 1888 Sanborn map indicates that the building was used as a molasses warehouse. By 1914 the building was being used to store coal and wood as part of J.H. Balch’s coal yard.

portpotters4_72.jpgThe next picture to the left depicts the property as it appeared in the late 1950’s when it housed ‘Port Potter’s’ and ‘Narrow’s Gun’ shop. A retail concrete attachment was added to the main building in 1950. During Newburyport’s revival and restoration period of the 1970’s, the house underwent extensive interior refurbishing, but the core structure of the recycled ship mast beams and wide planked floors remained in tact. An antique shop inhabited the building in the late 1990’s and in 2006, artist/photographer John W. Brown opened the ‘Spirit of Newburyport’ Gallery and Gift Shop.

John has moved on to other ventures with his work, and although a bit crooked and worn, its wooden planked floors bearing the marks of almost three hundred years of craft and industry, this building continues to stand as a testament to self and American made values while honoring not only the tradition of local economic contributions to Newburyport, but to those that built America.

Please read more about this building in the ‘Liberator’s – A Case in Point‘, article.

Newburyport; A Contemporary Perspective

A Case in Point?

By Jim Roy – Newburyport Liberator

September 26, 2008


Another downtown vacancy recently caught our eye, the art studio of Jon-William Brown down at 49 Water Street, which is sandwiched between Bennett & Co. properties, and with Starboard Galley on one side and (eventually) the Custom House Museum on the other.  Jon, as many art lovers know, has been doing Newburyport-based prints for several years now, many featuring maritime motifs and renditions of our superb period architecture. The new annex of the Essex Street Inn, for example, is almost totally decorated with his work.

His shop, The Spirit of Newburyport, was located in a concrete block annex that backs onto Merrimack Street. (You may recall that he had one of those dreaded, despicable, and now outlawed A-Frames out on the sidewalk.) Old-time hippies will remember this as the former home of Port Potters. Jon lived in the 3-story clapboard building that is attached to the shop, and which faces the river. He was flooded out of there in 2007 when the Merrimac went on one of its famous rampages, but he regrouped and moved back in..

We noticed, walking old Willie down by the water a few weeks ago, that the whole complex was empty. No Jon-William Brown, no tenants, no nothing. The older building has gone seedy on the outside these last few years: paint peeling, windows rough and ready, missing clapboards, exposed framing, a general air of dilapidation. Just the kind of dump, most people might imagine, that should be bulldozed. Being naturally curious, we decided to track Jon down to see what was what. And a tale of woe it turned out to be!

49 Water is a Karp property, formerly owned and managed by the Legasses. While attention seems focused right now on Karp’s Waterfront West, the “run silent, run deep” aspect of New England Development’s interest in Newburyport also extends to Waterfront East. If Bennett & Co. sell out to NED (we believe their property is currently for sale), Steve Karp will be the major property owner “here” as well as “there.” Is there anything along the waterfront that he won’t own?

Brown originally had no idea about the provenance or history of 49 Water, but physical characteristics about the clearly older part of the complex intrigued him. The big open space on the top floor (25’ x 60’), the antique hand-hewn beams, the wide floor boards, the mix and match aspect of its construction. He decided to do some digging and, as is so often the case, he ended up knowing more about this place than anybody else in town.

In future issues we will print some of the fascinating material that John turned up, but for the moment, digest this: the building was built in 1729 out of (essentially) the flotsam left over from ship building, viz. assorted timber pieces, masts, shorts, irregulars, and so on. The top floor was a sail loft for both origination and repairs between at least 1850 and 1884; the second floor, a counting office where manifests, account books, billing invoices, and the usual flow of paperwork associated with any business was churned out, digested, and filed. The enterprise in question here was both ship building and merchant affairs in general, and the families involved were the very pillars of Newburyport society, most notably the Curriers and Cushings.

The owner of 49 Water was John Cushing, a notable trader, whose half-brother, Caleb, was not only the Clipper City’s first mayor, but also an America ambassador to China. By the way, he was the nation’s Attorney General for a while as well. A much-beloved old photograph of the Newburyport waterfront shows the last square rigger constructed in our city (named, what else, the Mary L. Cushing), tied up at Cushing’s Wharf, and 49 Water is there, in the right-hand corner. As we hope most people know, the stately brick town house at 98 High Street, headquarters to our venerable historical society, was built by the Cushings in 1808.

Jon Brown thought he saw gold in all of this, a tremendous resource for the city that might, if tied together with the Custom House Museum, the Newburyport Preservation Trust, and the Cushing House, be parlayed into a tremendously attractive tourist package and attraction. “I was blown out of the water by the possibilities,” he told NLib in an extensive interview. “I would often sit up there in the loft, looking out the window, and I’d say boy, the sail makers, the craftsmen that were here before me, they were important people in the whole chain of events that led to making Newburyport the important city it was. And yet, they are largely unknown to us today, even though what they did down on the waterfront was the origin of the obvious wealth we see on High Street. I was pretty amazed that no one around here had really made that connection, and yet here I was, an amateur historian, and I was putting the dots together.

“You look at the career of Caleb Cushing, and he was one of the truly important figures in American history. His rise to prominence was a direct result of what was going on at 49 Water Street. The merchant trade established here by his family, right there at Cushing Wharf, allowed them to flourish, allowed them to establish their careers well beyond the boundaries of Newburyport. Caleb was an attorney general of the United States, an ambassador to China when we were opening trade in the Far East, and held lots of other important positions as well. They built their mansion on High Street and walked to work to Cushing’s Wharf. It’s a direct connection to where I lived, and people should be aware of it.” But then, as fate would have it, Jon-William Brown’s life began to unravel.

We won’t go into the gruesome medical details, but Mr. Brown came down sick. Beginning in October of 2007 and continuing on for some 7 months of excruciating uncertainly, he wondered if his own “ship” might be leaving port. Luckily for him (and those of us who admire his work) he came out alive and well, but his earnings took a tremendous hit and he fell behind on his rent … seriously behind. In the old days, we think, some accommodation might have been reached that might have allowed him to stay. Indeed, offers of a settlement were made and exchanged at several junctures during his tumultuous stewardship of 49 Water, but the end result – for whatever reason – is a now empty building. Jon Brown is out, he still owes money to New England Development, and in all probability his vision for that spot of land is now extinct.

Too much can be read into the background of all this, but one conclusion seems eminently possible. The notion of a Historic Marine District, the centerpiece of Brown’s vision, is not something that a New England Development (or any commercial entrepreneur interested in the bottom line) might see as beneficial to its own business plan. Despite all the question marks and uncertainties that were presented by Karp back in March when he presented his exceedingly vague version of Waterfront West-To-Be, we feel he knows exactly what he wants. Ditto for Waterfront East. We don’t think New England Development was ever afraid of Jon Brown or his waterfront scheme, we just feel it was more convenient for them that Brown move elsewhere, and take his ideas along with him. Plus the fact, of course, that he owed them a lot of money and no one likes being in that position vis-à-vis tenants.

Our feelings on this issue are plain. The old sail loft is one of the few manifestations left on the waterfront of Newburyport’s 19thc glory days. True, we have the end results of that era all over town in our magnificent ship captain’s houses, but as to the actual locus of what made these fortunes – the nuts and bolts of commercial life on the Merrimac – we haven’t a thing to point to. 49 Water, in Brown’s words, “may not be the prettiest building, it may not be a mansion on High Street, but in many important ways it was the foundation that was used to create the substantial wealth that came later.” The proverbial horse that pulled the cart.

We feel, with Jon-William Brown, that 49 Water is not some derelict that should be knocked aside in the name of progress. It is not a building that should be destroyed so that some boutique or condo might take its place. This is a genuine part of our history. No individual, and no company, should be allowed to remove it without a howl of public protest.


You can see the 19thc photo of 49 Water on p.46 of Maritime History of the Merrimac: Shipbuilding, by  R. K. Cheney (Newburyport Press, 1964) at the public library, or on Jon’s website at Also check out Mass. Historical Commission’s very interesting Reconnaissance Survey  Town Reports (reference to 49 Water — misidentified as # 51 – is on p. 14). Better yet, take a walk down to Water Street, check out the site yourself, and let us know what you think. And by the way, keep a lookout for Jon-William Brown’s artwork, which should re-emerge sometime, somewhere, in October.


In May, the first waterfront marina proposal, “Cushing Wharf Marina Village” was drafted;

Draft 050508
Preservation and Development Proposal
Cushing Wharf Marina Village’

Phase 1 – Historic Marine District

1. Establish an historical marine district consisting of the following properties;

  1. 45, 49, 51, 55, 61, and 65 Water Streetb. Custom House
  2. Lighthouses (Newburyport Front and Rear Range)
  3. Coast Guard Station
  4. Cushing Wharf (Newburyport Harbor Marina)

Phase 11 – Cushing Wharf Marina Village

  1. Connect to main waterfront boardwalk linking all registered marine related historical landmarks from the Custom House to the Coast Guard Station, creating the Cushing Wharf Marina Village. The village would then feature paid public access with guided tours of;
  2. Custom House Museum.
  3. Clipper Ship (i.e. Coast Guard, Friendship, Mary L. Cushing replica) to be seasonally docked at a Cushing Wharf dedication.
  4. Restored Range Lighthouses (including beacons), both Front and Rear.
  5. Restored Counting House and Sail Lofts at 51 and 49 Water Street creating;
  6. Cushing Wharf Museum, dedicated to the preservation and educational interactions of the Cushing Wharf Marina and its contribution to the Cushing House Museum and the Historical Society of Newbury.

Phase 111 – Marina Art and Anthropology District

  1. Creation of a SELF SUSTAINABLE Art and Anthropology District within the Marina Village to serve as a co-creative, living, interactive, exhibitive and educational center, dedicated to the historic and present contributions of Newburyport and America.

I ______________________, of ________________________

Do hereby support the initial drafting of the ‘Cushing Wharf Marina Village’ proposal and call upon all private and public entities for further evaluation
and implementation. ____ (Check) Please send additional information and updates.

Name: _______________________________________________________

Address: ____________________________________________________

Phone: ______________________E-Mail___________________________

Print this PDF file.

Newburyport; An American Perspective

For Review;February, 2006


Newburyport: An American Perspective

Update; August 22, 2018
This original presentation was in 2006.

‘A Contemporary Concourse – Where the Old Meets the New’


Collectable Stamp Made in the U.S.A.


‘Newburyport: An American Perspective’ is an evolving, multi faceted contemporary art and social exhibit developed by local visionary artist Jon-William Brown. It is aimed at incorporating a photographic and literary retrospective depicting Newburyport’s historical role and significant contributions to the American Revolution, the Declaration of Independence and the United States Constitution. It is also intended as a progressive, socially conscious blueprint, designed to serve as a model in establishing a new modern day sustainable community paradigm based on fundamental personal, educational, trade, and community values that originally sculpted small town America. This multi-dimensional show consists of an Art and Photography Exhibit, Pictorial and Literary Compilations, Special Historical Slide Show by Ted Kyrios, and Speaking Presentations hosted by Jon-William (Group Dynamics and Fluid Management) on Personal Transformation and Health, Child and Adult Education, ‘Sustainable Business’ and ‘Corporate Transformation’, and featured discussions on ‘Cultural Creative’, Sustainable Community Development. This exhibit is currently being presented throughout Newburyport over the next two months, eventually collaborating with the Yankee City Theater Project, ‘Newburyport; 1956-2006; Searching for the Soul of the City’, for presentations on May 25-28th at the Firehouse Center for the Arts. .


Current Photography – Art Exhibit

March 11, 2006 – April 30, 2006

Stella’s of Middle Street

25 Middle Street, Newburyport, MA

Next Open Art ReceptionStella’s of Middle Street – Complimentary Desserts

Sunday April 9, 2006 – 2-4 PM


Slide Show/Speaker Presentations, Yankee City Theater Project

Firehouse Center for the Arts Auditorium – Saturday, May 27, 2006 4-7 PM





Newburyport: An American Perspective

‘A Contemporary Concourse – Where the Old Meets the New’

Contact: Jon-William Brown – Tel. 978-417-1987

Email: -Musical Presentation by Michael Whalen -“Forever Wild”, a ‘Celebration for the Preservation of America’.

Newburyport: An American Perspective is a multi faceted contemporary art and social exhibit developed by local visionary artist Jon-William Brown. It is aimed at incorporating a photographic and literary retrospective depicting Newburyport’s historical role and significant contributions to the American Revolution, the Declaration of Independence and the United States Constitution. It is also intended as a progressive, socially conscious blueprint, designed to serve as a model in establishing a new modern day community paradigm, integrating personal, educational, business, and social transformations and ‘Culturally Creative Sustainable Community Development’. This multi-dimensional show consists of an Art and Photography Exhibit, Pictorial and Literary Compilation from Newburyport Residents, Special Historical Newburyport Slide Show, and Speaking Presentations.


The exhibit began with Jon-William’s contemporary photographic Giclee series consisting of architectural, residential, and commercial settings of modern day Newburyport. He then introduce his latest collection of digitally restored photographs originally taken by local historian Theodore Kyrios, also of the same settings during the 1970’s restoration project. These images are printed as color, black and white, and sepia toned Giclee’s as well. A retrospect of a transformed community, bogged down by high unemployment and social distress, to the modern day ‘Mecca’ of business and cultural interaction that remains today. Jon-William , Theodore Kyrios, Alex Adrian and other associates of the Newburport project will be present at the next Open Art Reception on Sunday, April 9, 2006 at 2-4 PM at Stella’s of Midle Street to introduce this collective series of work and talk more about the history, techniques and applications behind this collection, as well as the collaboration on the Yankee City Theater Project in May.


‘Newburyport: An American Perspective ’ also seeks to serve as a social message and sounding board by incorporating a literal compilation of personal stories and editorials by Newburyport residents and their varied viewpoints submitted in e-mail, editorial and letter form. Jon-William plans to publish results of pictures, stories, interviews, and documentations of this exhibit in a book with the name of the exhibit. It is an attempt to embrace and preserve some of the town’s most cherished memoirs, greatest accomplishments and contributions to American values, as well as a perspective of the current state of the town and union. It is the artist’s way of bringing about a collective social message both positive and negative, with the intent to remember who we are, where we came from, and where we are going. It is also intended to confront some of the most current and pressing issues facing our country today such as personal disempowerment, rampant development and globalization, social unconsciousness, political and corporate corruption, corporate outsourcing, and continued degradation of civil liberties in exchange for security, that may all be contributing factors to the so-called ‘decline of American values’.

The multi-dimensionality of this exhibit began on ‘opening day’ with a Photographic Slide Show and Speaker Presentation segment at the Newburyport Libraryon Saturday afternoon, February 25, 2006. Here, Ted Kyrios, who is now a retired teacher of American History in Newburyport, continued his contributions to the show by offering a historical photographic slide show, taking the viewer on a journey through American History, highlighting some of Newburyport’s most significant contributions to historical and modern day society. The presentation continued by incorporating public speakers to present their seminar workshops aimed at integrating personal, educational, business, and sustainable community transformation. Jon-William hosted the presentation with a demonstration on group dynamics and fluid management. Local business ownerAmy Bacheller, of HEAVEN in Newburyport, spoke on Personal Transformation, and Health. Local educator Manny Muros of the ‘ Yoga Center of Newburyport ’, spoke on Child and Adult Education. Local speaker, musician, and seminar facilitator Alex Adrian on ‘Sustainable Business and Corporate Transformation’. The presentation concluded with a discussion on ‘Culturally Creative, Sustainable Community Development’ based on “models of human spirituality manifesting in eco-communities, merging the environmental, economic, and social elements of humanity into a sustainable community development”. The presentations will continue throughout the city over the months to come with specific dates and places to be announced shortly.”

Newburyport: An American Perspective ’ is a contemporary concourse designed to serve as a model for establishing a new modern day paradigm in personal and community development. It is an expression of the current state of the American Dream, a dream that the artist feels was once the pride and aspiration of all Americans and the envy of the rest of the world. It is a social call for a community movement, to once again answer the call as wayfarer’s, and lead a restoration of the American Dream through personal and community empowerment, at a time in which world events threaten to destroy the very fiber of the American way of life as we know it.

Come join us in a celebratory event of the enduring American spirit that can spark a social consciousness that has the potential to reek across our nation once again, ……………………………… that of burning teas.

“Pause O Restless Passerby – Hear Ye The Lively Stir of Trade

Whilest Echoes Of Freedom’s Fury – Rise Above The Reek of Burning Tea

Mingling With The Brisk Breezes Off the Sea” – Market Square Monument




Please submit e-mail, editorials, poetry, and letters for the
‘Newburyport: An American Perspective’ publishing


John William Brown

42 Federal Street

Newburyport, Ma 01950




Cushing Wharf Marina Village Proposal

For Review; May 5, 2008

Draft 050508
Preservation and Development Proposal
‘Cushing Wharf Marina Village’

Phase 1 – Historic Marine District

1. Establish an historical marine district consisting of the following properties;

a. 45, 49, 51, 55, 61, and 65 Water Street

b. Custom House

c. Lighthouses (Newburyport Front and Rear Range)

d. Coast Guard Station

e. Cushing Wharf (Newburyport Harbor Marina)

Phase 11 – Cushing Wharf Marina Village

2. Connect to main waterfront boardwalk linking all registered marine related historical landmarks from the Custom House to the Coast Guard Station, creating the Cushing Wharf Marina Village. The village would then feature paid public access with guided tours of;

A. Custom House Museum.

B. Clipper Ship (i.e. Coast Guard, Friendship, Mary L. Cushing replica) to be seasonally docked at a Cushing Wharf dedication.

C. Restored Range Lighthouses (including beacons), both Front and Rear.

D. Restored Counting House and Sail Lofts at 51 and 49 Water Street creating;

E. Cushing Wharf Museum, dedicated to the preservation and educational interactions of the Cushing Wharf Marina and its contribution to the Cushing House Museum and the Historical Society of Newbury.

Phase 111 – Marina Art and Anthropology District

3. Creation of a SELF SUSTAINABLE Art and Anthropology District within the Marina Village to serve as a co-creative, living, interactive, exhibitive and educational center, dedicated to the historic and present contributions of Newburyport and America.

I ______________________, of ________________________

Do hereby support the initial drafting of the ‘Cushing Wharf Marina Village’ proposal and call upon all private and public entities for further evaluation
and implementation. ____ (Check) Please send additional information and updates.

Name: _______________________________________________________

Address: ____________________________________________________

Phone: ______________________E-Mail___________________________

Print this PDF file.

Newburyport Artist Shanty Program

August 22, 2018

The Town Commons Featured Article
Newburyport Artist Shanty Program

Click Here

Additional Information

Initial Application for Grant

Creative County Initiative – Public Art or Creative Placemaking (use appropriate application portal)
Project Name*
Name of Project Character Limit: 100
Newburyport Arts and Culture Shanty Program

Project Description*
Describe your project concept.* Character Limit: 500
We will design and build several artist shanties to serve as affordable studio, gallery, and performance space for local artists and artisans. The shanty program will be an integral component of the Newburyport Cultural District’s summer program. It will start with a ͞community build͟ in which business partner, builder Ben Becker, leads community members in building 4-6 shanties of various sizes
and painted in vibrant colors. They will be placed on city-owned property near the waterfront.

Describe your project objectives. What need(s) of the arts & culture sector and the general community will be met?**Character Limit: 500
This will meet goals stated in our 2017 Master Plan: Goal CR-2 – Increase awareness of Newburyport as a destination for arts, tourism, and cultural affairs; and Goal CR-3 – Support a rich variety of cultural opportunities and activities for all groups and individuals in the City. The Shanty Program will help local
artists, artisans, and cultural organizations increase recognition and sales, and will increase visitors to Newburyport, thus increasing its reputation as a cultural destination. Describe the expected outcomes of your project. What change(s) do you expect will result from your project?** Character Limit: 500
The anticipated outcomes are: a positive cultural experience for those participating in the ͞community build͟ of the Shanties; increased recognition and sales for artists, artisans, and cultural organizations; increased number of visitors to the area; a creative way to use City-owned waterfront land; and an improved reputation as a cultural destination. Changes we expect will be a more attractive space; improved relations throughout the arts community and between the arts community and the City.
Project Partnership* Please identify your public artist, the lead applicant (501c3 status required), at least one municipal partner, and at least one business/corporate partner. Additional partners may be added if the project is invited to the full application process. All partners must demonstrate a meaningful connection to the project and its objectives. Character Limit: 200
Lead applicant: Firehouse Theater
Municipal partner: City of Newburyport
Business partner: Ben Becker, a local builder who will help get the program off the ground
Total Estimated Project Cost* There is no match requirement, but additional sources of funding are strongly encouraged. Please list any additional sources of funding that have been identified, committed, or secured. Character Limit: 50
CCI/ECCF Funding Request not to exceed $30,000. Character Limit: 10
CCI – $30,000

Artisan Revival Support Letter

2018 Inn Street Artisan Revival logo

June 22, 2018

Creative County Initiative – Public Art or Creative Placemaking

Carol Lavoie Schuster

Vice President for Grants & Services

Essex county Community foundation

175 Andover Street, Suite 101

Danvers, MA 01923


Re: Newburyport Arts and Culture Shanty Program


Dear Ms. Lavoie Schuster,


We are pleased to support Newburyport’s Arts and Culture Shanty Program and to serve as a community partner in this project. We believe the Shanties will improve the creative culture in Newburyport, enhance the waterfront area, and engage the entire community. They will provide affordable space for artists and artisans which is in short supply in Newburyport, and recognize the arts as a vital part of the local, co-creative, sustainable economy.

Due to our substantial experience in artisan management and cultivation, our role as a community partner will be to help with artisan outreach and marketing, as well as utilization of the Shanty Program itself. The Shanties bring to mind Newburyport’s history as a fishing/clamming/shipping community; yet at the same time celebrate a culture that is supportive of the local, small business that embraces the arts and serves as a vital component of a ‘Historic Cultural District”.

We are looking forward to being a part of this effort.


John W. Brown


Spirit of Newburyport

42 Federal Street

Newburyport, MA 01950

Artisans Revival Coordinator


Shanty Support Letter

2018 Inn Street Artisan Revival logo

August 6, 2018


The Honorable Donna D. Holaday, Mayor

60 Pleasant Street

Newburyport, MA 01950


John Moynihan, Executive Director

Firehouse Center of the Arts

One Market Square

Newburyport, MA 01950


Dear Mayor Holaday and John:


It was good news to me to learn that the Essex County Community Foundation has awarded a grant to Newburyport to launch an artist shanty program in the city. This will be an important addition to the cultural fabric of Newburyport and the region.


As a long time, established artist and businessperson in Newburyport, I am writing to offer my assistance and expertise, along with the Artisan’s Revival core team, in helping you execute this program. Together we have much experience in design, construction, operation, and implementation of such programs due to our extensive involvement with past projects, including Boston Winter last December.

You know that I enthusiastically endorsed the proposal through a letter of support and we stand ready to continue to help bring the project to a reality.

Please let me know how I can be of assistance to you.



John W. Brown


Spirit of Newburyport

42 Federal Street

Newburyport, MA 01950

Artisans Revival Coordinator



Reviving the Arts on Inn Street

Newburyport Daily News – August 1, 2018

Reviving the arts on Inn Street

Due to an overwhelming amount of work related to the Artisans Revival and the maintaining of my own business, I have not been able to post any updates regarding the progress of our shows.


For now I will simply continue to post the web sites involved and related news articles.


Artisans Revival –

Artisans Revival Facebook –

Newburyport Daily News – August 1, 2018

Reviving the arts on Inn Street


Portrait of an Artist

About John William Brown

I have been creating images ever since I was old enough to hold a pencil. Right from the very beginning, I was always experimenting with mixed media that included pastels, watercolors, oils, graphic printing, photography, writing, music, etc. If there was an avenue for expression, I wanted to use it. One of my earliest frustrations as a fine artist was the inability for me to produce what my imagination could conjure up in a timely and economic manner. I wanted to create. I wanted to do it good. I wanted to do it quickly without sacrificing quality. Then I wanted to reproduce it. I never found solace in the belief that artist have to starve or find another way of making a living. To me, there had to be a way that an artist could produce himself effectively, be cost efficient, and do it successfully.

In order to do this I needed to find a way in which I could reproduce my prints without having to invest the hundreds of dollars it would cost to create master four color offset plates for each and every design. In 1976 I had already invested into a complete color darkroom with the help of a high school friend, and began experimenting with photography and hand painted photos. I then began using a process called  ‘xerography’ (color xerox copying the photos) and hand painting the surfaces with watercolor paints. Because of the powdered pigments used in this process, the watercolor paints would blend nicely on the surface of the paper.  I would then re-photograph the image onto a slide and reproduce the images in my darkroom using the ‘cibachrome’ process.

In 1978, after back-packing across America, I decided to apply to Massachusetts College of Art. Since I skipped my ‘portfolio’ high school preparation classes, I had no idea how to effectively submit a portfolio for college acceptance. Since I was into everything from film making to fine art printing, and had already developed a non-conformist style using innovative, yet non-traditional techniques, my portfolio was more like a suitcase, rather than your traditional one page, 12 slides of ‘still-life drawings’. Oh how drab. Needless to say I received my portfolio back unopened and rejected. I then set forth to develop and market my work on my own through any and every avenue available to me and have never stopped since. This image entitled ‘Harbor” (above left), was first created in 1978. A few years ago I re-scanned it and now reproduce it digitally, some thirty years after it was first created.

And yes. It was an image in the portfolio.

Due to an extensive early career as a photographic technician in Boston, Massachusetts during the 1980’s and 90’s, I witnessed the digital revolution transform the photographic industry. Then the field of fine art. As an artist by nature I saw the potential for incorporating the subtle ‘impressionistic’ quality of a watercolor painting with that of the detailed photographic image.  By using digital imaging programs, like that of photoshop, I was able to effectively achieve this vision. Contributing to this artistic approach with the new technology during this time was the development of the Iris  printer by Iris Graphics in 1987 in Bedford, Massachusetts. An early developer of the technology in the fine art field wasGraham Nash, of Crosby, Stills, Nash, and Young . The sale of his collection in 1990 by Sotheby’s became an important milestone in establishing the market for fine-art photography. Proceeds of the sale funded charitable causes and provide the means for Nash to co-found Nash Editions, a digital fine-arts printmaking firm that used some of the most advanced scanning and printing equipment in early days. The company continues to operate today. This fine art process is also known as the Giclee print.

In 1996 I purchased my first computer and began to learn everything I could about digital imaging and writing computer language. A year later I published my first virtual gallery web site, SunSpirit Gallery.Com and created several collections while perfecting the photo/digital/art technique utilizing the latest materials and printing applications. In 2002 I began to apply these techniques to the Newburyport Cityscape collection.

At the risk of redundancy, however vital, here is a paragraph from my latest manuscript;

“I remember my last artistic venture in Boston during the summer of 1996. I had spent months developing a specific printing interaction of the brand new digital applications first introduced to me by my brother. It was similar to that being developed by Graham Nash of Nash Editions, and his Boston apprentice, Singer Editions, on ‘D’ Street, incorporating the first usages of the ‘giclee or iris’ printing method for fine art. I had done some watercolor painting and this was the effect I was looking for. A method that was to eventually go on and revolutionize the fine art printing field.

I created one of the first complete lines of greeting cards done without 4 color offset plates, introduced via my first web site at the Bayside Expo Gift Show in 1996. People who were familiar with conventional printing methods marveled at the revolutionary process, not only because of the product itself, but the financial implications as well.

For the first time in history, an artist had the opportunity to create quality fine art reproductions from electronic files and produce limited edition prints at a fraction of conventional cost, as well as obtaining many other valuable attributes, ………including infinite creativity. I believe all of these elements have still yet to be fully embraced.

Now, some thirty years after the first experimentation’s, the technique of combining creative digital imaging, painting, and detailed photography, used in conjunction with this printing process that produces subtle variations due to the interaction of specially developed ink and fine art watercolor paper, is now what I refer to as ‘Digital Impressionism’. What is most important to me is not the media, techniques, or methods used,..but the VISION. Its the same vision that exists for me today with using a computer, as it did thirty years ago without it. But now its different. The digital revolution has changed the rules. The ability now exists for an artist to produce their own designs AND quality reproductions at a fraction of the cost used in conventional methods no matter what media is used. For me, technology is used for creative purposes. The computer is as unlimited as the imagination itself. Combined with the internet and web site development, an artist, for the first time in history, whether or not they are a painter, a writer, a musician or whatever, has the capability to produce themselves in all phases of production, including MARKETING. This is a very significant step towards dismissing the ‘starving artist’ mentality adopted by traditional society, and paving the way for any creative individual to empower themselves at making a living at what they do best. Create.

About the Studio

The Spirit of Newburyport collection  features the exclusive limited edition Newburyport print series and gift products . It seeks to capture the essence and spirit of this quaint historic seaport. The synthesis of New England cityscape charm and contemporary fine art digital applications makes this extensive unique collection one of the first of its kind. It is an integration of the old with cutting edge digital design and printing technologies.

Located on the North Shore, Newburyport was first settled in 1635 as part of “Newberry Plantation,” now Newbury. It would be set off and incorporated as a town in 1764, and then as a city in 1851. Situated near the mouth of theMerrimack River, it was once a whaling,shipbuilding and shipping center, with an industry in silverware manufacture. The seaport declined after President Thomas Jefferson’s Embargo of 1807 and the War of 1812 (although a port forprivateering during it), which helped preserve Newburyport’s charming early appearance.

Originally from the northshore of Massachuetts, John spent the best part of fifteen years developing a certain technique that fused digital photography with painting, digital imaging, and printmaking. His motto is, ‘I’m an artist by nature and a photographer print-maker by trade”. He produced and worked on several projects incorporating this technique before moving to Newburyport in April of 2002. He then spent three years applying the technique to his first extensive cityscape editions which became the ‘Spirit of Newburyport’ print collection in which he debuted at local art shows during the summer of 2005. He then had his first gallery showing at ‘Off The Wall‘ in October followed by an appearance at the Newburyport Harvest Festival. He did several more shows during the holidays including a local city tour in the winter of 2006, and a presentation at the Newburyport Library entitled ‘Newburyport; An American Perspective” on creative sustainable communities featuring ‘Market Square Transformation’, a co-creative project with local teacher historian Theodore Kyrios.

The Spirit of Newburyport opened its first signature gallery on April 29, 2006 at 49 water Street during Newburyport’s first ArtWalk of the season. In August, Mayor John Moak purchased one of Jon’s designs, ‘Market Square Summer’, to present to Senator Ted Kennedy at the Yankee Homecoming presentation as a ‘gift’ from the city. In June of 2007, Jon was commissioned by the Essex Street Inn for the decor of its new ten room inn and business conference room addition. The Inn also uses Jon’s depiction of the Essex Street Inn on its own web site. In September, Jon was commissioned by the director of the Malden YMCA for a rendition of its brand new multi-million dollar facility. On April 23rd, 2016, John will be celebrating ten years in business as the Spirit of Newburyport during the first Newburyport Artwalk of the 2016 season, as he did ten years ago in 2006.

In his early days in Newburyport, John was a volunteer coordinator with the Newburyport Artwalk and helped to create and  produce its first web site at He continues to work within community organization projects and was a core founding member of Transition Newburyport in 2009. He continues to lobby his visions for the ‘Cushing Wharf Village Marina‘ as part of on going preservation efforts of Newburyport waterfront developments, as well as his Inn Street Artisan Market proposal. A collaborative piece with retired Newburyport history teacher Ted Kyrios ‘Market Square Transformation’, was recently donated (2007) to the ‘Newburyport Preservation Trust’ and used for raising funds for its organized preservation efforts.

John continues to try and find ways in which his work can support not only himself and his family, but other sustainable community projects. One such project is the latest event to Yankee Homecoming, The Inn Street Artisans Revival 2016.

This event is now celebrating its 3rd annual event at the time of this writing. John feels the most satisfaction out of his latest collaborative project, The Artisans Revival.

The capturing, time spent with his son, and return to Boston during the Boston Winter Show to Market his ‘Tall Ship 2017’ line was a highlight of his career.

Please stay tuned for further postings regarding this event and developing business plan, or please contact Jon-William @ 978-417-1987, or write

The Artisans Market

nav_villageMajor Elements of the Inn Street Artisan Market and Merchant Community Garden
Inn Street Artisan Market

OLD PROPOSAL: The heart of the artisan market would consist of a collaborative gallery/production studio in the sub level space of Inn Street. An expansion of city licenses could create a set of push-carts and kiosk for the artisan cooperative to display their products outdoors along the perimeter of the courtyard, creating a small scale outdoor market setting. The location and setting would serve as prime retail for the artisan and craft market to draw the best talent in the area and serve as a destination point for downtown Newburyport. The unique back entrances and windows of the State Street retail business would benefit and compliment the sub-level art galleries and courtyard market


NEW PROPOSAL: Updated 1.8.19 Newburyport Artisan Village {Market} core located in Byron’s Courtyard, consisting of tiny artisan studios. i.e. Tracy Square 12-1 thru Jan 13 in conjunction with a Parks Department Initiative where proceeds are regenerated into the restoration of re-bricking, tree beds, and garden projects in specified courtyards.

REVISED March 23, 2019

The Core of the Artisans Market would consist of a MIX of Artisans Chalets, Kiosks, and tents.


Three Main Components of an Inn Street Artisans Market

  1. Artisan Merchants
  2. Community Gardens – Including Tree Bed and Brick Restorations
  3. Performing area

Merchant Community Garden

The Inn Street Artisan Market Proposal allows Newburyport the opportunity of designing and incorporating an Artisan Merchant Sponsored Community Garden by restoring its tree beds and expanding them into garden beds,  based on the principles of Permaculture. Rain barrels could also be incorporated into the tiny studio structures. This principle of gardening and greening could serve as a model for transforming a “brick and cement backdrop” (Palette) Inn Street into a garden like recreational/educational, and experiential area, designed to demonstrate the vital link between local sustainable ecology and local, co-creative arts based/culture economy.


Performing Arts Stage
The optional third component of the Artisan Market proposal includes a small-scaled ‘Inn Street Stage’ in the area that currently hosts performing art events during Yankee Homecoming festivities. This stage can be used to offer musical entertainment of local musicians, poetry recitals, readings, and theater performances on a co-ordinate schedule. The placement of the stage as well as the artisan pushcarts could be done in cooperation with the Chamber of Commerce events during festivals and other organized events to include the market and contribute to entertainment and organizational venues.

Artisan Market

9-30-12 (Revised – 1-23-13)

Inn Street Artisan Market and Merchant Community Garden;

An idea whose time has come…

North Shore’s Art Throb ( publication employs diverse platforms, from traditional print to cutting-edge digital, in an effort to incubate a regional movement of sustainable communities invested in the arts, a local economy and cultural engagement.” – Art Throb Mission Statement

A sustainable creative economic movement that developed in SoWa Boston and Cambridge is now spreading to Salem and Beverly and the northshore. These projects beg the question; “It is time for these plans to be extended, enhanced and implemented into a Newburyport Artisan Market and community Garden within the proposed area of Inn Street? With the plans now being publicly revealed for the waterfront and frog pond, The Inn Street Market can be the next ‘jewel in the crown’ to be added.

Here’s the Vision…

Last August in its premier edition, ‘Art Throb’ magazine published an extensive interview with Salem’s Mayor, Kim Driscoll, that outlines the plans for an urban renewal and master art plan for downtown Salem, including the area of ‘Artist Row’ and the pedestrian walkway (similar to Inn Street). These plans have been in the works since 2010. Over $100,000.00 in grants from the National Endowment of the Arts (plus other

sources) has now been received for both Salem and Beverly (via Monserrat college of Art) for implementing such plans immediately.

The following are a collection of Internet links that are now being assembled for local dissemination in Newburyport to serve as a precedent to a foundation and blueprint to draft a formal proposal for the Inn Street Artisan Market and Merchant Community Garden Project in Newburyport.

If you have any interest in this project please forward the information to pertinent sources or contact one of the listed sources for informational exchange or direct personal participation in one of the upcoming meetings and or presentations that are currently being planned regarding this project.

For full articles please click on the following links;

Art Throb’s August Publication;


Salem Urban Renewal;

Project slated for 2013 completion including major art plan implementation to downtown and pedestrian walkway.

Salem News;

Montserart and Beverly receive funds for similar projects;

Greater Newburyport receives $20K in Cultural Council grants

Major Elements of the Artisan Market and Merchant Community Garden

The outline consists of three main elements evolving around a pushcart artisan market, a merchant community garden, and a performing art stage, with the main components dispersed around the Inn Street Courtyard. (The proposed vision would be similar to a cross between a small scale Faneuil Hall Marketplace in Boston and a Bridge of Flowers in Shelburne Falls.)


Please see pictures of the Bridge of Flowers in Shelburne Falls, Massachusetts here;

Inn Street Artisan Market

The heart of the artisan market would consist of a set of push-carts for artisans and crafts vendors available to the local region by expanding the current limit of three reserved licenses to eight or more creating a small scale outdoor market setting. (This could be expanded on an experimental basis). This would allow five additional pushcarts to be strategically placed within the confines of the proposed Inn Street pedestrian courtyard (Very similar to artist row of Salem and part of the master art plan for the Salem urban renewal project). The carts can all be designed to establish continuity that would best represent the ambiance and character of the environment. The licensing fees could be increased to serve as a major financial windfall to the city and maintenance upgrade to the area. The location and setting would serve as prime retail for the artisan and craft market to draw the best talent in the area and serve as a destination point for downtown Newburyport.

The logistics of how such a market could be conducted can be evaluated once the vision and plan is accepted for study and implementation.

Incorporation of surrounding retail outlets ‘TO the market’ would be an important contribution and element ‘OF the market’. Because of the unique layout and structure of the back exits of State Street Retail, these establishments could utilize the now UNDERUTILIZED and POSTER COVERED back entrances AND WINDOWS that empty out on the Inn Street courtyard. By granting licenses for the retail stores to set up tables and tents on the back entrances would enhance not only their exposure and sales but to the festive environment of the market to serve hand in hand. Bottom level Inn Street Courtyard business’ would also serve, compliment, and benefit from the expanded licenses and market courtyard. Local alleyways connecting Inn Street and State Street can also be presentational and artistically enhanced to serve as major pedestrian walkways connecting State and Inn Streets.

Merchant Community Garden

The Inn Street Artisan Market Proposal allows Newburyport the opportunity to not only incorporate the pedestrian walkway master art plans and design implementations that other cities have developed, but to enhance the movement one step further, by designing and incorporating a Merchant Sponsored Community Garden based on the principles of Permaculture. This principle of gardening and greening of Inn Street will serve perfectly as a palette and backdrop for such alternative landscape designs that are created and designed to be implemented into small-scale urban areas. By taking advantage of the layout, the area can be transformed into a garden like recreational area, designed to provide additional benches for sitting, creating a relaxed atmosphere within the market area itself.

Avoiding major re-construction cost, increasing a financial contribution, enhancing the area to better serve as a recreational space, implementing, and demonstrating the vital link between local sustainable ecology and economy, this vision of the Inn Street Artisan market has an opportunity to serve, expand and demonstrate as an alternative educational model for future movements to other urban city settings dedicated to a regional movement of sustainable communities invested in the arts, a local economy and cultural engagement .

What is a Perma-Garden?

Permaculture is revolution disguised as organic gardening.”- Graham Bell, from Permaculture – A Beginner’s Guide

“Permaculture is not organic gardening, and I am not a gardener. What I am is a permaculture practitioner who uses organic gardening, and many other tools, to design systems that work to water, feed, warm, house, and provide community, not to mention: make a garden.”

So if permaculture isn’t just gardening, then what is it?

Permaculture is not the rain that falls, nor the roof that collects it or the catchment systems that stores it. Permaculture design is the relationship between these things. Permaculture is the match maker, creating passionate love affairs between rain and plants, humans and animals, and ultimately achieving systems that produce enough natural resources to provide for their own maintenance and reproduction.



Vital Link between Ecology and Economics

Ecological And Economic Reality — The Relationship Between Ecology And Economics

Sustainable Economics


Performing Arts Stage

The third component of the Artisan Market proposal includes a small-scaled ‘Inn Street Stage’ in the area that currently hosts performing art events during Yankee Homecoming festivities. This stage can be used to offer musical entertainment of local musicians, poetry recitals, readings, and theater performances on a co-ordinate schedule. The placement of the stage as well as the artisan pushcarts could be done in cooperation with the Chamber of Commerce events during festivals and other organized events to include the market and contribute to entertainment and organizational venues.


Exhibits and Presentations for the Inn Street Artisan Market;

By Jon-William Brown, proprietor and operator of the Inn Street Kiosk for the Spirit of Newburyport.

Public presentations of the Inn Street Market and Merchant Community Garden proposal and diorama (scaled 3-d Model) depicting the Inn Street ‘Burning Tea’ Artisans Market and Garden concept in Newburyport are currently being planned for the Newburyport Public Library.



Proposal Notes to be expanded on;

Inn Street (‘Burning Tea’ (Historical reference to the ‘reek of the burning teas’ in Market Square) Artisan Market and Perma Gardens)

* Utilization of Catwalk and Brick area for perma-cultured based flower, herb, medicinal and edible gardens, sponsored by local community and merchant participation.

* Creating and demonstrating VITAL ecological and economic community oriented re-vitalization and destination point for downtown Newburyport.

For more information please contact;

Do not worry if you have built your castles in the air. They are where they should be. Now put the foundations under them. ” Henry David Thoreau

If you would not like to receive any more information via this source, please reply with ‘remove’ as the subject, Thank You!

*Inn Street Artisan Market
and Merchant Community Garden Proposal

Below is a video of a 64th scale diorama model
created by Joe Cmar as a ‘Thanksgiving Gift’
for the Spirit of Newburyport.
Model is being used to depict and envision
an Inn Street Artisan Market
and Merchant Community Garden.

Press Release; ISAR Memorial Day


For Immediate Release;                                                       John Brown; Artisans Revival

May 13, 2018                                                                            978-417-1987


Inn Street Artisans Revival Memorial Day Spring Fest Art Show May26th, 2018

Approved by a unanimous city council vote and stepping out beyond the shadows of Yankee Homecoming, the Inn Street Artisans Revival will kick off its 2018 ‘independent season’ with a special ‘one day’ Memorial Day Spring Fest on Saturday, May 26th, 2018 at 10:00 a.m. An expanded schedule for several more shows will run through the remainder of the year.

The Artisans Revival Memorial Day show will feature over ten local talented artisans that will exhibit their wares from metal smiths to watercolor paintings and photographs. The season’s premier will open with return favorites Steve Perlmutter, Ryan Lonergan of Third Shift Fabrications, Amy Sciuto of ‘Amy’s Creations’, Plum Islander artist and co-chair of the Inn Street Artisans Revival, Sandra Turner, and the Artisans Revival founder John Brown of the Spirit of Newburyport.

The shows will also feature newcomers to the revival such as John Davis of Vermont Rocks, Kym O’Brien ‘Hidden Hearts’ hypetufa’s, and the Sea Glass Jewelry of Renee Vartabedian. Watercolorist David Ten-Ecyk will make a special presentation, along with Seaside Design’s Dave Valle.

The Inn Street Artisans Revival Memorial Day show will be the first of seven shows in an expanded 2018 schedule, including the next ‘Inn Street Artwalk’ on June 23rd and 24th.

The Inn Street Artisans will return to their roots to celebrate their special nine day extravaganza show during the 3rd annual Yankee Homecoming Inn Street Artisans Revival, which by the way, has incorporated the one day Market Square Craft day on Tuesday July 30th, 2018 under their umbrella of creative supervision.

In 2013, Newburyport became the nineteenth community in the Commonwealth of Massachusetts to receive a ‘Cultural District’ designation. It is the Artisans Revival mission to raise awareness of the invaluable contributions to a co-creative city economy by utilizing local artisan small business.

You can get more information and see all the latest Artisans and show dates at the new Artisans Revival website at

Artisans Revival – A Plea for Art

He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.” 
~ Francis of Assisi

Dear Friends of the Artisans Revival,

We are making a difference. Things are changing. Can you see it? Can you feel it? I know I can. The past couple years I have been slowly seeing the change. Subtly at first, but increasing in its vibrancy. From the walkway of Inn Street to the Arts Association, people are gravitating to the message.
But we are not there,….yet. There needs to be a real ‘revival of the arts’ in Newburyport.
It has come to the attention of those that are most responsible for this to happen, that ever since Newburyport became the latest designated ‘Massachusetts Cultural and Historic District’,..that something was amiss. Something didn’t seem quite right.
The Arts in Newburyport have been in decline.
There are those that may disagree with that statement. You may not have seen this as much over at the Firehouse. Maybe you have. You may not have seen this as much over at the NAA. Maybe you have. But I can tell you this. There was a time in Newburyport that the ‘art’s didn’t just flourish in two or three places. Art was the fundamental basis of its Culture.
Whether you were a painter of oils, watercolor, whatever….there were many. If you were a photographer it didn’t matter. If you wrote, played music, sang, it didn’t matter. It was plentiful. From Middle Street Cafe to Inn Street, there were galleries galore. Art was the fundamental driving force of what made Newburyport what it was. What it is.
I had a conversation the other day with a business owner in Newburyport. We talked about how a business will open, spend a couple years, four or five at most, then gone. This is how it works now. He told me this is what is now the ‘norm’, what is expected. They will come in, invest, make their money and before they lose it all, move on. They cannot sustain due to many elements including the business model, high rents, profitability, etc etc.  The norm now is make your cash while you can, then get out.
My questions are, what kind of business model is this for Newburyport? What does this do for Newburyport’s sustainability? Is it even sustainable in the first place? Is there any other interest amongst business owners other than making a quick buck then moving on? Where is the long term interest in the city, its history and culture? What is the city actually doing to incorporate into its business model the latest designation of historic and cultural ‘district’?
Im sure there are some that care. I’m sure there are some that see the need for something more than a restaurant or another womens boutique. There’s nothing wrong with restaurants, or womens boutiques. My question is, how many can you have in such a small centralized location?
We got to talking about other avenues for sustainability in Newburyport. Ways to build off of what Newburyport was, and what it needs to get back to its roots. We talked about where he lives in Boston and how he visits Sowa. How it serves him and his wife for most the art and trinkets they purchase for themselves. For those that are not familiar with Sowa. Check it out. ( This is what you will read in big letters if you click on the link.

The SoWa Art + Design District is a vibrant community of artist studios, contemporary art galleries, one-of-a-kind boutiquesdesign showrooms, and restaurants unified by a passion for creating and curating exceptional artworks, products and experiences. Once known as a region of neglected warehouses in Boston’s South End, the SoWa Art + Design District has experienced a dramatic renaissance, blossoming into a world-renowned arts, retail, and lifestyle destination. Developed to support and preserve Boston’s talented artists and entrepreneurs, SoWa connects visitors with a dynamic group of makers and thinkers, and offers a platform to showcase their work at now-famous events such as the SoWa Open MarketSoWa First Fridays and the SoWa Art Walk. 

For years now other cities like Salem and Beverly have been leading the way in designing their Master City Plans around the arts. While Newburyport, and those that now dictate who comes and goes, has been terminating small business owners leases and pricing them out of the market to make way for the more ‘upscaled commercial chains’. Now, even those commercial chains cant make it more than a couple years because business is just not there anymore. Look up Newburyports Master Plan and let me know if you see anything in it that remotely relates to developement of the ‘arts’. I try talking to people and just like my experiences of late dealing with the licensing commissions and the likes it almost as if I am speaking a foreign language. Art they say? As if its a four letter word. Yes,…ART. There was some talk about turning the Brown school into a loft for living artist and studios. That lasted how long? Even though I knew at the time it was just throwing a bone to the wolves because it by no means was a sufficient enough space for doing what it may have envisioned at one time for artist.

I remember when I first brought up the idea for replacing the corporate sponsors of Yankee Homecoming on Inn Street with artisans. Even though they had no choice but let me give it a try, they really thought it was going to fall on its face and not even come close to pulling what the commercial and corporate sponsors did. Some people still cant believe we booted McDonalds out of town or even understand why.

We may not yet have topped out on what they brought in, but let me tell you something. Sometimes…money is not everything. When you can bring more business, more enjoyment, restore intent and vision to what it was suppose to be……then sometimes you just have to give something a chance to be successful and sometimes you have to measure that success in ways beyond the all mighty dollar.

This is what the Artisans Revival is doing for Newburyport. This is what Salem and Beverly is doing for their cities. Just this past month Mayor Holaday was a guest at the Creative County Initiative Arts and Culture Summit at Monteserat College, sponsored by the Essex County Creative organization. ( While the Chamber of Commerce and New England Developement have been levying their complaints against me and my art cart on Inn Street these are the types of things these cities have been doing for their communities and I have been touting here in Newburyport for years now. If you were to read far enough into my year round proposal for an artisan market on Inn Street,( you would see that I have been touting these movements by the likes of Mayor Karen Driscoll of Salem for years now, at very least since 2012,…but even long before then.

Enough. Its time to bring these initiatives to Newburyport. This city used to be the wayfarers of such initiatives. Now this city acts more like the deterent of such. Why? Because of whom? There IS Movement. Isee it. I see it in people like Paul Swindlejurst and Elena Bachrach with their work in The Newburyport Arts Association. I see it in the work being done by gallery owners Paula Esty and Studio Eight. But,..the working artist of Newburyport go much deeper than just the Firehouse and Art Association. You will find many of them down on Inn Street this summer because we have pushed back. We stood up and held our ground and drew a line in the brick. We said this is where it ends and begins anew…again, for ALL.

This just isnt about crafts. Its not just about the metal smiths or the leather makers. Its not just about the photographers or the painters or even just the musicians.

Its about Artist. Its about Newburyport.

Monday night at this months City Council meeting I have submitted a formal request and special event application for expanded Artisan Revival shows on Inn Street. My co-chair Sandra Turner of PlumIslander Art and myself will be their to lend our public input prior to the meeting. If you have a burning desire to speak your mind regarding the ‘state of the arts’ in Newburyport, this would be an ideal time to do so. We are NOT there to be negative or to speak out on what the city of Newburyport has NOT done for the arts lately. We are there to be a positive force in what more can be done for the state of the arts in Newburyport. We are not there to complain. We are there to offer solutions.

When I made my submittal for the first independent art show to be done on Inn Street outside of Yankee Homecoming in years last September, I remember City Council member Robert Cronin stand up and ask,..but, what about the brick and mortar business’? With all due respect to the question, allow me to answer that.

Last Spring a petition was brought forward to City Council led by retail owner on Inn Street, the Elephants Trunk, Claudia Harris to ban festivals from downtown and move them elsewhere. By the time we were done demonstrating how the city needs to bring the ART back into festivals and what a little bit of management could do,…Claudia Harris was writing me a letter of recommendation for more art shows on Inn Street. Not only that but one of the most heart warming experiences I have encountered so far with the Artisans Revival was seeing the community collaboration between the people of the Save the Pink House set up next to the Elephant Trunk, while Claudia promoted her new line of dresses and ties incorporating the artwork of local artist Rod Emmerling during last years Yankee Homecoming Inn Street Artisans Revival.

Jack Frost was smiling down from the heavens. This my friends, is what it is all about.

If you can be at city hall on Monday night, be there. You dont need to speak. Just raise your hand in support if I have a chance to ask if anyone else is here in support of the expanded Artisans Revival shows on Inn Street. Better that way actually instead of taking up more of the city councils time then necessary. Better yet, you dont even have to be there. Just send me a short email in support and I will be happy to print it out and take with me as demonstrations of voices beyond the city hall council chambers.

This is a plea for Art to be incorporated into the Master City Plan for the City of Newburyport, the lastest city to be designated as a historic and cultural district in the State of Massachusetts.

Lets help make us worthy of it.


Best Regards,

John William Brown
Spirit of Newburyport
42 Federal Street
Newburyport, MA 01950

Artisans Revival Coordinator

Yankee Homecoming Inn Street Artisans Revival

Inn Street Artisans Revival – Facebook
Spirit of Newburyport Blog – Revival Updates
Merchants, Business Leaders High on Yankee Homecoming
Newburyport Daily News;Dyke Hendrickson Staff Writer Aug 8, 2017
Artisans Bring Lively Revival to Inn Street
By Jim Sullivan Staff writer Aug 1, 2017
As I See It: Jack Garvey – ‘No No Nantucket’
Newburyport Daily News Editorial 2017;
As I See It: Jack Garvey – ‘No No Nantucket’
A Call to Inn Street Artists
Worth The Price of Admission
Home Grown Festival; Newburyport Daily News Aug 2016 
Yankee Homecoming 2016 Chairman Plans New Events
Newburyport Daily News – July 2016
Artisan Revival Library Presentation 2016
Inn Street Blues; McDonalds Effect of Corporate Sponsorship
Tribute to Jack Frost; 2013 Yankee Homecoming Yearbook Inn Street Artisans Market
Peddle Meddling 2010; Newburyport Current
Prolific Artist Has More In Store
Newburyport Current; March 3, 2006
Newburyport; An American Perspective 2006
A Contemporary Art Exhibit – Where the Old Meets the New
Reflections on Ten Years of the Spirit of Newburyport #1 on Ten Years of the Spirit of Newburyport #2