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(DE-372: dp. 1,350, 1. 306'; b. 36'8", dr. 9'5" (mean) s. 24 k., cpl. 186, a. 2 5", 4 40mm., 10 20mm., 2 dct., 8 dcp., 1 dcp. (hh.); cl. John C. Butler)
The third Williams (DE-372) was laid down on 5 June 1944 at Orange, Tex., by the Consolidated Steel Corp.; launched on 22 August 1944; sponsored by Mrs. E. Willoughby Middleton, the first cousin of Rear Admiral Williams, and commissioned on 11 November 1944, Lt. Comdr. L. F. Loutrel in command.
Following shakedown out of Great Sound Bermuda Williams underwent post shakedown availability at Boston before shifting to New London, Conn., on 11 January 1945. Departing on the 19th, she moved to Newport, R.I., to rendezvous with Riverside (APA-102), and got underway on the 30th for Panama. Williams escorted the attack transport to Balboa, in the Canal Zone, and subsequently sailed for the west coast in company with Sims (APD-50), arriving at San Diego on 7 February.
Williams soon steamed independently to Hawaii, arriving at Pearl Harbor on 16 February. Following a period of training and minor repairs, the destroyer escort pushed on for the New Hebrides before escorting a group of LCI's from Espiritu Santo to Lunga Point from 25 to 27 March. Returning via Tulagi to Espiritu Santo on the 30th, Williams shifted to Noumea soon thereafter, to rendezvous with Vulcan (AR-5) and escort the repair ship to Ulithi where they arrived on 15 April.
After shifting to Manus, in the Admiralties, upon the conclusion of this escort mission, Williams convoyed Long Island (CVE-1) to Guam which she reached on 25 April, before escorting Copahee (CVE-12) to Eniwetok, and eventually returning to Manus on 6 May.
Four days later, the busy escort vessel departed the Admiralties with Presley (DE-371), Ross (DD-663), and Howorth (DD-592), bound for the Philippines escorting Transport Division 11. While en route on the afternoon of 15 May, ships in the group sighted a derelict mine and sank it with gunfire. The escorts delivered their charges at Leyte on 16 May, and Williams subsequently sailed for Hollandia and Manus arriving at the latter on 30 May.
Her respite in the Admiralties ended on 4 June when the warship got underway again and joined sister ship Presley in escorting a task unit bound for Tinian with ground forces of the Army Air Force 20th Bomber Command embarked. Completing this mission on the 7th Williams operated between Manus and the Marshalls into the latter part of June when she escorted Lander (APA-178) to Eniwetok.
Williams operated out of Manus through the end of the war with Japan in mid August 1945. During this time, she carried out drills, training exercises, and harbor entrance patrols before spending the first weeks of September in operations with the Ulithi unit of the Western Carolines Patrol and Escort Group.
After a brief visit to Yap and a stint towing a derelict ammunition barge, Williams was transferred to the Marianas patrol on 20 September. She escorted Bougainville (CVE-100) to Okinawa between 24 and 27 September before getting underway on the latter date to return to Guam.
On the return passage, on the night of 29 September Williams found herself trapped in the path of a severe tropical hurricane. A huge breaking wave pounded into the starboard side of the ship and nearly rolled Williams over. One man was swept overboard and out of sight in the stormy sea. Severe structural damage occurred topside, and minor flooding occurred below decks. However, round-the clock work by damage control parties soon restored the ship to fighting efficiency, and she resumed her passage. Before she reached Guam, she spotted a floating mine and destroyed it with gunfire.
Williams underwent permanent repairs at Guam before she sailed via Pearl Harbor for the west coast of the United States. Decommissioned at San Diego on 4 June 1946, Williams was inactivated and placed in reserve on 7 October of the same year. She never saw further service and was struck from the Navy list on 1 July 1967. Stripped to a hulk, the former destroyer escort was towed to sea from San Diego and sunk as a target by shellfire and missiles launched from both ships and planes on 29 June 1968.
Hank Williams III
As the grandson of Hank Williams and the son of Hank Jr., Hank Williams III was country music royalty before he ever sang a note. But he didn't immediately follow his forebears musically, choosing instead to bang around the Southeast, playing drums in punk and hardcore combos and smoking prodigious amounts of weed before he began pursuing a career in country music. It was the outlaw spirit of his lineage, alive and unwell and floating in the bong water, and he earned a reputation as one of Nashville's biggest rebels, more than living up to his lineage.
Shelton Hank Williams III was born December 12, 1972, in Nashville, Tennessee. Williams lived the life of a nomadic punk rocker early on, but that changed when a court settlement decreed that Hank owed a large backlog of child support, and the judge instructed Hank to find more reliable employment. Circumstances forced Hank III onto the straight and narrow, and in 1996 he signed a contract with Music City giant Curb. The label issued Three Hanks: Men with Broken Hearts, which brought the voices of all three generations of Williams men together via the miracles of modern technology. It was about as far from what Hank III wanted as he could get and signaled the beginning of his stormy relationship with Curb.
Williams was in a tight spot. While his name, face, and uncanny vocal resemblance to his grandfather almost guaranteed him a thriving country audience, he had no patience for Nashville's squareness and rigid control. Hank and his Damn Band could wow a crowd with a spot-on set of gorgeous country balladry and spirited honky tonk. But III could just as easily shift gears into screeching Black Flag-style punk rock with his hard-rocking combo Assjack. He was the kind of anomaly most record companies couldn't stand -- eminently marketable, yet defiantly unpredictable.
Curb issued Hank III's proper debut in September 1999. Entitled Risin' Outlaw, it presented 13 rough-hewn country numbers colored by III's honky tonking vocals. And while he played his share of "country" gigs to support it, Williams also appeared at the 2001 Vans Warped Tour alongside punks like Rancid. The irascible III also dismissed Outlaw as a label-controlled fiasco almost immediately after its release. After a few years of touring and trying like mad to be released from his Curb contract, III returned to wax in early 2002 with Lovesick, Broke & Driftin'. While Outlaw had featured material from outside writers, the new LP was all Hank III but for a previously released cover of Bruce Springsteen's "Atlantic City." He also produced, recorded, and mixed it by his lonesome in just two weeks.
At this point, Hank III's relationship with Curb became even more strained. The label refused to release his appropriately named This Ain't Country LP, which featured songs like "Life of Sin" and "Hellbilly." At the same time, Curb refused to grant Hank III the rights to issue it on his own. He and the record company reached an impasse, which III only exacerbated with the "F*** Curb" T-shirts he sold through his thriving website. Thrown Out of the Bar, his third honky tonk album, was scheduled for release in 2003, as was the long-awaited This Ain't Country. Additionally, Hank III issued extremely limited-edition releases through his website (often in quantities of 100 or less) and continued to play bass in Superjoint Ritual, the brutal side project of Pantera frontman Phil Anselmo.
The double-disc Straight to Hell was released in March 2006 on Bruc Records (Curb's attempt to disguise their participation in the album). The first CD contained songs with elements of traditional country warped to fit Hank III's rebel attitude, while the second disc boasted only one song that featured just III, his guitar, ambient noises, and a slight story that those coming down from drugs might enjoy. Ever in the outlaw mode, Hank III released Damn Right, Rebel Proud in 2008. His fourth and supposedly final album for Curb, The Rebel Within, followed in the spring of 2010. And in a move that hardly pleased Hank III, Curb next repackaged This Ain't Country, the oft-bootlegged project that started the acrimony between III and the label in the first place, with additional unreleased material thrown in, as Hillbilly Joker in 2011.
In the fall of 2011, Williams announced he was forming his own label, Hank3 Records, and launched the imprint with three albums released at the same time: A Ghost to a Ghost/Guttertown, a two-disc set of raw country tunes a doom metal set called Attention Deficit Domination and Cattle Callin, credited to 3 Bar Ranch, which married recordings of cattle auctioneers with speed metal tracks. III was still touring in support of his new albums when Curb managed to get an eighth album out of a lapsed six-album contract by releasing another set of previously unreleased material, Long Gone Daddy (mostly outtakes from 1999's Risin' Outlaw and 2002's Lovesick, Broke & Driftin') in the spring of 2012. In October 2013, Hank III released another pair of albums through his own label, the two-disc country album Brothers of the 4X4, alongside the hardcore cowpunk release A Fiendish Threat.
Curb Records, meanwhile, continued to keep ill will flowing between themselves and their former artist Ramblin' Man, a 27-minute album of country-oriented tracks Hank III primarily recorded for various tribute albums, was released in the spring of 2014, and a year later Curb (using the Bruc alias) dropped a punk and metal-leaning set, Take as Needed for Pain, which was similarly pieced together from tribute albums and studio outtakes. As he had done with Curb's previous post-contract albums, Hank III encouraged his fans not to buy the albums in messages on his website and social media accounts, suggesting they burn copies borrowed from friends instead. Continuing to mine Williams' back catalog, Curb issued a Hank III Greatest Hits collection in September 2017.
After spending two years in the United States Air Force, Williams began an acting career. He first appeared on Broadway in The long dream (1960), and received a Theater World Award and a Tony Award nomination for Slow dance on the killing ground (1964). [ 2 ] Continuing her impressive work on stage, she appeared in Walk in Darkness (1963), Sarah and the Sax (1964), Doubletalk (1964), and King John . [ 2 ] He also served as an Artist-in- Residence at Brandeis University in 1966.
The role that launched him to nationwide fame was as undercover cop Linc Hayes on the popular countercultural police television series Mod Squad (1968). Along with his relatively unknown classmates Michael Cole and Peggy Lipton , he became a star. Since the series ended (in 1973), Williams has worked in a variety of genres on stage and screen, from comedy ( I'm gonna git you sucka , and Half-Baked ) to science fiction ( Star Trek: Deep Space Nine ) and drama ( Purple Rain ) .
Its enviable career , which spans more than forty years including a recurring role in the television series surreal Twin Peaks (1990), a good cop in Deep Cover (1992), a troublemaker in the miniseries Against the Wall ( Against the Wall , 1994), and the chemically dependent father of actor Wesley Snipes in Sugar Hill (1993). Other television roles include Hill Street Blues , Canadian cult classic The Littlest Hobo , Miami Vice , The Highwayman , Burn Notice , Everybody Hates Chris , Justified , a recurring role as Philby Cross on Mystery Woman and on Hallmark Channel series .
Se le puede ver en películas como 52 Pick-Up, Life, The Cool World, Deep Cover, Tales from the Hood, Half-Baked, Hoodlum, Frogs for Snakes, Starstruck, The General's Daughter, Reindeer Games, Impostor, The Legend of 1900, Rebound: The Legend of Earl "The Goat" Manigault, y Purple Rain.
He also played a supporting role as George Wallace's African-American butler in the film George Wallace (1997, on TNT), and as Raymond Ellsworth Bumpy Johnson in American Gangster (2007).
Some film roles in which he was not credited include Pork Chop Hill (1959) and American Gangster (2007).
Who was Clarence Williams III?
Clarence Williams III was a noted African-American actor, who delighted his audience with his memorable performances in numerous stage shows, television productions and films for more than fifty years. Born into a family of musicians, he became interested in acting while in his teens, debuting in films at the age of eighteen. But shortly, he was called for his military service and on his return, he began to appear on stage. He made his Broadway debut at the age of 21 and got his breakthrough role at the age of 25. However, he had to wait for four more years for the role that made him a household name&mdashthat of Linc Hayes in the television series, &lsquoThe Mod Squad&rsquo. When the show ended, he returned to the stage, unwilling to act in typical roles that were available to the African-American actors. At around the age of 40, Clarence Williams III once again returned to the screen, thereafter continuing to mesmerize his audiences with varied types of roles.
Stanley (“Tookie”) Williams, III (1953-2005)
Best known as the co-founder of the Crips, the largest street gang in the United States, Stanley Tookie Williams lived in a life of crime and violence. He was born on December 29, 1953, in New Orleans, Louisiana to a mother who was seventeen years old at the time of his birth. His father, Stanley Williams, Jr., abandoned the family following his birth.
Williams and his mother moved to Los Angeles, California in 1959. Bored at home, Williams wandered the streets and through fighting, made a name for himself. He did not attend school and instead engaged in petty theft and occasional robbery. Eventually meeting Raymond Washington who had a similar lifestyle, the teenagers started a group that would act as a neighborhood watch and protect their families and homes. By 1969 that group evolved into the Crips with fifteen-year-old Williams and Washington leading it.
The Crips membership grew exponentially over the years. By 1978 there were 45 Crip gangs numbering 20,000 members in Los Angeles County alone. No longer simply fighting for “turf,” they controlled the production and distribution of PCP, marijuana, and amphetamines. By 1999 the Crips had expanded far beyond California to the Pacific Northwest, the Midwest, and the East Coast, with an estimated 50,000 members. Although Williams and Washington were the founders of the Crips, they had only nominal control over the criminal activities of the various “sets” as individual Crip gangs were called. The Crips fought rival gangs such as the Bloods, but Crip sets just as often fought each other.
In 1979, Washington was killed, and Williams’ life of crime quickly spun out of control. While on drugs, Williams and other Crips orchestrated a robbery at a Los Angeles convenience store that turned deadly when Williams executed the store clerk. Later in the year, Williams broke into a motel and killed the owner, his wife, and their daughter. He was arrested and in 1981 tried, convicted, and sentenced to die by lethal injection.
Soon after arriving in prison, Williams initiated assaults and was given solitary confinement for six years. Williams claimed this experience changed him. He found religion and said he repented for his sins in the eyes of God. Meanwhile, Williams and his attorneys submitted multiple appeals to avoid the death sentence.
By the 1990s, having realized the harm that the Crips had inflicted, particularly on African American communities, Williams penned an apology letter, spoke out against gang violence, and wrote children’s books on the subject to influence young readers to avoid gangs. He also wrote an autobiography and an exposé on life in prison. When asked what he most regretted in his life, Williams simply stated “Creating the Crips.”
His changed ways and outreach to dismantle the gang community lifestyle caught worldwide attention. In 2001, a member of the Swiss Parliament nominated Williams for the Nobel Peace Prize for his efforts. In 2004, Williams created a Protocol For Peace that stopped the violence between the Crips and Bloods.
In 2005, Arnold Schwarzenegger, then Governor of California, denied clemency for Williams. Schwarzenegger said Williams’ claims that he had changed contradicted his argument that he was innocent of his crimes. Schwarzenegger denied Williams’ petition and he was executed by lethal injection on December 13, 2005 at the San Quentin State Prison in California.
Williams wed his wife Bonnie in 1981. Together, the couple had three children, including Stanley “Little Tookie” Williams IV. Williams was also involved with the Crips and led a life of crime he was eventually sentenced to sixteen years in prison for second-degree murder.
Sex, Drugs & Yodelling: The Hank Williams III Story
Hank Williams Jr. and Son Hank Williams III, at 24th Annual Academy of Country Music Awards, April 10th, 1989.
Hank Williams sang about cheatin’ hearts and shedding tears in his beer. Roughly half a century later, Shelton Hank Williams has slightly different problems. “I haven’t slept in two days!” rants the twenty-six-year-old grandson of the country legend. “No crank, no coke, no speed &mdash just pot. I been having hot and cold flashes since 4:30 this morning.”
It is, it should be noted, a good-natured rant. Williams is grinning as he paces the floor at the Nashville home of his stand-up bassist, Jason Brown. The youngest Hank &mdash his father is country star Hank Williams Jr. &mdash eerily resembles his grandfather, tall and gaunt in a black cowboy hat, black leather jacket, Reverend Horton Heat T-shirt and cowboy boots, his cascading hair pulled back into a tight braid. Last night, Williams returned from Austin, where he had risked the ultimate bad trip by dropping acid and going to a wake. Now he’s preparing for an overnight bus ride to Hot Springs, Arkansas, where his band has a weekend gig. First, though, he has to swing by his pot dealer’s place for a quick transaction. “He only has three customers,” Williams notes cheerily. “It’s blessed weed.”
Williams spent his teendom bucking his legacy, singing and drumming in various punk bands. “I was like, ‘I’m never gonna do country, I’m never gonna give in, you’ll never see me wear a cowboy hat,”‘ he says. “I was a massive Sid Vicious fanatic. Used to cut myself up like him, wearing safety pins through my skin.”
But three years ago, Williams finally embraced his country roots. Since then, his story has been a familiar tale of sex, drugs and, um, high-pitched yodeling. Williams has played oprys, dinner theaters and police fund-raisers. His sets mix classic C&W &mdash including crowd-pleasing renditions of his grandfather’s hits &mdash with new songs written in a retro style, with fiddle and pedal steel guitar. Such purist honky-tonk is jolted alive with punk attitude: Williams’ songs include “Fuck Nashville,” and his covers veer toward old blues with lines like, “Dreamin”bout a reefer, five feet long&hellip.”
Williams lives in a secluded trailer in semirural Lebanon, Tennessee, about thirty miles east of Nashville. The place is spacious but, at the moment, fairly trashed. Western shirts hang from curtain rods. An empty bottle of Jack Daniel’s sits atop a fifty-inch television, just below a velvet painting of a bulldog. A snapshot of his mom’s father, posing with a gun and a dead raccoon, lies on the floor next to a Goo Goo cluster.
The pad hasn’t quite recovered since Williams’ girlfriend of seven years moved out a few months back. Shortly thereafter, in true country-music fashion, his dog died. Most recently, he discovered that a homemade porn starring Williams and a lady friend was missing.
“All I can say is, if it comes out, it’ll put Pamela and Tommy Lee to shame,” says Williams, who is forthcoming to a fault. “Their video was a bunch of ‘awww,’ ‘oooh,’ but it wasn’t fuckin‘. My video is real fuckin‘, man. Dildos and everything.” Around midnight, band and tour bus rendezvous chez Williams. Brown, a former guitar tech for NOFX, has been a steady band member for years. The rest of the six-piece group is made up of Nashville musicians, ranging in age from thirty to sixtysomething. Eddie Pleasant, Hank III’s merchandise and scheduling guy, who is almost seventy, also comes along. “I been here since water,” he says.
“Gimme the bad news,” Williams says as the bus rumbles down the dirt road leading away from his trailer. He has changed into a Misfits T-shirt and sweats, and let his hair down so that he looks like a roadie for a death-metal band. “Where we playin’ tomorrow?”
Williams nods. “I’m just glad we’re playin’ somewhere that serves alcohol.”
All weekend, Williams seems alternately depressed and defiant about the current state of his career. Renting a tour bus, for example, is a hefty expense for a small club date. “It breaks me, man,” he says, lounging in the back with his ever-present one-hitter. “My driver makes more than the players. But when I got into country, I said I ain’t gonna settle for nothing less. I know they say it’s paying your dues, but I did that when I was playing in punk bands.”
Williams’ parents divorced when he was three, and he’s never been close to his father, which partly fueled his attraction to punk. He eventually gave up his “punk-rock dream” when, three years after a one-night stand, he found himself staring down a paternity suit. “I owed them $24,000 back pay in child support, plus $589 a month,” he says. “And that, as bad as it might sound, is why I got into country. I had to say, ‘Well, shit, man, you gotta quit screaming. You’re gonna have to make some money.’ I told all my punk friends, ‘If I’m gonna do country music, I’m gonna milk it.”‘
For Williams, that meant blatantly trading on his family name. He dropped “Shelton” for “Hank III,” and he recorded a dreadful Three Hanks: Men With Broken Hearts album with his father and the voice of his grandfather. He also cut his own still-unreleased album for Curb Records, a project he now disowns. “It sucks so bad,” he complains. “They didn’t have any balls. When you hear my CD, there’s a good voice with a bunch of wishy-washy players.”
But for Williams, a funny thing happened while he was trying to sell out: He started to find his voice, looking to older artists like Ernest Tubb and retrominded contemporaries like Wayne Hancock for inspiration. “I’ve only got about seventeen songs of my own right now,” says Williams, who spends much of his downtime in the back of the tour bus, strumming along to tapes of newfound heroes. “I’ve got my Lord song, my devil song. I’m still working on my sound, but I consider what I do slacker country for right now.”
“When Hank [Jr.] was twenty-four, twenty-five, he was in a very hard place, and it’s the same place I see Shelton in now,” says Hank III’s mother, Gwen Williams. “[Hank Jr.] had been compared to his father all his life, and when he finally rebelled, those were the songs that sent him over the top. The history lines match up all the way through in the history of these guys.”
The tour bus pulls into Bill Clinton’s hometown early Saturday. Boogie’s turns out to be a converted train depot. Toward the rear of the room there’s a life-size fiberglass bull bucking up on its front legs, surrounded by hay. A sign says: HAVE YOUR PICTURE TAKEN WITH THE BULL, $6. The club owner informs Williams that last night’s performer was Michael Twitty, son of the late Conway Twitty, and that after Boogie’s closed at two, Twitty partied at an after-hours club until five. “That Twitty motherfucker,” Williams fumes later. “No one with the name of Twitty’s gonna out-party us. We can’t let that happen, man.”
That night, the Boogie’s crowd is handily won over. As a songwriter, Williams remains rough-edged, a work in progress, but he proves to be a natural performer, plowing through his granddad’s “Your Cheatin’ Heart,” his daddy’s “Family Tradition,” his own jauntily mean-spirited breakup song, “What’s His Name?” The band is impressively tight, and as frontman, Williams has the cracking voice and the outlaw charisma. He is seemingly proof of the old adage &mdash no offense, Bocephus &mdash about talent skipping a generation. The set ends with Waylon Jennings’ “Good Hearted Woman,” during which Williams, attacking his acoustic guitar, drives the rest of the band to a frenzied climax.
Later, at the after-hours club &mdash an after-hours club where, around four in the morning, kids start spontaneously line-dancing &mdash Williams soundly out-parties the hated Twitty, eventually stealing off with some drunk friends. It’s after six when the bus finally pulls out of Hot Springs. Williams emerges from the back and hoots, “Y’all ready to leave, you fuckin’ wimps?” But he’s still in an upbeat mood. A guy he met at the club wants to hire the band for a private Fourth of July party, and he promised to supply Ecstasy.
As we roll toward Memphis, Williams is still not ready for bed. He retreats to the back of the bus, drawing the curtains to block out the rising sun, and begins pickin’ on his guitar, belting out one more classic number. “That was by the great songwriters Cheech and Chong,” he announces after his final strum, polite as if he’s playing the Grand Ole Opry, “a tune called ‘Up in Smoke.”‘
The Hank Williams Lineage Continues with Hank3’s Son “IV”
There’s a new performer on the way, and he’s one that has a legitimate claim to arguably the most important bloodline in country music history. That’s right, the son of Hank Williams III is getting ready to emerge, and to do so under the moniker “IV.” And though all we have to work with at this point is snippets and snapshots, he appears to be taking after pops in more ways than one.
The 30-year-old from Nashville is not named Hank, but rather Coleman, and isn’t adopting the “Hank” name specifically, only the numeric “IV” as a forth generation performer in the direct bloodline of Hank Williams as Hank’s great grandson.
“Four writes folk songs,” says his producer, Jason Dietz. “The band is responsible for turning them into something else. We try to keep an essence of their original form, while adding drums, 100 watt amps, fuzz bass and fiddle.”
Jason Dietz is also known as the bass player for the band The Hardin Draw, and has worked with former Hank3 bass player Joe Buck in the past. Guitarist David Talley and fiddler Laura Beth Jewell also of The Hardin Draw are involved in bringing the project to life under what they’re calling “The Strange Band.” At the moment they plan to release a debut single from IV called “Son of Sin” on April 4th, with a debut EP coming April 20th.
The discovery of “IV” is one of the major reasons that Hank Williams III got involved in country music in the first place. Primarily playing in punk bands and installing garage doors for a living, Hank3 was hit with a paternity suit when Coleman was five-years-old, and told by a judge to “get a real job” to help pay child support. Hank3, who is now 48-years-old, had not known about Coleman prior to the paternity motion.
So to help pay child support, Hank3 signed with Curb Records, and emerged as a neotraditional country singer and songwriter in the vein of his grandfather, while playing in metal and punk bands on the side, and forming his own “Hellbilly” style of music. Hank3 released his magnum opus Straight to Hell in 2006, and fulfilled his contract with Curb in 2008 after a contentious relationship. He then went independent, releasing multiple records on his own. Hank3 has been mostly inactive since 2014 after his last tour.
Whenever talking about the Hank Williams bloodline, a bit of disambiguation is always necessary. Hank3 is Hank Williams Jr.’s son, and Coleman, a.k.a. “IV” is Hank3’s son. Hank Williams Jr. also has another son from a later marriage named Sam Williams, who is also a performer. Hank3 is the half brother of Sam, and of Hilary and Holly Williams, who are also performers.
Then there is the case of Ricky Fitzgerald, a.k.a. “Hank Williams IV,” who is also a performer and currently active, and who uses the Hank name on stage. He is the grandson of Lewis “Butch” Fitzgerald, who is the long-rumored supposed illegitimate son of Hank Williams. To take a deep dive into that complex story, CLICK HERE.
It’s also important to point out that Hank Sr.’s real name was Hiram King, which he changed to Hank, thinking it would be better for country music. The ‘Hank’ in Hank Jr. and Hank3’s name comes from their given middle name, not their first name: Randall Hank Williams and Shelton Hank Williams respectively. IV’s official last name is Finchum after his mother, since at birth he was not in the life of Hank 3. IV though says he’s planning to change his last name to Williams.
But just to underscore again, “IV” is not claiming the Hank name, even though hypothetically, he possibly could for the stage. Instead he’s keeping clear of any controversy that could come from it, while still laying claim to his legitimate standing in the Hank Williams lineage. At this point, Hank3 has not publicly acknowledged his son’s new endeavor, but the two are said to be in regular contact.
Though we don’t have any music from IV just yet, you can follow him on Instagram, where he’s posted some small clips and more photos. Though it’s hard to come any hard conclusions at this point, it does appear IV is leaning more towards a rough-and-tumble style of country similar to his father.
Completes Open-Heart Surgery
In 1893, Williams continued to make history when he operated on James Cornish, a man with a severe stab wound to his chest who was brought to Provident. Without the benefits of a blood transfusion or modern surgical procedures, Williams successfully sutured Cornish’s pericardium, the membranous sac enclosing the heart, thus becoming one of the first people to perform open-heart surgery. (Physicians Francisco Romero and Henry Dalton had previously performed pericardial operations.) Cornish lived for many years after the operation.
In 1894, Williams moved to Washington, D.C., where he was appointed the chief surgeon of the Freedmen’s Hospital, which provided care for formerly enslaved African Americans. The facility had fallen into neglect and had a high mortality rate. Williams worked diligently on revitalization, improving surgical procedures, increasing specialization, launching ambulance services and continuing to provide opportunities for Black medical professionals, among other feats. In 1895, he co-founded the National Medical Association, a professional organization for Black medical practitioners, as an alternative to the American Medical Association, which didn’t allow African-American membership.
Dr. Riley J. Williams, III
Orthopedic surgeon Dr. Riley J. Williams III was born on March 16, 1966 in Los Angeles, California. He received his B.S. degree from Yale University in New Haven, Connecticut in 1987, and his M.D. degree from the Stanford University School of Medicine in Stanford, California in 1992.
Williams completed his surgical residency and post-graduate fellowship in sports medicine surgery at the Hospital for Special Surgery (HSS) in New York City. He was hired as a staff surgeon and specialist at HSS in 1998. Williams held dual appointments at HSS as a full-time member of the sports medicine and shoulder service, and the HSS Research Division as a clinician-scientist. He was also appointed instructor in orthopedic surgery at the Weill Cornell Medical College and became head team physician for the Iona College department of athletics. In 2000, Williams was promoted to assistant professor of orthopedic surgery at the Weill Cornell Medical College. Later, in 2005, he was hired as head team physician and orthopedic surgeon of the National Basketball Association’s (NBA) Brooklyn Nets. That same year, he became the medical director and team orthopedic surgeon for the New York Red Bulls soccer team of Major League Soccer (MLS). In 2012, Williams served as founder and chief medical officer of R2T2 Laboratories, Inc., where he invented the Therma1 fast-recovery and injury prevention handheld roller. In 2014, Williams was named team physician for USA Olympic Men’s Basketball team and was also appointed director of the FIFA Center of Excellence at HSS. Throughout his career, Williams performed surgeries on a number of professional athletes including, Paul George of the NBA’s Oklahoma City Thunder, Al Iaquinta of the Ultimate Fighting Championship, Tyreke Evans of the NBA’s Indiana Pacers, WBC/WBA welterweight boxing champion Keith Thurman, D’Angelo Russell of the Brooklyn Nets, and Dustin Pedroia and Steven Wright of Major League Baseball’s Boston Red Sox. In 2017, Williams was promoted to professor of orthopedic surgery at Weill Cornell Medical College, and attending orthopedic surgeon at HSS.
In 1998, Williams received the Philip D. Wilson Jr. Award for Excellence in Research from the Hospital for Special Surgery, and the Ranawat Award for Excellence in Research from the Eastern Orthopedic Association. In 2003, Williams received the Charles C. Neer Award for Excellence in Research from the American Shoulder and Elbow Society. He also received the Aircast Award for Clinical Medicine from the American Orthopedic Society for Sports Medicine in 2005. Williams was also named to the Castle Connolly Top Doctors in New York Metro Area list, and the Castle Connolly America’s Top Doctors list, since 2007 and 2010, respectively.
Williams was interviewed by The HistoryMakers on March 29, 2019.
[Photograph of Doris and Byrd Williams III in a kitchen]
Photograph of Doris and Byrd Williams III standing behind a low counter in a kitchen. Byrd III stands on the left, wearing a dress shirt tucked into slacks. Some objects sit on the counter in front of him, possibly shopping bags or wrapped presents. Doris stands on the right. She has short dark hair and wears a long-sleeved top. She turns away from the camera as she places a bottle on the counter. Dark upper cabinets hang on the hall behind them.
1 photograph : b&w 9 x 13 cm.
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UNT Libraries Special Collections
The Special Collections Department collects and preserves rare and unique materials including rare books, oral histories, university archives, historical manuscripts, maps, microfilm, photographs, art and artifacts. The department is located in UNT's Willis Library in the fourth floor Reading Room.