The textile firm, S & J Watts was founded by James Watts (Mayor of Manchester), a Mancunian industrialist and entrepreneur, whose textile business had started in a small weaver's cottage in Didsbury. His success as a cotton trader was part of the commercial boom of the 19th century that gave Manchester the name "Cottonopolis", when the city was a global centre for the cotton trade.
Watts also introduced a new way of rendering the Psalms in verse for church services, proposing that they be adapted for hymns with a specifically Christian perspective. As Watts put it in the title of his 1719 metrical Psalter, the Psalms should be "imitated in the language of the New Testament." Besides writing hymns, Isaac Watts was also a theologian and logician, writing books and essays on these subjects.
Richard Watts' will when proved in 1579 provided for an almshouse in Rochester High Street. now known as the Six Poor Travellers House, to be expanded and maintained. The "Indenture Quadripartite" of 1593 established the form and government of Richard Watts Charity which over time built other almshouses and expanded to incorporate several local charities, such as St Catherine's Hospital founded under the charity of Symond Potyn in 1315. Richard Watts Charities, as of 2013, provides 66 self-contained flats in Rochester which includes almshouses in Maidstone Road built in 1857.
Sacred music scholars Stephen Marini, Denny Prutow and Michael LeFebvre describe the ways in which Watts contributed to English hymnody and the previous tradition of the Church. Watts led the change in practice by including new poetry for "original songs of Christian experience" to be used in worship, according to Marini. The older tradition was based on the poetry of the Bible: the Psalms. According to LeFebvre, Psalms had been sung by God's people from the time of King David, who with a large staff over many years assembled the complete book of Psalms in a form appropriate for singing (by the Levites, during Temple sacrifices at the time). The practice of singing Psalms in worship was continued by Biblical command in the New Testament Church from its beginnings in Acts through the time of Watts, as documented by Prutow. The teachings of 16th-century Reformation leaders such as John Calvin, who translated the Psalms in the vernacular for congregational singing, followed this historic worship practice. Watts was not the first Protestant to promote the singing of hymns; however, his prolific hymn writing helped usher in a new era of English worship as many other poets followed in his path.
Watts became an important figure among British industrialists, socialising with politicians and churchmen at his home, Abney Hall, in Cheadle. Prince Albert chose to stay with him when he visited Manchester to open the Art Treasures Exhibition in 1857.
In addition to founding the clinical hospital, George Watts also established the Watts Hospital Training School for Nurses at the hospital, in 1895. Renamed the Watts School of Nursing (Watts SON) in 1976, the school's first graduate, Ethel Clay, received her nursing degree in 1897.
Further discussing Sharon's ambivalent reaction to her father's return Dean said, "Sharon is absolutely dumbstruck at seeing her father again. It's like seeing a ghost and she's completely shocked. To see him after all this time when she had accepted his death and got on with her life, is too much for her. Sharon has been through so much in the past 14 years without Den and has had to cope on her own. Although she's pleased to see him, he knows nothing of the life she's had in his absence—he hasn't been there for all the times she's been hurt, like when she was caring for [her dying mother] Angie, or when her fiancé Tom died. She's developed as a woman, and for her, their relationship ended when he 'died' while she was still a teenager. Everything has been turned upside down for her. She's feeling angry and resentful [towards] Den at the moment, but that's only because she loved him so much. He's going to have to tread so carefully with her—he's got some real making up to do in order to enable Sharon to trust him again." Despite initial animosity and hurt, Sharon eventually welcomes Den back into her life and allows him to return to live with her, resuming head of the Watts dynasty.
However, the popularity of the Watts family to viewers and the importance of the family to the show meant that successive producers and executives continually asked Dean, Dobson, and Grantham to reprise their roles. By 2001, John Yorke succeeded where others had failed, and Sharon made a triumphant return as the new secret owner of the Queen Vic, Yorke having "first floated the idea of Sharon's return" the previous year. The return was part of a highly successful year for EastEnders, and to build upon that success it was decided by Yorke, his successor Louise Berridge and Head of Drama Serials Mal Young to expand Sharon's familial connections and bring the Watts family back to Walford.
Again, the family was to be increasingly dominated by the volatile relationship between husband and wife, culminating in Den's death in February 2005, after Leslie Grantham decided not to extend his current contract. This followed the departure of actress Scarlett Johnston from the programme with Vicki making her last appearance on Christmas Day 2004. However, the importance of the Watts family to the dramatic action of the show took its toll on the actors, especially Tracy-Ann Oberman, who played Chrissie, with the actress noting how "in 18 months I knocked up four years of acting experience". By the autumn of 2005, it had been announced that all three actors who played the remaining on-screen Watts family members would not be seeking to renew their contracts and would be leaving over the next few months. All three had exited the show by January 2006, with Dennis being sensationally killed off in the episode aired on 30 December 2005 and Sharon departing to America in the new year, while Chrissie was imprisoned after finally being arrested for the murder of Den.
Watts School of Nursing is now located on Croasdaile Drive in Durham, NC.
With Den set to stay, the Watts family was completed in the shape of Den's second wife Chrissie, who arrived in the spring of 2004, having finally followed her husband back to England from Spain - where Den had been living since his faked death in 1989. Although similar to Angie in many ways, Chrissie was intended to be more actively independent and as devious and conniving as her husband.
Now part of the Duke University Health System, Watts SON has been housed at Durham Regional Hospital since 1976.
The chapel was enlarged in 1926, when transepts were added. It seated all three hundred boys and the school's masters. The pulpit was given as a memorial to B. Watson, Esq, and two stained glass windows were added in memory of Frederick Humby, an old Watts boy who lost his life in the Titanic sinking of 1912.
The Watts Towers Arts Center is an adjacent community arts center. The current facility opened in 1970. Prior to that, the Center operated under a canopy next to the Towers. The center was built and staffed by the non-profit Committee for Simon Rodia's Towers in Watts. Changing displays of contemporary artworks are on exhibit, and tours of the Watts Towers are conducted by the center. The Center's Charles Mingus Youth Arts Center holds art classes, primarily for youth and Special Needs adults from the local community and surrounding cities. Partnerships with CalArts and Sony Pictures provide media arts and piano classes. The Day of the Drum and Jazz Festival occurs annually on the last weekend of every September. It includes arts and craft booths and live music.
By the time Sharon returned to EastEnders, producers and executives began work on reconstituting the family; although Anita Dobson rejected the last of several offers to return to the show and her character's off-screen death was announced in the spring of 2002, Grantham finally agreed to return as Den in 2003, to accompany the re-introduction of his family, with Den's unknown son Dennis being introduced in April 2003, shortly after a teenage Vicki Fowler was brought back into the show, having left with her mother Michelle in 1995. Although a Fowler, Vicki maintained a close relationship with Sharon, with her storylines centring mainly around the Watts saga. The return of Den reunited the fractured Watts family, creating "a real buzz to the show".
Watts Re:Imagined is a local urban planning initiative led by Grant Housing Economic Development Corps (Grant EDC, a non-profit division of the community-based Grant AME church) and the Natural Resources Defense Council (NRDC ) Urban Solutions program. Its mission is to help the community of Watts realize their full potential by promoting economic opportunity, social equity, public health, and an improved quality of life, all while working with community leaders to preserve the identity of the area. It is trying to achieve this goal by implementing different existing plans proposed for the area. The Watts Re:Imagined initiative was formed in response to the dissolution of the Community Redevelopment Agency of Los Angeles.
The importance of the Vic to the Watts became obvious when Sharon returned to lay claim to the pub after a 6-year absence. Indeed, the Vic was to become a central battlefield in the war between the contending families: the returning Watts seeking to reclaim what now belonged to the Mitchells. Even when Sharon was forced out of the pub, the rivalry with Phil, Peggy, and Sam Mitchell (Kim Medcalf) heated up with the appearance of Sharon's half-sister Vicki and Den's long-lost son, Dennis, who particularly clashed against Phil Mitchell after punching him when they first met.
Watt's toured through New York, Chicago, L.A. and Seattle as part of best-selling author Cornelia Funke's "Get Reckless Tour". Watts performed the song "Reckless" which was inspired by Funke's book of the same name.
Thankfully, he doesn’t let the listener rest as the musical shards and percussive darts of the track “Cage” attack. This is where Watts shows the depth and breadth of his musicality as this multiple instrumentalist races and rages to contain the animal inside, and leaves listeners gasping. Breathtaking! Although we haven’t heard a duet from Adam Watts before, “World War Three” musically delivers an open-hearted release with the delicious contrast of a breakup that begins civilly but escalates to ruin in the delicate and destructive duet (with Broken City Artist iRussi). “Somebody Somewhere” stays true to his unabashed, poignant revelations and delivers an emotional punch as it reminds listeners the pain of unrequited love in this tender, intimate guitar track that rings true. Armed with only a piano, his unrushed pace of “Let You Win” requires the listener to lean in and scoot your chair closer in order to absorb this heart-rending critique about self-sabotaged relationships while revealing Watts strength is in his fragile vulnerability. In the album, Watts interlaces fragile feeling with delicate guitar melodies with turbulent and driving percussive tracks but it is his yearning, melancholic vocals and unflinching self-examination that allow the listener the rare opportunity to witness both a lacerating self-analysis and harrowing journey of introspection. It is pure alchemy. Musically, he deserves to be as popular commercially as artists such as Rufus Wainwright and Damien Rice as he bridges the distance between the soul of a musician and the heart of the listener. The album reminds listeners that we aren’t alone as we search and pray for our own personal redemption from suffering and pain. Watts flawlessly staggers above spiritual ruin and carries the listener to an emotional summit so that we also accept the inescapable verity of life’s undivided, yet exquisite couplet of pain and joy. A heroic triumph."
"Adam Watts: Hero and the Pain Review—beautifully and fearfully made. Southern California native Adam Watts’ most recent album The Hero and the Pain underlines the matchless power of a singer/songwriter daring to stand outside trends and convention to create a significant, transcendent, and sacred experience for audiences. This album quickly jumped to a place in my top 10 best albums of the last ten years.The album is an intimate, spiritual sojourn of questions and answers. What begins with the unhealed wounds of “The Hero and the Pain “is answered by “More’s” unrushed pace, which echoes Watts’ demands for more from life than the steady gait of mediocrity. The album is a welcome reprieve from party anthems and vapid, pop music offerings.Watts punctuates his pained recollections of emotional and spiritual turbulence of the opening track “The Hero and the Pain” with his yearning, melancholic vocals, and orchestral strings juxtaposed with the pounding, surging percussion in “A Wave Does What a Wave Does.” The album proceeds to the forlorn cry for connection–the primal prayer, and serrated screams of “Motherfather,” which may be the most heartrending and passionate song of the album. “Running Out of Heroes” shows us Watts is poised to take his place in the singer/songwriter world in this intricate, lyrically gorgeous vocal performance. The conspiratorial and poignant performance is punctuated with plucked strings and arrives layered with beautiful, subtle detailing. Here Watts reminds us why music is important-it teaches us about ourselves, our relationships, and our place in the world—a place of pain, disappointment, redemption, belief, yearning and joy.