Francis Olympic Field was built in 1904 for the Third Olympic Games. This was the first international Olympic Games held in the Western Hemisphere. The Games were held during the World’s Fair which also took place in St. Louis. The four-and-a-half month-long competition included eighteen events. Boxing, freestyle wrestling, decathlon, and dumbbells were added to the event list at the 1904 Games. This was also the first Games to use bronze, silver, and gold medals for third through first-place winners. Many fairgoers would stop by to witness Olympic competitions while taking in other attractions of the fair. Francis Field was used for several track and field events during the Olympics. Francis Olympic Field and its accompanying gymnasium are named after David R. Francis, a former Missouri Governor and the president of the Louisiana Purchase Exposition. David Francis played a major role in bringing the 1904 Olympic Games to St. Louis. The field was constructed in 1902 on the west end of Washington University’s Danforth Campus. In 1904, the field featured a third-of-a-mile track that was used until the early 1980s. Francis Field’s permanent concrete bleachers demonstrated one of the first uses of reinforced concrete technology. Both Francis Olympic Field and Francis Gymnasium are considered U.S. National Historic Landmarks.  The field went under several renovations in 1984, 2003, and 2004. The school made several improvements to the field and the surrounding area. Francis Olympic Field now utilizes field turf and has an artificial track. The Washington University Athletics uses the field for football, track, and soccer teams. The field is also used for several public events such as presidential debates and the American Cancer Society’s Relay for Life.

Francis Olympic Field during a soccer match 

Washington University’s Francis Olympic Field was built in 1902 and hosted the 1904 Olympic Games. The venue currently seats around 4,000 spectators who attend Washington University events and the university's football, soccer, and track and field teams utilize the historic field for practices and games. Francis Field and the accompanying Francis Gymnasium are U.S. National Landmarks and named in honor of David R. Francis, a former Missouri Governor and the president of the Louisiana Purchase Exposition.

Francis Olympic Field 

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Best suited for driving, this tour moves through Forrest Park and the neighborhoods west of the park to include numerous landmarks whose histories are deeply tied to 1904 when St. Louis hosted both the Olympic Games and the World's Fair. Known as the Louisiana Purchase Expedition, the 1904 World's Fair marked St. Lousi's arrival on the world stage and hosted exhibits that demonstrated scientific achievements, industry growth, innovation, and artistic and cultural exhibits. The fair also demonstrated prevailing attitudes, with exhibits such as the Old Plantation providing a comforting and nostalgic view of slavery for attendees while the Philippines Reservation celebrated colonialism. 
Reflecting the best and worst aspects of America at the Turn of the Century, the St. Louis World's Fair offers a window to understanding the city and nation at this time. This event created a lasting mark on St. Louis's History and served as the inspiration for the 1944 film "Meet Me in St. Louis," starring Judy Garland. 

Built-in 1936, the Jewel Box is an Art Deco glasshouse (greenhouse) for public horticultural displays. It contains ferns, tropical flowers, and other plants and trees that grow well indoors. The Jewel Box was designed by the architect William C.E. Becker and constructed by the Robert Paulus Construction Company. It opened to the public in May 1937.The original materials included cantilevered glass, iron, and wood. Most of the glass was framed on the exterior side by copper, for decorative effect. An acid finish was then applied at the time of construction to produce a weathered look that would give the appearance of age. There is also a vestibule made of limestone and granite. Outdoors, surrounding the Jewel Box, there are reflecting pools with waterlilies, walkways, and gardens filled with tulips and other seasonal plants.The architect, William Becker, designed the building's roof with five stepped wooden tiers. As a result, the Jewel Box is considered almost entirely hail-proof. When a hailstorm hit St. Louis in 1938, a thousand panes of glass were damaged in the other greenhouses which were then located in Forest Park. Yet, the Jewel Box had not one single broken pane of glass, rendering the design a technical achievement.In addition to its hail-proof design, the other architectural challenge was to ensure that enough light would be able to enter to sufficiently support the growth of the plants. At its highest center point, the roof is fifty feet tall, and sunlight is able to enter from all sides. In the original design, the south and west sides contained Venetian blinds, which could be adjusted to allow a range of light from full sun to partial shade depending on the needs of the plants.The public entrance to the Jewel Box is through a formal vestibule lined with smooth-faced, cut limestone. Inside the vestibule, ornate grille work and Black metal sconces provide further Art Deco styling. The limestone walls contain several inscriptions. A granite cornerstone, which was laid with the foundation at the time of construction, has been incised with the date: "erected 1936."In January 2000, the Jewel Box was added to the National Register of Historic Places. This was followed by a $3.5 million renovation in 2002. The renovation transformed the sunlit interior while reinforcing the structure with steel beams. Today, the Jewel Box is maintained by the Flora Conservancy of Forest Park, in conjunction with the City of St. Louis. It is a popular destination for weddings and other private events, while also remaining open for daily public visitation for a modest admission fee.

The Jewel Box is a historic glasshouse (greenhouse) and botanic garden in Forest Park. Built in 1936, the Art Deco structure was designed by the architect William C.E. Becker and constructed from iron and glass. In lieu of a traditional glass roof, the design features five stepped wood roofs with clerestories to allow light to enter. Listed on the National Register of Historic Places in 2000 and fully renovated in 2002, the Jewel Box features permanent horticultural displays. It is open daily to the public and is a popular rental venue for weddings and other private events.

Jewel Box Greenhouse and Botanic Garden

The original wooden bandstand at this site was built in 1876 for the grand opening of Forest Park. Situated on an island surrounded by a moat known as Pagoda Lake, it was designed in the Syrian style, featuring a red ogee roof and decorative elements. During the 1904 World's Fair held at the park, the bandstand featured musical concerts, quickly becoming one of the most photographed structures at the event. Concerts continued to be held at the site even after the fair was over, further adding to the landmark's popularity. However, the pagoda succumbed to nature only a few decades later, due to an unexpected storm and fire. A historical marker placed near the site notes that: "In the late 1800s, the Music Pagoda drew carriages full of music lovers who parked around Pagoda Lake to listen to afternoon concerts. Said to resemble a building from One Thousand and One Arabian Nights, the Music Pagoda was of Syrian design. It was also, unfortunately, made of wood. A storm destroyed it, and the wreckage of that first bandstand burned in 1912."It was not until the mid-1920s that a new bandstand could be constructed, when funds were provided by the St. Louis attorney and entrepreneur, Nathan Frank. Designed in the Renaissance Revival style by Heffensteller, Hirsch, and Watson, the new bandstand was built from white marble and concrete, with bronze railings and a copper roof. Its stylized arch amplified sound and enhanced acoustics across the lake. Frank, the philanthropist behind the project, was the son of German-Jewish immigrants in St. Louis, and he received a degree from Harvard University Law School in 1871. Later, he became Missouri's first Jewish member of the U.S. Congress, where he served one term beginning in 1889 in the U.S. House of Representatives. Frank was also the vice president of the commission that oversaw the planning of the 1904 World's Fair in Forest Park, leading to the construction of many new structures and landscape elements within the park. In addition, he founded the St. Louis Star newspaper, and he remained committed to several local causes throughout his lifetime. With the funds that he provided for the construction of the new music pagoda in Forest Park, the marble bandstand was completed and dedicated in 1925, with a ceremony in his honor.However, half a century later, this relatively sturdy marble bandstand had fallen into disrepair, with its basement prone to flooding. The structure underwent several restorations beginning in 1980. Electric lighting was also added, and the ceiling was painted. Afterwards, a public picnic was held near the lake, featuring a musical concert with members of the seventy-piece U.S. Air Force Band of Mid-America. For the special occasion, band members brought their own instruments, including a piano that had to be carefully transported across the lake. Today, the bandstand still remains accessible only by boat, yet what it lacks in practicality, it makes up for through its picturesque charm. The Pagoda Circle and Nathan Park Bandstand continues to be among of the most photographed landscape elements and structures in Forest Park. The site is currently overseen through a partnership between the City of St. Louis and Forest Park Forever, while the Flora Conservancy of Forest Park maintains the plantings that surround this historic landmark.

Located on a small island within Pagoda Lake, the original wooden bandstand that existed at this site was built for the grand opening of Forest Park in 1876. Designed in a Syrian style, it soon became one of the park's most photographed structures, as spectators gathered around the lake to listen to musical concerts during the 1904 World's Fair. In 1911, however, the pagoda was damaged in a storm and then lost to a fire. It was not until the early 1920s, when the St. Louis philanthropist Nathan Frank donated $50,000, that a new bandstand could be constructed on the picturesque island known as Pagoda Circle. Designed in the Renaissance Revival style by Heffensteller, Hirsch, and Watson, this new pagoda was built from white marble and concrete, with a copper roof and bronze railings. Although it remains accessible only by boat, it is still one of the most popular and recognizable landmarks in Forest Park.

Forest Park's Pagoda Circle and Nathan Frank Bandstand

The World's Fair Pavilion was constructed in Forest Park in 1909 using proceeds from the World's Fair, which was held in the park in 1904. The building was designed by Henry White. It features an open air colonnade and offers a wide-angle view of Forest Park as it sits atop Government Hill. The Pavilion was built on the site of the fair's original Missouri Building and was intended to commemorate the fair. Following construction, it was presented to the citizens of St. Louis by the Fair Commission.In 1930, a decorative fountain and reflecting pool were added outside the front of the building. This water feature includes rainbow-colored lighting that partially illuminates the pavilion, surrounding landscape, and walkways. At the time, the St. Louis Star Times newspaper called the elaborate fountain, "a new note in the evening symphony of beauty in Forest Park."Beginning in 1970, rock concerts were held at the Pavilion, although permits were not always easily obtained. On July 12, 1970, the Youth International Party also held a "Festival of Life" at the site. The exterior of the Pavilion was partially restored in 1980, followed by a full renovation in 1998. The renovation was made possible through a capital campaign by Forest Park Forever, which raised $1.1 million for the project.A historical marker placed at the site contains images of two historic postcards depicting the Pavilion and the surrounding landscape. One image shows formal gardens that were added between 1910-1930. The caption states, "Formal Gardens of Classical Beauty." The other historic postcard shows the electric fountain with its colorful lighting displays, which was added in 1930.Today, the Pavilion remains a popular site among photographers, locals, and tourists. It is also used for weddings and other private events.

This pavilion was constructed in 1909, a few years after the St. Louis World's Fair, which was held in Forrest Park in 1904. Located at the top of Government Hill, the pavilion offers wide views of the city's premier park and includes elements designed to reflect the scale and grandeur of the fair. In 1930, an electric fountain and reflecting pool were added, leading the St. Louis Star-Times to declare this decorative water feature to be "a new note in the evening symphony of beauty in Forest Park." In the summer of 1970, a festival sponsored by the Youth International Party was held at the Pavilion, and rock concerts also took place at the pavilion during the 1970s. By the late twentieth century, however, the building was in need of maintenance. In 1980, the pavilion underwent an exterior restoration, and from 1998 to 2007 a full renovation was completed, along with upgrades to other significant areas in Forest Park. Today, the Pavilion is a popular destination for photographers and tourists, as well as a venue for weddings and special events.

World's Fair Pavilion, Forest Park

The Flight Cage at the St. Louis Zoo was constructed by Frank Baker in 1904. He was commissioned by the Smithsonian Institution to build the 50-foot tall, 84-foot wide, and 228-foot long structure for the 1904 World’s Fair in St. Louis, Missouri. The structure was meant to be a temporary installment for the fair. It was intended to be deconstructed and sent to the National Zoo in Washington, D.C, but the people of St. Louis rallied to keep the Flight Cage in the city. The Flight Cage inspired the city of St. Louis to build the St. Louis Zoo in 1916. The zoo was the first zoo entirely funded by the municipal government. Over the years, the St. Louis Zoo has become one of the top-ranking zoos in the country. The zoo offers over 600 species of animals and dozens of educational exhibits for public enjoyment.The Flight Cage currently houses 20 different species of North American birds, including the snowy egret and the roseate spoonbill. The cage offers viewers an immersive experience where they can follow winding paths through native vegetation and onto a boardwalk to view these different birds. It was remodeled in 2010 to include swamps identical to those found in Missouri and Illinois. The flight cage exists as one of the largest aviaries that remains free to the public.

Originally designed in 1904 for the St. Louis World’s Fair, the Flight Cage has brought tourists and bird lovers joy for over 100 years. The 50-foot tall, 228-foot-long cage contains 20 different species of birds indigenous to North America. Viewers can take a stroll down plant-filled pathways to view all that the Flight Cage has to offer. The Flight Cage is located in Forest Park at the St. Louis Zoo which offers free public admission.

The St. Louis Zoo Flight Cage 

SLAM was founded in 1879 as the St. Louis Museum of Fine Art and was part of Washington University of St. Louis. After the 1904 World's Fair, the museum moved into its current building, the former Palace of Fine Arts, which was constructed for the fair. In 1909, the museum ended its affiliation with the university and renamed itself City Art Museum. It adopted its current name in 1972 and underwent a large expansion in 2013.The current building for St. Louis Art Museum was designed by Cass Gilbert. It was originally part of the Palace of Fine Arts, which was intended to be the only permanent building from the World's Fair. Gilbert’s design for the building was heavily inspired by the Baths of Caracalla in Rome, Italy. The brick and limestone exterior create a grand entrance, welcoming viewers to come and enjoy the collections housed by the museum.SLAM contains over 34,000 different works spanning over 5,000 years. There are 9 main collections which include works from different areas of the world as well as a variety of art medias. The museum has work from famous artists such as Monet, Matisse, Picasso, and Van Gogh. In 2009, the museum underwent a massive construction that added over 224,000 square feet of gallery space. This expansion elevated the art museum by allowing more display space and attracting more viewers. In 2013, SLAM added an East Building, designed by David Chipperfield. In 2015, Michele Desvigne designed an outdoor sculpture garden for the museum of 20th century and modern works.

The Saint Louis Art Museum (SLAM) houses an impressive collection of 33,000 works that spans all of human history; nearly every culture from around the world is represented. As such, the SLAM is one of the leading comprehensive museums in the country. The collection includes paintings, sculptures, photography prints, ancient artifacts, weaponry, textiles, and other forms of art. It is possible to see 3,000 (and counting) of these items on the museum's website. The museum puts on exhibitions throughout the year to complement the permanent exhibition galleries. Education and outreach are also important goals of the museum. To this end, it offers classes for people of all ages, concerts, performances, films, and lectures.

Saint Louis Art Museum

The Apotheosis of St. Louis is a statue of King Louis IX of France, also known as Saint Louis, and the original version of this monument marked the entrance to the 1904 World’s Fair. Much like the other attractions at the fair, the original statue was meant to be a temporary feature. While the numerous buildings and attractions were demolished at the conclusion of the event, the Louisiana Purchase Committee decided to have the statue recast and then donated to the city of St. Louis in 1906.The statue was sculpted by Charles Henry Niehaus and recast in bronze by W.R. Hodges. Depicting King Louis IX as a soldier valiantly mounted on a horse, his sword is held in a way that the ninety-degree angle between the hilt and shaft resembles a cross. King Louis is dressed in a cloak with the symbol of the French monarchy, the fleur-de-lis. This statue is meant to associate the city with Christianity as well as leadership, strength, valor, and vitality. King Louis IX ruled France from 1226 to 1270. He succeeded his father at the young age of twelve, so in his early years as king, his mother served as regent. In his time as king, Louis led the Seventh Crusade (1248-1250) in an unsuccessful attempt to regain the Holy Land. King Louis also reorganized the royal administration system, standardized coinage, and made peace with England under the Treaty of Paris (1259). Less than twenty years after King Louis’ death in 1279, he was canonized by Pope Boniface VIII in 1297.This statue was so central to the identity of St. Louis prior to the construction of the Gateway Arch that it served as the official symbol of sports teams and militia units. For example, the image of the Apotheosis of St. Louis was incorporated into the logo of the St. Louis Browns baseball team. Today, the statue continues to serve as a symbol of the city and a reminder of the 1904 World's Fair.

The Apotheosis of St. Louis is a statue of the city's namesake (King Louis IX of France) and a replica of a plaster statue that served as one of the landmarks at the 1904 St. Louis World's Fair. This bronze version of the statue was designed after the fair and quickly became one of the symbols of the city. The statue has been located in front of the Saint Louis Art Museum in Forest Park since 1906. Prior to the completion of the Gateway Arch, the statue was the principal symbol of the city. Although supplanted by the Arch, this statue continues to serve the iconography of St. Louis for more than a century after the World's Fair.

Apotheosis of St. Louis

“Open ye gates. Swing wide, ye portals.” This declaration, made by David R. Francis, marked the opening of the 1904 World's Fair. Previously referred to as the Louisiana Purchase Exposition, the fair ran in St. Louis, Missouri from April 30th to December 1st. It commemorated the centennial of the Louisiana Purchase. The fair was revolutionary for the time and displayed new technologies and endeavored to offer authentic experiences of other cultures. Both an honest attempt at multiculturalism and a blend of commercial ambitions and Eurocentrism, the Fair represented this era's view of other cultures as exotic in ways that help to understand America's views of other nations at this time. Over the course of three years, St. Louis’ Forest Park was transformed into the iconic fairground that attracted almost 20 million visitors. The fair took place on 1,200 acres of land and had over 1,500 buildings, most of which were temporary and destroyed after the fair concluded. St. Louis opened their gates to the world, and the world turned out. With over 60 countries and 43 out of 45 U.S states, the World’s Fair was the biggest event of its kind. Close to 20 million people journeyed to St. Louis to experience what the world had to offer. The fair displayed several technological inventions, many of which were showcased in The Pike. Baby incubators made their global debut at the World’s Fair. An exhibit was constructed where fairgoers could view premature babies in glass incubators while hearing a lecture on the new technology. People could also dine at the Incubator Cafe and buy baby-themed merchandise. The wireless telephone, X-Ray machines, and personal streetcar were also famous pieces of technology that made their debut at the World’s Fair. The fair also is credited for popularizing famous foods and drinks such as hamburgers, ice-cream cones, and Dr. Pepper. The Pike housed several rides that combined visual and physical elements to create a viewer experience that transported them to different lands. One famous ride was called Creation. This two-hour boat ride took viewers through a tomb of disembodied spirits to an amphitheater where each day of creation was reenacted. The ride ended with a flowery scene of the stairway to heaven. Another famous ride was Over And Under The Sea. This ride simulated a submarine trip to Paris where viewers saw underwater creatures and treasures. Then, they were lifted to the top of the Eiffel Tower and to overlook a miniature replica of Paris. To conclude, the passengers were “air lifted’ back to St. Louis while being shown scenes from all over the world. The Pike also had areas dedicated to several different countries. Buildings and scenes were constructed to replicate areas of different countries. While the global attractions were grand in construction, many of them included racist and Americanized versions of history. They were not all accurate depictions of the country they represented. Nonetheless, The Pike was one of the greatest contributions to the 1904 World’s Fair. It would take the average viewer almost six hours to see all of the exhibits on The Pike, excluding rides and shows.

The Pike was a defining element of the 1904 World’s Fair. This mile-long attraction ran along what is now Lindell Boulevard and turned down Skinker Avenue and offered a mixture of exhibits, rides, stores, and themed restaurants. The average fair-goer could get a taste of several countries or be transported to another world all within an afternoon. As a result, the entertainments and experiences offered along the Pike helped separate the St. Louis World’s Fair from the World’s Fair hosted by Chicago just a decade prior. The Pike also introduced many people to new technologies, foods, and cultures.

The Pike (1904)

Designed by architects William Cope and John Stewardson, Brookings Hall resembles the Collegiate Goth style of architecture. It was likely inspired by architecture from Cambridge and Oxford Colleges in England. This building stands as a defining feature on Washington University’s campus in St. Louis, Missouri. The inscription above the clock of Brookings Hall reads, Cedunt Horae, Opera Manent: “The hours go by, the works remain.” The inscription on the east facade of Brookings Hall reads Discere Si Cupias Intra: Salvere Iubemus, meaning “If you wish to learn, enter: we welcome you.” These two quotes capture the academic and determined spirit of Washington University.Washington University was founded by Wayman Crow and William Greenleaf Eliot Jr in 1853. It is a private research institution that stands as one of the top universities in the United States. WashU is recognized for its research programs and medical school. The current location of the Danforth Campus of Washington University began construction in 1900. The university gained finances from leasing buildings out to the Louisiana Expedition Company during the 1904 World’s Fair. Brookings Hall (formerly known as University Hall), Busch Hall, Cupples I, and Cupples II were used as administrative and service buildings during the historic St. Louis event.The building was renamed after the president of the Board of Directors, Robert S. Brookings, who was integral to the expansion and new construction of Washington University, Danforth Campus. Brookings spent several years working at a home furnishing company, eventually becoming a partner in the company. Once he accumulated enough money, he began making business moves. Brookings became a millionaire by his mid-thirties. After several successful projects, Brookings retired from business at 46. He began focusing more time and energy on philanthropic pursuits. Following his interest in education, Brookings donated over five-million dollars to Washington University. He also played a major role in securing funds for the construction of the current WashU campus. University Hall was renamed to Brookings Hall in 1928 to honor Robert S. Brooking and his many contributions to Washington University.

Brookings Hall is located on the Danforth Campus of Washington University in St. Louis, Missouri. Construction for Brookings (originally University) Hall began in 1900 and took roughly two years to complete. The historic building was leased to the Louisiana Expedition Company for the 1904 World's Fair as an Administration Building. Currently, the building is used for Washington University administration offices, financial services, and the graduate school for the College of Arts and Sciences.

Brookings Hall

This exhibit was by far the most popular attraction at the Louisiana Purchase Expedition, with an estimated 99% of fairgoers visiting the Philippine Reservation which was located in the southwest corner of the fairgrounds. The Philippine Reservation was a “recreation” of Philippine native lands. The Anthropology Department of the fair pushed for this exhibit to celebrate the U.S. colonization of the Philippines in 1898. This exhibit was a demeaning and horrible representation of native life in the Philippines. The 47-acre exhibit housed over 1,000 Filipino people from several different ethnic groups. One of the groups forced to reside in the Philippine Reservation was the indigenous peoples of the Cordillera Mountains. Fairgoers would watch these people and judge their way of life. This exhibit, like many others, was supposed to demonstrate the indigenous way of life as savage and in need of change. Painting indigenous people in this light helped justify American imperialism, colonization, and destruction of other lands. Mia Abeya, the granddaughter of one of the men put on display, recounted that the fair forced the Cordillera Mountain people to butcher, cook, and eat dogs every day. Abeya stated this was a deep misrepresentation of their culture. She clarified that they would only eat dogs on occasion for ceremonial purposes. This alteration of the Cordillera Mountain peoples' culture created such a deep impression on Americans, that the neighborhood near the demolished reservation is still referred to as Dogtown. The Philippine Reservation was not the only “living exhibit” at the fair. Many of the countries represented, exploited native peoples to play parts and pose with tourists in exchange for money. The personal account of a man named Ota Benga demonstrates how people of other ethnicities were exploited for profit. Ota Benga, along with seven other men, were sold to the Anthropology Department of the fair board to represent the Mbuti people. As a child, Benga had his teeth filed into points. The department took advantage of this and put Benga on display as a cannibal. Benga and others were forced to dance and perform for white audiences during their time at the fair. At the conclusion of the fair, Ota Benga fell under the guardianship of Madison Grant, a white supremacist racial theorist. Grant had Benga locked in a cage at the Bronx Zoo as a display. Later in life, Benga worked at a tobacco factory until he committed suicide in 1916. The “living exhibits'' and reservation areas were an example of white supremacy and American imperialism that profited the Louisiana Purchase Company at the expense of others.

While the 1904 World’s Fair was a grand demonstration of America's burgeoning industries and advancements in science and technology, several of the exhibits demonstrated that the prevailing attitude towards people of color in the United States and around the world was similar to previous centuries. The United States had initially fought alongside Emilio Aguinaldo and Filipino rebels in their fight for independence from Spain, but after Spain surrendered, the United States remained and colonized the islands while waging a prolonged war against Aguinaldo and others who hoped for independence. Only a few years removed from the worst of that conflict, Americans celebrated their new acquisition with the Philippine Reservation, a 47-acre exhibit at the St. Louis World's Fair. The exhibit, which was roughly centered at this point, transformed this section of the fairgrounds to represent the natural landscape of the Philippine Islands from present-day Arundel Place to Wydoyn Boulevard and University Lane to De Munb Avenue. The reservation, as it was known, housed over 1,000 Filipino people who were required to act as if indigenous life and culture were backward. In doing so, the exhibit reassured American visitors and helped justify American colonization despite the horrific civilian casualties and loss of American troops to disease during the peak of occupation. At the same time, the Filipino men and women who lived here demonstrated some degree of agency in making some aspects of the exhibit more closely resemble the history and culture of the Philippines.

Meet Me in St. Louis: The 1904 World's Fair and Olympic Games Driving Tour

Francis Olympic Field

Introduction

Images

Backstory and Context

Sources