After his death, his papers and scientific instruments were taken by his widow. The papers were returned many years later, but the instruments disappeared.
In February 1676, he was admitted a Fellow of the Royal Society, and in July, he moved into the Observatory where he lived until 1684, when he was "[e]levated to the priesthood [and] appointed rector" of the small village of Burstow, near Crawley in Surrey. He held that office, as well as that of Astronomer Royal, until his death. He is buried at Burstow, and the east window in the church was dedicated to him as a memorial.
The will of Flamsteed's widow, Margaret, left instructions for her own remains to be deposited "in the same Grave in which Mr John Flamsteed is buryed in the Chancell of Burstow Church". She also left instructions, and twenty five pounds, for the executor of her will to place "in the aforesaid Chancell of Burstow … A Marble stone or Monument, with an inscription in Latin, in memory of the late Reverend Mr. John Flamsteed". It seems no such monument was created, and almost 200 years later, a plaque was placed to mark his burial in the chancel.
In February 1676, he was admitted a Fellow of the Royal Society, and in July, he moved into the Observatory where he lived until 1684, when he was "[e]levated to the priesthood [and] appointed rector" of the small village of Burstow, near Crawley in Surrey. He held that office, as well as that of Astronomer Royal, until his death. He is buried at Burstow, and the east window in the church was dedicated to him as a memorial
On 4 March 1675 Flamsteed was appointed by royal warrant "The King's Astronomical Observator" – the first English Astronomer Royal, with an allowance of £100 a year. The warrant stated his task as "rectifieing the Tables of the motions of the Heavens, and the places of the fixed stars, so as to find out the so much desired Longitude of places for Perfecteing the Art of Navigation". In June 1675, another royal warrant provided for the founding of the Royal Greenwich Observatory, and Flamsteed laid the foundation stone on 10 August.
Having arrived in London on 2 February 1675, and staying with Jonas Moore at the Tower of London, Flamsteed had the opportunity to be taken by Titus to meet the King. He was subsequently admitted as an official Assistant to the Royal Commission and supplied observations in order to test St Pierre's proposal and to offer his own comments. The commission's conclusions were that, although St Pierre's proposal was not worth further consideration, the King should consider establishing an observatory and appointing an observer in order to better map the stars and the motions of the Moon in order to underpin the successful development of the lunar-distance method of finding longitude.
Ordained a deacon, he was preparing to take up a living in Derbyshire when he was invited to London by his patron Jonas Moore, Surveyor-General of the Ordnance. Moore had recently made an offer to the Royal Society to pay for the establishment of an observatory. These plans were, however, preempted when Charles II was persuaded by his mistress, Louise de Kérouaille, Duchess of Portsmouth, to hear about a proposal to find longitude by the position of the Moon from an individual known as Le Sieur de St Pierre. Charles appointed a Royal Commission to examine the proposal in December 1674, consisting of Lord Brouncker, Seth Ward, Samuel Moreland, Christopher Wren, Silius Titus, John Pell and Robert Hooke.
In September 1670, Flamsteed visited Cambridge and entered his name as an undergraduate at Jesus College. While it seems he never took up full residence, he was there for two months in 1674, and had the opportunity to hear Isaac Newton's Lucasian Lectures.
In August 1665, at the age of nineteen and as a gift for his friend Litchford, Flamsteed wrote his first paper on astronomy, entitled Mathematical Essays, concerning the design, use and construction of an astronomer's quadrant, including tables for the latitude of Derby.
His progress to Jesus College, Cambridge, recommended by the Master of Derby School, was delayed by some years of chronic ill health. During those years, Flamsteed gave his father some help in his business, and from his father learnt arithmetic and the use of fractions, developing a keen interest in mathematics and astronomy. In July 1662, he was fascinated by the thirteenth-century work of Johannes de Sacrobosco, De sphaera mundi, and on 12 September 1662 observed his first partial solar eclipse. Early in 1663, he read Thomas Fale's Horologiographia: The Art of Dialling, which set off an interest in sundials. In the summer of 1663, he read Wingate's Canon, William Oughtred's Canon, and Thomas Stirrup's Art of Dialling. At about the same time, he acquired Thomas Street's Astronomia Carolina, or A New Theory of the Celestial Motions (Caroline Tables). He associated himself with local gentlemen interested in astronomy, including William Litchford, whose library included the work of the astrologer John Gadbury which included astronomical tables by Jeremiah Horrocks, who had died in 1641 at the age of twenty-two. Flamsteed was greatly impressed (as Isaac Newton had been) by the work of Horrocks.
His progress to Jesus College, Cambridge, recommended by the Master of Derby School, was delayed by some years of chronic ill health. During those years, Flamsteed gave his father some help in his business, and from his father learnt arithmetic and the use of fractions, developing a keen interest in mathematics and astronomy. In July 1662, he was fascinated by the thirteenth-century work of Johannes de Sacrobosco, De sphaera mundi, and on 12 September 1662 observed his first partial solar eclipse. Early in 1663, he read Thomas Fale's Horologiographia: The Art of Dialling, which set off an interest in sundials. In the summer of 1663, he read Wingate's Canon, William Oughtred's Canon, and Thomas Stirrup's Art of Dialling. At about the same time, he acquired
Flamsteed was born in Denby, Derbyshire, England, the only son of Stephen Flamsteed and his first wife, Mary Spadman. He was educated at the free school of Derby and at Derby School, in St Peter's Churchyard, Derby, near where his father carried on a malting business. At that time, most masters of the school were Puritans. Flamsteed had a solid knowledge of Latin, essential for reading the scientific literature of the day, and a love of history, leaving the school in May 1662.
Genre of alternate rock music
In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream. The commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo also broke into mainstream culture in the early 2000s. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream. The commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo also broke into mainstream culture in the early 2000s with the term "Landfill Indie" becoming used by some critics/websites in 2020 as sub-genre for a certain type of 2000s indie band, in the same way Britpop is used for British guitar music of the 1990s.
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Originally used to describe independent record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock or "guitar pop rock". In the 1980s, the use of the term "indie" (or "indie pop") started to shift from its reference to recording companies to describe the style of music produced on punk and post-punk labels. During the 1990s, grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream, and the term "alternative" lost its original counter-cultural meaning. The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, emo, slowcore, post-rock, and math rock. In the 2000s, changes in the music industry and a growing importance of the internet enabled a new wave of indie rock bands to achieve mainstream success, leading to questions about its meaningfulness as a term.
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Originally used to describe independent record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock or "guitar pop rock". In the 1980s, the use of the term "indie" (or "indie pop") started to shift from its reference to recording companies to describe the style of music produced on punk and post-punk labels. vDuring the 1990s, grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream, and the term "alternative" lost its original counter-cultural meaning. The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status.
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Originally used to describe independent record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock or "guitar pop rock". In the 1980s, the use of the term "indie" (or "indie pop") started to shift from its reference to recording companies to describe the style of music produced on punk and post-punk labels. v