Problem: Robert Dale Owen (November 7, 1801 - June 24, 1877) was a Scottish-born social reformer who immigrated to the United States in 1825, became a U.S. citizen, and was active in Indiana politics as member of the Democratic Party in the Indiana House of Representatives (1835-39 and 1851-53) and represented Indiana in the U.S. House of Representatives (1843-47). As a member of Congress, Owen successfully pushed through the bill that established Smithsonian Institution and served on the Institution's first Board of Regents. Owen also served as a delegate to the Indiana Constitutional Convention in 1850 and was appointed as U.S. charge d'affaires (1853-58) to Naples. Owen was a knowledgeable exponent of the socialist doctrines of his father, Robert Owen, and managed the day-to-day operation of New Harmony, Indiana, the socialistic utopian community he helped establish with his father in 1825.

After his first term in the Indiana legislature and two unsuccessful campaigns for election to the U.S. Congress in 1838 and in 1840, Owen was elected as a Democrat to the U.S. House of Representatives in 1842. He served from 1843 to 1847 in the Twenty-eighth and Twenty-ninth Congresses. Owen was chairman of the Committee on Roads and Canals during the Twenty-eighth Congress. He was also involved in the debates about the annexation of Texas and an Oregon boundary dispute in 1844 that led to the establishment of the U.S-British boundary at the 49th parallel north, the result of the Oregon Treaty (1846).  While serving as a member of Congress, Owen introduced and helped to secure passage of the bill that founded the Smithsonian Institution in 1846. Owen was appointed to the Smithsonian Institution's first Board of Regents and chaired its Building Committee, which oversaw the construction of the Smithsonian Institution Building in Washington, D.C., and recommended James Renwick, Jr. as architect, James Dixson and Gilbert Cameron as the contractors, and the Seneca Quarry for its distinct, dark-red sandstone.  Owen, his brother David Dale Owen, and architect Robert Mills, were involved in developing preliminary plans for the Smithsonian Building. These early plans influenced Renwick's choice of the Romanesque Revival architectural style (sometimes referred to as Norman-style architecture) and his three-story design for the building, which was finally selected, although not without controversy. Owen's book Hints on Public Architecture (1849) argued the case for the suitability of Renwick's Romanesque Revival (Norman) architectural style for public buildings such as the Smithsonian "Castle," which he discussed in detail. Seven full-page illustrations and details of the building's architectural elements were prominently featured in the book, leading some to criticize Owen for his bias toward Renwick and his preference for Norman-style architecture over other popular styles.

Did he propose anything after that?

Answer with quotes: Owen was appointed to the Smithsonian Institution's first Board of Regents and chaired its Building Committee, which oversaw the construction


Problem: This page is about the San Diego punk rock band Rocket from the Crypt. For the Cleveland protopunk band, see Rocket from the Tombs. Rocket from the Crypt is an American rock band from San Diego, California, originally active from 1989 to 2005, then active during 2011 and again from 2013 to the present. The band gained critical praise and the attention of major record labels after the release of their 1992 album Circa: Now!, leading to a recording contract with Interscope Records.

Fueled by a label interest in Drive Like Jehu, both Rocket from the Crypt and Drive Like Jehu signed to Interscope Records in 1992, with Rocket negotiating a deal that included the freedom to record vinyl releases for other labels. Many of the band's vinyl singles and other rarities were compiled and released as All Systems Go, while Interscope re-released Circa: Now! and pushed for the band to continue touring in support of the album. Even with market saturation high, however, the band members decided to take a six-month break in 1994 while Reis recorded a second and final album with Drive Like Jehu.  Regrouping after their hiatus, the band experienced a flurry of creative energy that resulted in several more vinyl singles and a trilogy of records in 1995, beginning with the EP The State of Art is on Fire and continuing with the critically acclaimed Hot Charity. They embarked on a six-week "free tour" in support of Hot Charity, with Interscope covering the costs so that fans were not charged admission to any of the band's performances across the United States. This was followed by the recording of their first album for Interscope, the critically acclaimed Scream, Dracula, Scream! The band took advantage of their large recording budget, bringing in string sections and hiring producers to make the album sound as epic as possible, and it would later be regarded by most as their creative peak. Music videos were filmed for the singles "On a Rope," "Born in '69" and "Young Livers" and the band embarked on tours of the US, UK and Europe. They experienced a surge of popularity in the UK, where "On a Rope" entered the UK Singles Chart at No. 12, and was a hit on MTV Europe, earning them rave reviews in NME and allowing them to play Top of the Pops.  They were also an alternative rock hit in the US, where their videos were featured on MTV and the band received many positive reviews in both mainstream and underground music presses. Then-ubiquitous MTV VJ Kennedy sported a tattoo of the band's logo on her ankle on national television, and increased radio and MTV airplay continued. A large headlining tour ensued in 1996, as well as supporting tours with Rancid and Soundgarden. The band also gained a reputation for a series of interesting and, at times, seemingly ludicrous gimmicks and stage antics which included holding raffles during live performances, spinning a large game show wheel to determine set lists, onstage fire breathing, annual Halloween and New Year's shows, and the wearing of coordinated and progressively more ornate stage costumes. In Europe the band also hosted a German variety show, played children's shows and morning shows, and did interviews with fashion magazines.

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They were also an alternative rock hit in the US, where their videos were featured on MTV and the band received many positive reviews in