John Marshall (September 24, 1755 – July 6, 1835) was an American statesman and jurist who shaped American constitutional law and made the Supreme Court a center of power. Marshall was Chief Justice of the United States, serving from February 4, 1801 until his death in 1835. He served in the United States House of Representatives from March 4, 1799 to June 7, 1800, and, under President John Adams, was Secretary of State from June 6, 1800 to March 4, 1801. Marshall was a native of the Commonwealth of Virginia and a leader of the Federalist Party.

The longest serving Chief Justice in Supreme Court history, Marshall dominated the Court for over three decades (a term outliving his own Federalist Party) and played a significant role in the development of the American legal system. Most notably, he established that the courts are entitled to exercise judicial review, the power to strike down laws that violate the Constitution. Thus, Marshall has been credited with cementing the position of the judiciary as an independent and influential branch of government. Furthermore, Marshall made several important decisions relating to Federalism, shaping the balance of power between the federal government and the states during the early years of the republic. In particular, he repeatedly confirmed the supremacy of federal law over state law, and supported an expansive reading of the enumerated powers.

Sir John Hubert Marshall (March 19, 1876 Chester - August 17, 1958 Guildford) was the Director-General of the Archaeological Survey of India from 1902 to 1928. He was responsible for the excavation that lead to the discovery of Harappa and Mohenjodaro, two of the main cities that comprise the Indus Valley Civilization.

Marshall was educated at Cambridge. In 1902 he was appointed Director-General of Archaeology within the British Indian administration, and modernised the approach to archaeology on that continent, introducing a programme of cataloguing and conservation of ancient monuments and artefacts.

It was thanks to Marshall that native Indians were allowed for the first time to participate in excavations in their own country. In 1913, he began the excavations at Taxila, which lasted for twenty years. He laid the foundation stone for the Taxila museum in 1918. The museum hosts many artifacts and also hosts one of Marshall's very few portraits. He then moved on to other sites, including the Buddhist centres of Sanchi and Sarnath. His work revealed to the world the true age of Indian civilisation.

Marshall was knighted in 1914.

John Marshall was born in Ramsgate, Kent, England on February 15, 1748. Having been bound apprentice at the age of ten he spent his life at sea. In 1788 he captained the "Scarborough", a ship of the First Fleet taking convicts from England to Botany Bay. He then sailed from Australia to China, charting previously unknown islands, as well as a new trade route to Canton (now Guangzhou). The islands which he had originally called "Lord Mulgrove's range" were later named Marshall Islands. John Marshall also captained the Scarborough on her second voyage transporting convicts to Australia, but the convicts coming aboard were in poor health and many did not survive the voyage; this, combined with an attempted seizure of the ship by the convicts, deterred him from any further voyages of transportation. He saw action during the American war of Independence, and also the Napoleonic Wars, being severely wounded when on board the ship "Diana". He died in 1819 at the age of 71. Reference:"A Journal of the different voyages of Mr John Marshall written by himself"

John Birnie Marshall (born March 29, 1930 - died January 31, 1957) was an Australian freestyle swimmer of the 1940s and 1950s who won a silver and bronze medal in the 1500 m and 400 m freestyle respectively at the 1948 Summer Olympics in London. Despite his Olympic results suggesting that he only had a moderate international, he broke 28 world records.

Born in Bondi, New South Wales, Marshall made his first headlines as a 16 year old, when he won every event from the 220yd to the 1650yd freestyle at the 1947 Australian Championships. The following year, he was selected for the London Olympics, where he claimed bronze in the 400 m freestyle behind the United States duo of Bill Smith and Jimmy McLane. He claimed a silver medal in the 1500 m freestyle, behind McLane. In Marshall's era, the 200 m freestyle was not part of the Olympics.

McLane's coach, Bob Kiphuth was so impressed by Marshall's performance that he arranged for Marshall to study and swim under him at Yale University. Under Kiphuth's rigorous guidance, Marshall set 19 world records, 15 of them in just one month.

However, Marshall peaked too soon between Olympics, and was burnt out by the time of the 1952 Summer Olympics in Helsinki. He failed to qualify for the final of the 400 m, and finished an ignominious last in the 1500 m freestyle, more 41 seconds behind the second-last finisher.

Marshall made a third attempt at Olympic glory at the 1956 Summer Olympics in Melbourne. At the age of 26, he had given up freestyle, and placed his efforts in the newly created butterfly stroke. Although he reached the finals of the 200 m butterfly, he finished fifth behind American William Yorzyk. A few weeks later, Marshall was killed in a car accident.

John Marshall, an American cartoonist, began assisting Denis Lebrun on the Blondie (comic strip) in December 2002 and became head artist in May 2005, although this position remained uncredited until Sunday January 7, 2007. He is currently assisted by Frank Cummings. He began his cartooning career at the age of 14. At the urging of his grandmother, he sent some cartoons to Parade magazine, where, to his surprise, he sold one. A few years later, he sold one to the Saturday Evening Post. After graduating with honors from Ringling School of Art and Design in Sarasota, Florida, in 1976, John worked at a Binghamton, NY, advertising agency as an art director before becoming a freelance illustrator and cartoonist. In 1982 he created the syndicated comic strip, "Buford.” He has also illustrated two books on golf; one for Golf Digest. John was artist for “Walnut Cove,” a comic strip distributed by King Features Syndicate from 1994 -2000. Between 1989 and 2003 his editorial cartoons regularly appeared in the Binghamton Press & Sun-Bulletin. He received an Honorable Mention in the New York State Associated Press Association Writing Contest in 1996. Many of his editorial cartoons have also appeared yearly in Brook's Best Editorial Cartoons of the Year from 1994-2002. His cartoons have been reprinted in a variety of venues, including the recently released book Chicken Soup for the NASCAR Soul. From February 2001 until January 2003, John's six day a week comic panel, “the U.S. of Play” appeared on United Features Syndicate's website, comics.com. A member of the National Cartoonist's Society, John works out of his basement studio in Binghamton, NY.

John Marshall is the weekend evening meteorologist for WNBC. He joined WNBC in July 1998 from WYOU where he worked as a meteorologist for two years. He also worked at WNBC-TV as an off-air meteorologist from 1991-1994.

John Marshall (1765 - 1845) was a British businessman and politician.

John joined the family business when he was seventeen. Five years later his father Jeremiah died and John became the controlling partner in the company. He also inherited a new house, a warehouse, and £7,500.

Shortly before his father's death John heard that two men from Darlington, John Kendrew, a glass-grinder, and Thomas Porthouse, a watchmaker, had registered a patent for a new Flax Spinning Machine. Marshall visited the men and purchased the right to make copies of their invention. He spent much of the next decade trying to improve the performance of the machines but found little success until he recruited engineer Matthew Murray.

In 1790, he bought the freehold of an acre of land on Water Lane in Holbeck near Leeds. This was an ideal location for a mill because of its close proximity to the Leeds and Liverpool Canal and the Aire and Calder Navigation.

Between 1791 and 1792, he constructed Marshall's Mill on this site. This mill was a six-storey water-powered mill using water drawn from the nearby Hol Beck to spin yarn. Marshall was able to create enough power to run 7,000 spindles employing 2,000 factory workers. Only a generation earlier, the making of hand-spun yarn had been a traditional Yorkshire cottage industry.

In 1796, he was a partner (with Thomas Benyon, Benjamin Benyon, and Charles Bage in building a flax mill at Ditherington near Shrewsbury, which was the first iron framed building in the world.

Adjacent to Marshall's Mill, he built his most ambitious project: Temple Works flax mill between 1836 and 1840. Temple Works was based on the Temple of Edfu at Horus in Egypt, with a chimney designed in the style of an obelisk; at the time, it was said to be the largest single room in the world. Employees at Temple Works worked 72 hours a week, 40% of the people employed by Marshall were young women aged thirteen to twenty, and about 20% were under thirteen. Conditions in the flax mills of that era were extremely hot and humid because of the number of workers and the fact that humid conditions made the flax easier to work.

Despite the age of his workers and the conditions in his factories, Marshall is considered to be one of the most liberal factory owners of the industrial revolution. In his factories, overseers were not allowed to use corporal punishment on the workers. Younger children were encouraged to attend day school, and older children were given free education on Monday afternoons.

Marshall was involved in the founding of the Leeds Mechanics' Institute and the Leeds Literary and Philosophical Society. In 1826, he began a campaign to establish Leeds University. Marshall also gave money to the Leeds Library.

In 1827, Marshall became a Member of Parliament in the House of Commons. In 1830, he resigned his seat and retired to his country home in the Lake District due to ill health.

John Marshall (or Marshal) (died 1496) was a Bishop of Llandaff in South Wales.

John was a fellow of Merton College, Oxford and a canon of Windsor. On 6 September 1478, he was consecrated Bishop of Llandaff. He is well remembered for having repaired the damage done to the cathedral during Owain Glyndŵr's reign. He also erected a new bishop's throne and a reredos, parts of which survives. He died in January or February 1496 and was buried in Llandaff Cathedral where his effigial monument may still be seen.

John Marshall (born October 2, 1945) is an American football coach for the Seattle Seahawks. He currently serves as a defensive coordinator for the Seahawks.

John Kennedy Marshall (1932 - April 22, 2005) was a filmmaker and anthropologist, particularly known for his involvement with the field of visual anthropology.

He has been described as [a] "foul-tempered Hub brahmin who after spending 50 years filming the people of Namibia might be America’s greatest barely known documentarian" .

John Marshall first went to the Kalahari when he was 17. In 1950 he accompanied his father, Laurence Marshall, on a search for the "Lost World of the Kalahari." A year later he returned to the region known as Nyae Nyae, with his entire family on an expedition to look for "wild bushmen." He received a 16mm Bell & Howell camera from his father with the advice, "Don’t direct, John, don’t try to be artistic, just film what you see people doing naturally." John’s mother, Lorna, subsequently published a number of ethnographic papers based on the lives of the people they lived with. His sister, Elizabeth, published The Harmless People, a popular account of their expedition.

John Marshall spent the next 50 years, on and off, filming the lives of ≠Oma Tsamkxao and his extended family, whom he had first met as a young man. It would just so happen that ≠Oma’s family and their community would undergo considerable social change, and, in part, because of the attention of Marshall’s camera, hold a unique place in western media and imagination. At crucial points throughout this history, Marshall was there to document the changing realities and offer up clearer and clearer understandings in the competing histories of who these people were and what their lives should be.

Any one of John Marshall’s films is a rich experience in the intertwined histories of documentary media and ethnographic film. Each offers a unique window into the changing technical possibilities and documentary styles beginning in the 1950s with work that anticipated the cinéma vérité of the 1960s. Together they stand as a testament to Marshall’s tireless experimentation with the medium. In his autobiographical writings, Marshall offers insight into his evolution as a filmmaker as he tried to get to the inherent story of an event, "I began recording events more closely with my camera. I tried to follow what people were actually doing and saying. I filmed thoroughly instead of covering complex events with a few shots to illustrate my own mental constructs and informal scripts."

As Marshall gained experience, his films became more intimate and revealing. Reflecting upon this, he wrote, "I began shooting events from angles and distances that approximated the perspectives of the people I was filming, I tried to film as a member of the group rather than shoot standing outside as an observer." He began thinking about his position vis-à-vis the people he was filming, asking, "Am I someone in the group? Who? Why am I looking at the other person? Am I an outside observer? If I am an observer who am I? Is there anyone else observing from this angle and distance? What are they seeing and thinking?" Marshall’s shooting style evolved to reflect his position within the society he was filming, that of participant more than outside observer.

Films like "N/um Tchai" -- which was one of a series of short "sequence" films -- were attempts to address shortcomings evident in his first film, "The Hunters" (1957). In this earlier telling of the story of a giraffe hunt by a group of Ju’/hoansi, Marshall realized he had romanticized his subject, and in doing so, obscured the reality of Ju’/hoan life. In "The Hunters," he portrayed the Ju’/hoansi as a timeless people, engaged in a struggle against nature. In fact, at the time Marshall filmed them, they were living primarily on gathered food and struggling to find enough to eat. In response to his recognition of this and other problems with "The Hunters," Marshall sought to produce more objective, less mediated films about the Ju’/hoansi. He created a series of short "sequence" films that gave students insight into alternative cultures without exoticizing or imposing western narrative structures on the subjects. Among his innovations were to structure films in terms of the events depicted. In "A Joking Relationship" (1962), Marshall and anthropological filmmaker Timothy Asch introduced the use of subtitles for indigenous dialogue. Subsequent films and historical events called for yet newer modes.

His early filmmaking pursuits -- to document what was then one of the last existing hunter-gatherer ways of life -- took a radical turn when under illegal South African rule ethnic homelands were created in South West Africa. Part of Marshall’s brilliance was his ability to invent new documentary forms to meet the political exigencies of the community he had come to care so deeply about. Marshall wrote that "no filmmaker or ethnographer was present on Christmas morning in 1959" when the first administrative post was established by the South African colonial administration at Tshumkwe in Nyae Nyae. Over the next decade many Ju’/hoasi settled in Tshumkwe expecting a better life. Instead, they entered a period of social and economic upheaval. Seen as a threat to the status quo, the government banned Marshall from entering the country from 1958 to 1978. Except for a brief visit by Laurence and Lorna Marshall in 1961, no anthropologists or filmmakers were permitted to observe the transformation that was occurring in Tshumkwe.

"N!ai, The Story of a !Kung Woman" (1980) broadcast as part of the Odyssey series on PBS reflects a turn in Marshall’s work from creating a film record of cultural practices to committed participant filming the struggles of a marginalized minority. "N!ai" presents the utter despair of the now impoverished and dependent community living in Tshumkwe. Through a skillful mix of footage from the 1950s and late 1970s, Marshall presents a powerful view of the dramatic transformation of Ju’/hoansi life, from independent hunter-gatherers, to despised minorities, as told through the impassioned voice of the indigenous narrator, a woman Marshall had known since she was a child. Not only was the community struggling with the loss of their ability to live independently by hunting and gathering, life at Tshumkwe was riddled with violence, disease, and new inequalities created by entry into a cash economy.

The film is particularly effective because Marshall tells the story of the community through the intimate voice of N!ai and her family’s lives over two decades. Once the viewer is situated inside this world, Marshall skillfully builds the larger context of dispossession and life under South African rule. Single shots, such as the disparaging look of a (white) South African administrator towards his Ju’/hoan household help speak multitudes about the fallen position of the Ju’/hoansi in society. In a novel use of direct address, N!ai speaks to Marshall, and by extension to the film’s audience. The effect is that viewers - as representatives of the wider world that has encroached upon what was once a self-sufficient community - are implicated as contributors to her people’s plight. Beginning in the 1980s a group of Ju’/hoansi sought to regain their independent subsistence, but now based on cattle herding and agriculture like the other African peoples around them. Farming in the Kalahari hinges on access to water. With the establishment of the Nyae Nyae Development Fund in the early 1980s, Marshall played a role in helping Ju’/hoansi establish their own gardens and cattle herds. Marshall’s films from this period, such as "Pull Ourselves Up or Die Out" (1984), used footage from the early 1980s and were no-nonsense advocacy videos meant to build support for Ju’/hoan agricultural pursuits. Rather than helping Ju’/hoansi establish a viable means of subsistence, government and environmental agencies were more interested in developing Nyae Nyae as a game reserve with Ju’/hoansi as "authentic hunters and gatherers" for the entertainment of tourists. Beset with limited technological resources, a growing elephant population damaging wind pumps and destroying water pipes, and the government’s agenda, Ju’/hoansi efforts to farm were constantly undermined. Maintaining functioning water pumps has continued to be a struggle for Ju’/hoansi farmers to the present day.

We are very fortunate that Marshall lived to complete "A Kalahari Family" (2002), his 6-hour, 5-episode oeuvre. Marshall introduced dialogical structure in "N!ai, The Story of a !Kung Woman," weaving together the voices of filmmaker and subject. "A Kalahari Family" is particularly remarkable for the multiple voices and positions represented in the film including government administrators, soldiers, representatives of international environmental groups and aid organizations, and tourists. The central voices are those of Marshall and his Ju’/hoansi friends shot over a nearly 50 year period. In the films preceding "A Kalahari Family," Marshall was never a central character. In this most recent work the curtain is drawn and we are privileged with a new perspective. Marshall, his family, and their impact on the Ju’/hoansi (both positive and negative) are front and center. We see the evident affection between filmmaker and subjects, hear his Ju’/hoansi friends speak of Marshall as a young filmmaker, and reflect on their lives many years earlier.

Marshall’s inclusion of his story is not self-indulgence on the part of the filmmaker, but necessary information for understanding Ju’/hoan history which has been shaped by the complex machinery of national development and global economies. Not only had the family’s tire tracks into the desert opened up the region to contact with neighboring Africans, and subsequently South African people, but the work of Marshall and other filmmakers, most notably Jamie Uys’ "The Gods Must Be Crazy" (1980), promoted western fantasies of primitive hunting-gathering lives. In Marshall’s essay, "Filming & Learning," he wrote, "fantasies projected onto Ju’/hoansi by writers and filmmakers were among the worst threats the people faced in their struggle to develop their farms and keep their land. Documentary films showing Ju’/hoansi dressed in skins playing hunters and gatherers in the 1980s reinforced the fantasies and served as propaganda for official and commercial interests seeking to establish the game reserve."

In the final episode of "A Kalahari Family," titled "Death by Myth," the power of the "Bushman myth" takes center stage. Throughout the series Marhsall focused on his transformation from filmmaker and anthropologist, to participant and activist. In this episode, Tsamkxao -- the son of ≠Oma, who had invited the Marshalls into the lives of his family and community back in 1951 -- says, "There are two kinds of films. Films that show us in skins are lies. Films that tell the truth show us with cattle, with farms, with our own water, making our own plans."

"A Kalahari Family" presents this incredible story of a young man turned filmmaker, and of a group of people whose lives have undergone dramatic change. But it is also a window onto the history of ethnographic and documentary filmmaking, in which repurposed shots from earlier films continue to reveal the stories of earlier encounters and moments in film history. All told, Marshall produced over 20 films on the Ju’/hoansi. His films have had a profound impact on documentary and ethnographic filmmaking. Faye Ginsburg, Professor of Anthropology and Director of the Center for Media, Culture & History at New York University sums up his influence, "John Marshall had the keen eye, compassion, and sense of story that allowed him to shift the post-war paradigm of ethnographic film. Ever restless and inventive, he was constantly throwing over the model he himself had invented -- from the observational to the dialogical -- refining and experimenting, with dialogue and respect for the lives of the people of the Kalahari as the moral and epistemological compass for all his work." Ginsberg adds, "’A Kalahari Family’ will stand as an inspiration and a monument to future generations."

Although Marshall’s deepest commitment was to the Ju’/hoansi, he also played a role in the evolution of cinéma vérité. Marshall was the cameraman on Frederick Wiseman’s "Titicut Follies," the scathing expose of Bridewater State Hospital released in 1967. He worked with documentary filmmakers D.A. Pennebaker and Richard Leacock, and shot the civil war in Cyprus for NBC. In 1969 and 1970 Marshall created the Pittsburgh Police Film Series, a number of short vérité films developed for training and educational purposes. Although produced as discussion starters for training on ethical and legal issues, the Pittsburgh Police Film Series established the gritty realism that became the foundation of today’s reality cop shows.

Marshall’s films are distributed by Documentary Educational Resources (DER), which he co-founded with Timothy Asch in 1968. Cynthia Close, Executive Director of DER, explains the origins, "[John] wanted to make short sequence films that showed slices of real life to be used in a classroom setting so that kids could experience first hand cultures very different from their own. At that time, there were no other distributors doing that so they started DER to distribute their own films to schools." For people interested in going beyond the finished films, there is the extensive film record. Marshall ultimately produced over two million feet of 16mm film footage. In addition, thousands of hours of video document the Ju’/hoansi strife-filled saga. The record spans the material and cultural practices of the independent Ju’/hoansi through their struggles to gain a foothold in the modern Namibian economy. Close describes the archive as, "unparalleled in the history of film and in the history of documenting humanity" and it is now held by the Human Studies Film Archives at the Smithsonian Institution.

Anthropologists have sought to define ethnographic film as distinct from social documentary. One of the criteria often promoted is a long period of time spent with the people whose stories are being told. In 2003 Marshall was given a lifetime achievement award by the Society for Visual Anthropology. His 50-year history working with the Ju’/hoansi is remarkable, even for ethnographic filmmakers. Marshall’s example of involvement with his subjects continues through DER’s support of filmmakers who similarly have made long-term commitments to the people that they film.

In "A Kalahari Family," Marshall’s story of his efforts on behalf of the Ju’/hoansi ends in 2000. We asked Close whether Marshall had continued his advocacy on behalf of the Ju’/hoansi, for whom securing water for cattle and crops is an ongoing struggle. She replied, "Yes, he was working on trying to get water pumps fixed until the very end." http://www.newenglandfilm.com/news/archives/05june/marshall.htm

John Marshall (born May 1, 1954) is an American percussionist. He has worked with many internationally acclaimed musicians including David Darling, George Benson, Benjamin Verdery, and the Paul Winter Consort.

John Marshall (b. 1856 in Jefferson County, Kentucky - d. 1922) served as Lieutenant Governor of Kentucky under Governor William S. Taylor from 1899-1900. Both Governor Bradley and Lieutenant Governor Marshall were removed from office by a Supreme Court decision that ruled that William Goebel had rightly been elected governor in the contested 1899 election.

John Marshall (born 1796 in England), was an Australian cricket player, who played three _First-class cricket games for Tasmania.

He has the distinction of having captained, and been the wicketkeeper for Tasmania in the first ever first class cricket match in Australia. Marshall captained Tasmania in all three matches in which he represented the colony, with a record of two wins and one loss.

Marshall effected a stumping to dimiss the Victorian batsman T.W. Antill for 0 off the bowling of William Henty, making him the first wicket-keeper to effect a stumping in first-class cricket in Australia.

He was famous for having never cut his beard since his teen years. John Marshall was 58 when he played his last game for Tasmania, a record which survives to this day as Australia's oldest ever first class cricketer. He played for Hobart Town Cricket Club for over twenty years, and was one of their all time champions, still holding many local records in the Tasmanian Grade Cricket competition that have stood for over one hundred years.

John Marshall died on September 7, 1876, in New Town, Tasmania at the age of 80.