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Daniel D. Tompkins

From Wikipedia, the free encyclopedia

Daniel D. Tompkins
6th Vice President of the United States
In office
March 4, 1817 – March 4, 1825
PresidentJames Monroe
Preceded byElbridge Gerry
Succeeded byJohn C. Calhoun
4th Governor of New York
In office
July 1, 1807 – February 24, 1817
LieutenantJohn Broome
DeWitt Clinton
John Tayler
Preceded byMorgan Lewis
Succeeded byJohn Tayler (Acting)
Personal details
Born(1774-06-21)June 21, 1774
Scarsdale, New York, British America
DiedJune 11, 1825(1825-06-11) (aged 50)
Castleton, New York, U.S.
Resting placeSt. Mark's Church in-the-Bowery
Political partyDemocratic-Republican
Spouse(s)Hannah Minthorne
Children8, including Minthorne
EducationColumbia University (BA)
Cursive signature in ink

Daniel D. Tompkins (June 21, 1774 – June 11, 1825) was an American politician. He was the fourth governor of New York from 1807 to 1817, and the sixth vice president of the United States from 1817 to 1825.

Born in Scarsdale, New York, Tompkins practiced law in New York City after graduating from Columbia College. He was a delegate to the 1801 New York constitutional convention and served on the New York Supreme Court from 1804 to 1807. In 1807, he defeated incumbent Morgan Lewis to become the Governor of New York. He held that office from 1807 to 1817, serving for the duration of the War of 1812. During the war, he often spent his own money to equip and pay the militia when the legislature wasn't in session, or would not approve the necessary funds.

Tompkins was the Democratic-Republican Party's vice presidential nominee in the 1816 presidential election. The ticket of James Monroe and Tompkins easily prevailed over limited Federalist opposition. He served as vice president from 1817 to 1825, and was the only 19th century vice president to serve two full terms. In 1820, he sought another term as Governor of New York, but was defeated by DeWitt Clinton. After the War of 1812, Tompkins was in poor physical and financial health, the latter condition stemming largely from his spending for the military effort during the War of 1812. He fell into alcoholism and was unable to re-establish fiscal solvency despite winning partial reimbursement from the federal government in 1823. He died in June 1825, soon after leaving office.

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Hello guys this is Leo and you're watching Hellscream Vocal Stars #1 Hello Dan, how are you? Feeling very good today thank you for inviting me Yeah it's really great to see you here. I heard that you're opening your vocal school but let's start from the scratch. So when you have started singing screaming and doing all this interesting stuff with your voice? I'll be very honest. I've been on a quite a long journey it's taken me a good 12 or maybe 13 years to really find my voice and I'm trained to the point where I feel quite comfortable in my own skin as a thing but I've always been I've had a natural gift to sing. I would say some some people are more naturally gifted than others in my experience that doesn't necessarily mean that ungifted people can't sing. Anyone can sing is just about learning to master your craft. But I started to take professional lessons at the age of 21 before that I used to sing without any guidance and make all the mistakes that you would expect someone to me and I had I invested in my voice it was very expensive and I had traditional input from the classical sense of singing for about half a year but it got to a point when I... it just didn't gel I didn't understand how learning to sing theatrical and classical would translate into rock and metal because I ultimately wanted to be a rock and metal singer so very naively having learned the basics of traditional singing I then left and went to my own journey of development seeking out advice from different artists different vocal coaches around the world online so there was a kind of cherry picked as I've gone along. But it got to a point when I joined Tesseract and you know, for any metal band that's starting out you know you have to find ways to survive you know to earn some money. So I ended up giving guidance and teaching, you know, fans and other aspiring singers and also you know liaison with other artists like I remember you know sitting down for two hours with Spencer from Periphery when we both first started you know trying to describe the way that we sing and how to make it easy half how to develop our voices and it is in interaction like that is is excellent I think and one of the best ways to learn as a singer is to have as much perspective as possible and the main reason for that is that the study of the human voice is still ongoing and it changes all the time people's you know the top-end of vocal science people still differ to a degree on how the voice operates in certain ways so that gives people and coaches around the world essentially a free license to say this is what you should do don't do this don't do that I have the best program this is what you should there's so much of that online and I think you have to be very careful with the information that you receive and trying you know really dig into where people have you know learned their craft and got their knowledge. So yeah I mean for me I've I've done a lot of my my own studies and I've liaised with different people around the world and again being a performer and touring it's the hands it's the hands on the floor feet on the floor kind of ground experience that I've had for the past twelve years which has really brought me to where I am. I had the same story I mean collecting pieces from different people and trying to decide what's right and what's wrong what I should do and what I should not You have to be very careful what you're listening to but also at the same time it's very easy to find out where people have studied where people get their information from I mean for me there are some really excellent books that have been written in the last five or six years which have really helped me as a vocal coach as well so you have books like the vocal athletes the dynamics of the of the singing voice and there are some Berklee material from the States which is quite good as well so sorry about the music it's so loud out there apologizing and you can get where you need to be just making you to find the right vocal coaching for you and understand that every voice in the world is different and the way that you respond to certain exercises and different stimulus is going to vary from singer to singer so it's about catering for the individual and finding out what exercises work well for you what exercises work well for you this is what you need to work on you: it singing is so subjective that's how it works What was the most interesting breakthrough in vocals for you and maybe some kind of position or feelings in your vocal tract. I think within rock and metal singers are prone to vocal abuse because of the genre and the competition with the you know the sound of being in a metal band especially when you're on stage you're competing with natural acoustics distorted guitars loud drum sounds and it can be quite hard so singers without the appropriate in air monitoring and etc can push very easily and that's where a lot of or that's where all vocal fatigue stems from is the onset of too much subglottic pressure so within the vocal tract underneath the vocal chords as we expire air flows through the trachea underneath the vocal cords and we have an element of subglottic pressure that builds up and without this pressure we can't speak and sing so it's always there it's always present and the breakthrough for me was actually understanding that you can manage this pressure when I say manage I mean make sure that it doesn't develop to a point where it was going to interact with the muscles surrounding your vocal cords and cause them to contract and tighten and that's what happens because within the mucous membrane of the vocal cords we have mechanreceptors and these receptors are very susceptible to pressure so we have too much of that pressure build signals are sent to and from the brain to the muscles surrounding vocal cords and they contract and tighten and as soon as you have this contraction within or tension within these muscles then the voice breaks down and it's very hard to reverse that effect so you have to become hypersensitive to the the first signs and feelings that develop when you get focal fatigue so tightening in the throat hoarse listening to the voice tonal changes hoarseness developing etc and as soon as you identify those issues it's about addressing them either with vocal silence with using semi occluded vocal exercises so recirculating a bit of air back into the into the larynx exercises that essentially would carry a fricative consonant so anything that has a "mmm", "zzz" all these kind of sounds the air is partially blocked as you expire the air with a closed mouth and some of that air will recirculate back into the larynx and that will alleviate some of the pressure. The liprolls? Exactly! So liprolls are... I think one of the questions that I I can see written down is what are the one of your favorite vocal exercises well for me it's not about the most extravagant scales or the most bizarre sounds it's about keeping, it very simple but actually understanding what you're trying to achieve by making those sounds it's very simple so a lip roll is one of the most universal go-to exercises for any singer in the world because of that very same effect that it has as soon as you create a liproll you can feel the relaxation within the larynx Have you ever described or imagined liprolls or singing like holding your breath while you're making the sound just compressing the air and pushing it a little bit with less speed like a lip roll for example you're not doing it like "hard pressure sound" you do it like "low pressure sound" One of the right ways to do it I would say that actually with the liproll you can also think about the position of your larynx because we can either make a nasal sound or we can make a very throaty sound there are benefits to both I mean if I was going to make a nasal lip roll "nasal liproll sound" it's got a lot nasal resonance but if I yawn into it "throaty liproll sound" now I'm accessing a very different area of resonance and they have benefits so depending on how I feel on every on every day because granted that the voice will will change day in and day out depending on how conditioned you are and and what habits you have what country you're in how well you feel you know you have to kind of know what exercises to do to cater for certain problems that you might to say Have you studied for somebody? yeah I have studied from you know different artists I mean I've taken some great advice from Devin Townsend and he helped me out quite a lot I tried to catch him here in Moscow but we had no time to prepare She's very excellent good friend of mine but also am a lady in the states that I'm actually sings in one of my projects is a vocal coach he teaches at University and she's we bounce off each other a lot and she has actually helped me a great deal in terms of vocal pedagogy and vocal science and understanding how the voice works and her name is Amanda Muntin and she works at the University of New Hampshire and she's connected to the National Association of teach and singing and we she's and the great thing about her is that she's a she's a traditional or classical forward slash contemporary singer and you know as you know if you know anything about singing those two worlds are very separate you know they were sitting over the traditional singer there are hard and fast rules that you shouldn't do shouldn't break with a contemporary vocal coach it's a bit about thinking outside the box and trying different things that you wouldn't necessarily do in the other world so to hear that she was a traditional contemporary you know singer that's one of the reasons why I approached her in the first place because I find that very interesting That's right I call that Universal vocals that's why I like Devin Townsend. That was the first time I was watching YouTube and there's so Tuska show in finland and there was some bands... saw the man in the cap and let's see this one and he just started singing super crush song what da hell? I've ever been on tour with Devin on his first ever headline run in the States that is the first time tesseract played with him and you know being out in the crowd every night and listening to him sing that it was like one of the first times that I'd actually you know I would say that I would had a true vocal Idol I mean I don't actually believe in idols I don't believe that we should have them at all but as an aspiring singer he was a guy that I looked up to quite a lot in the way that he kept not just sang but also cared for his voice as well so again he helped me out quite a lot Maybe you can tell anything in this think about developing vocal range for mixed voice how you feel those low notes in the second and third octave and in the fifth one for example that's notes in the phonics song I think holistically regardless of singing low or high what we have to realize is that we all will have physical limitations as to how high or how low we can sing there won't be a limit physical limit well the problem is is people don't realize that they have to kind of like grow on a muscular level in order to reach that limit so it is possible to increase your range very easily but one by you know learning to sing in the mixed voice so my advice to any singer that wants to increase their range is to sing in head voice frequently as much as possible because if that CT muscle can be as strong as it possibly can you can have an easier time trying to draw your full voice over your bridge therefore increase your chest range if you like it's a mixed voice book so yeah singing in head voice is actually for me what I've learned over the years is the key to unlocking all of your voice you want to actually strengthen your voice you again think of your muscles your vocal cords and as as muscles so any sporting athlete will warm up the muscles get the blood flowing stretch out those muscles make soft and pliable and stretchy then have there period of sporting intense exercise and then at the end of that warm them down your vocal muscles are no different to any other large muscle group they're just very small so we have to go through the same process and the more that you can stretch them out and relax them over time if you can couple that with really good eating habits sleeping habits lifestyle habits stress management habits you know drinking habits you will increase those muscles for example if I was to go on stage and sing tonight which I'm going to do and if I've got a good high protein diet and I get enough sleep tomorrow I'm going to recover a lot quickly so do that over the course of weeks and months and you'll grow very strong on a vocal level That's why many people don't understand when they doing something not good getting stretching the their voice or doing screaming with vocal cords not using false chords just a lot of pressure on vocal cords day by day taking messages from different people oh I sang for five six years like that it's okay and the first question I asked them have you ever toured with your band if you had no tours you just don't know anything about singing because every day show by show you must sing the same parts and if you're dying on the second song on the first show... which I have done when I started and again I made all the mistakes going and I would go to America the end of the first week I would have no voice and I would panic and feel stressed and then it would be a downward spiral and by the end on tour I would just feel so I would have had such a negative experience from a vocal perspective that I just I fell very down and I wasn't looking forward to the next one but like say that the biggest epiphany that I've ever had is learning to balance pressure and not push being relaxed on stage is one of the the most important things that a singer needs to understand and a really good example if you want to talk about extreme vocals for a second so Yens from Meshuggah if you ever watched him on stage it has a very interesting technique now I wouldn't necessarily say that he has correct technique but what he does do which is exelent is that when he so many screams don't just look at his face look at the rest of his body his arms are loose and just dangling by his side and everything else just sounds very brutal but how does it make that sound by relaxing every other part of his body is relaxed You're not using a lot of screaming vocal in your parts but maybe you can say a few words about that distortion sound and the false chords how you developed it I think for me if you compare the two tesseract albums that I've sang on the first one was very aggressive and you can actually hear the strain in my voice so what I what I did in the period of being involved in interacts in the early years and stepping away for a little bit as I went away and developed my voice because I wasn't happy and so when I came back I was a vocal coach I was a much more experienced singer but that's why that album sounds very different because I needed to reset rethink my strategy so there was a lot of singing on Polaris and the tiniest little bit of screaming I'm not going to suggest that on the next album there'll be no screaming because they're very may well be screaming on the next album again but you can't know that just yet well there's a little hint in there and the reason for that is rebuilding and resetting myself so that if I do want to add screams I can now do it in the most effective way possible so that might be a possibility in the future but in terms of the way that I scream myself I use a very carefully positioned balanced scream Saw that in your yestersay video from your home studio yeah they're like So if you listen to if you listen to my live version of I don't know concealing fate or concealing fate part three you can hear me screaming that and that is obviously you can hear that there is vocal fry' there is there is grit and rasp well there's also pitch in there and in order to have that effect I'm having to sing in a mixed voice coordination to start with I'm adding vocal fry' into that but I'm also having pitch behind it as well and to have that sensation it feels like there is a lot of pressure but in actual fact there isn't it balanced so I kind of teeter on the edge if I go too far I'm gonna hurt myself if I go if I take the pressure off I can't maintain the pitch I'm using to scream so I run along a very thin line and I now know because I'm quite an experienced singer when how not to go over the edge when we phonate and make mix sound there is a mucosa wave which occurs on the edge of the vocal cords which is the vocal cords touch at the top roll down and then let go so it's that kind of wave-like motion and those those vibrations happen anywhere up to a thousand plus times to second depending where you're singing in what pitch but when you make a pure vocal fry' sound that is not an internal vibration of the false cords or the walls inside your larynx that is simply a second vibration on the vocal cords it is not top to bottom second vibration that occurs there's a dual vibration on the vocal cords and that's how we generate that pitch and that is the initial way that you should start to develop and learn how to scream is find that sound and play with it as much as possible totally shift it up and down you add phonetics in there yeah oh yeah do it with as little effort as possible because screaming shouldn't involve really any effort it should come naturally and be quite free when I scream I have to a little bit add more pressure but again it's a balance and that's when the pitch comes in and again I'm not gonna do it now because I'm not warmed up and I don't want to damage my voice and that's a good rule is don't don't force things be warmed up for it but go online and check it out the most scariest thing for the vocalist is losing his voice have you ever had the problems with your voice the only actual serious problem or relatively search problem that I've had is a vocal edema which is basically swelling through overuse and that's I've encountered that on tour in the early years where I had to have steroids to get me through the rest of the tour luckily I've never had ... I never had that again since discovering had to balance subglottic pressure so that's again that was another reason why that was an epiphany for me when I learned that the whole concept of pressure and I've never had polyps never had nodes or cysts and hopefully I won't ever what microphones you use in studio life at home if I remember right you use conditioned mic for home recording and life in the studios yeah I mean I have various different microphones it depends on what sound I'm trying to create what part of my voice I'm singing in is taste at the end of the day I mean everyone's voice responds differently to different microphones but in in the studio my go-to microphone is the AKG c12VR I don't have just the normal seat or I have the vintage reissue cause it's an old I believe it's a late seventies mic tube mic very sensitive very bright and I call that where the way it's not extremely bright but I all that with a Neve 1073 and I've also got preamp and I've also got a a Phoenix DSR-1 preamp that I'd like to use live a minute... I'm just gonna be using today yeah live it I've got a live condenser oh it's live condenser it's nice this is a sure KSM 8 its own it's quite a new model that's been brought out by Shure dual cardioid microphone essentially it's it's a bit like the kms 105 which is the Neumann microphone but the benefit to this is that it picks up less background noise and because I'm you know when you've got a live condenser in front of a drum kit you're essentially miking up the drum kit because it's so bright but this has less it picks up less of the cymbals which is a real benefit so it has all the detail I need but it isn't as distracting you You can see from here just sing from here it is directional that's... proximity is fantastic I can hold it in any position and nothing changes, the condenser mic is brilliant What inairs you use for live shows and rehearsals what do you like to hear in the mix So we're quite self-sufficient within tesseract and we have our own desk we have our own core we use the behringer x32 series which comes with a really cool feature where we can network that we're able to download the app onto our devices iPhones iPads Mac books laptops whatever and we can essentially have our own in-ear mix and we mic everything off drums cymbals the effect the guitars the laptop the samples everything were able to control the levels of each which is fantastic in-ears I just use standard short to one-fives the rest of the guys on stage used five three fives and there little bit more bassy I just used the two on fives the court no the cheap and durable but have more high-end presence so for a vocalist I like like my vocals to cut through without them being overly loud because you don't want them too loud in-ears and what I like to hear is kick and snare my mic will generally pick up all the cymbal that I need all the simple channels are muted I don't get much room sound we do have mics that are picking up the room sound I have none of that metals changes guitars at a quite level they're fairly present and I have backing vocals and samples which are probably the same level as the guitars bass is fairly quiet and that's essentially all that I need I use just the same mix who is your local Idol I generally don't have idols at all I think I have I have people that I admire and so Devin Townsend I've already mentioned Maynard James Keenan at all Dustin Kensrue from Thrice there were so many though I mean any vocalist that takes care of their voice and sounds like they've really worked on their tone I'm going to appreciate but they are the few people that I tend to revisit and and listen to the most I think in terms of just greatness I know about you guys love to do backing tracks and MIDI controlled effects and such things for guitars and everything so how do you mix your live vocals and what effects you use very little very little I mean I have compression that's really important I change the settings according to the venue you know I don't just have one universal setting that would be silly a little bit of EQ and the tiniest bit of reverb and maybe a smidgen of delay and literally that's it our front-of-house guy is is amazing his name's Aidan O'Brien he controls all the effects he creates them send sends them to my mixer and I just make my levels how I wanted to be but essentially I find singing a lot easier when I'm not masked with reverb and delay because I find that can get in the way of pitch I deliver far better performance when I just have a relatively clean vocal sound coming through my in-ears So it's just a separate signals and you are listening for a clean voice right here with a small reverb and compress and the front house guy mixing it with a lots of delays everything he uses delays and reverb for front of house we also have some elements of distortion here and there but essentially you know ( Leo: it's just separate) and he's changing the tempo of those constantly as you mix us through the set Just separate mix for monitoring it's like people why I came here because people that are standing in the front of the stage they just don't know what's happening on the stage just can hear anything for example that was a big thing for me to understand how to mix my in airs because different people tell me different things somebody use only the voice in their nails because they play in a jazz band another metal for example some guys from black metal bands using the whole mix with only the bass drum triggered and listening base for the guitars and everything so just different things yeah that's why it's really interesting for other musicians because people in the front of stage just don't know what's happening in they don't hear for example I heard tons of people's screaming from the hole to me that they don't hear their left guitars all right I don't hear what's happening up there not at all it just depends on the sound guy If you want to come to a Tesseract gig don't come to the front because you're not gonna hear anything because we don't have monitoring we have no amps on stage no onstage monitors so you're not going to hear anything unless you're in a nice space in the middle of come and stand next to the sound desk that's where you're gonna get the best possible sound yeah that's what I'm talking about so are you're not using any pedals for now I mean the guitar players know it so they sold MIDI controlled jonno changes with a metronome yeah as you can see Alex they don't use any pedals this you know this guy's like telling us we you need to play with the lamp preamps with the heads and the cabs okay you can get it it's just a lot it kind of became a necessity for the band because no travel costs, flying and hiring just hiring cabs that kind of stuff so no and again Devin Townsend does the same thing as well yeah there's axe Metallica plays with axe It's nothing on stage at all completely empty now and also that makes us you know in terms which we don't always headline we sometimes have to be quite quick kind of festivals to set up our gear on stage off stage 10 minutes we're competing you need to set up on the drums exactly get it I could put it on everything. So let's see the question from your friends from in my youtube channel the first question is they are asking why you're not using screaming life a lot in such songs like you said already Concealing Fate Pt. III The impossible deception part 2 and Eden Oh we don't we don't play Eden so that's the first one gone but I do actually scream and if you come to the show tonight you'll you'll hear me scream so there have been times in the past when perhaps I haven't and that's been a smart choice and again all depends you know due to illness or whatever which can happen it might be detrimental to my voice to scream so a moss will step up and he'll do the screaming but if I'm healthy and I'm strong screen Music is the main thing in your life right now do you have any hobbies on what do you do when you're not busy with a band I'm always busy with the band I mean I'm involved in lots of different music so when I'm not writing and working with Tesseract I'm writing for myself and you know or writing for white moths black butterfly which is my other solo side project I've got some solo releases that I'm working on as well I do I mix my world like the question says is is full of music and sound of the minute which is a beautiful place to be. But I also have two children and the wife and I I teach so that is that is my life is music teaching singing and being a dad and that's all that I need a minute in terms of fitness and sport I run quite a lot I love running five five and ten K runs and events but I also play play squash actually play for it for a team in my local town and I'm sure many people know what squash is and some people might may not but it's a very intense sport actually squash check it out. You just got to be committed you got to want you got to want to do it and you have to be passionate and dedicated I mean luckily my partner has been very supportive and you know in life we have relationships with it with people and we want to grow in those relationships and not all people have the best partners so that can be an obstacle not not all people have the opportunity not not people have the finances all I would say is that take a risk but be honest with yourself if you're not step outside you know give it a go I mean I I left a very stable career I could have retired at the age of 49 and been comfortable for the rest of my life but I stopped followed being a mental singer and earn very little for the first you know three four years but you have to find a way to survive you know but I won't say that being self-employed and finding a way to survive has been one of the most liberating things that I've ever done yeah that's how it works for me too because I have tons of mails from different people that are asking me about how I earn money from music but they don't know that I have a music shop I have a school I have a studio I produce bands and - all this stuff yeah it's very unrealistic to think to yourself I want to be a singer that's all I want to do and you know people are like you know how do I do that you can't just be a singer these days you have to even the top singers in the world have other revenue streams they're involved in different things you know I mean you take someone like I don't know Maynard James Keenan he makes wine and he makes a lot of money from making wine you know it's like people do different things you know all the singers are involved in mute mixing services music software you know engineer and all that kind of stuff well yeah you know surround yourself with music find your way yeah that's how I tell it to everybody that you should be a musician an artist booking agent tour manager just just a manager and everything like that that's the unfortunate reality yeah so thank you for being here with us thank you from my colleagues from Hellscream Academy so thank you for being here in Moscow best of luck and good luck to all your students as well yeah okay see you soon guys



Tompkins was baptized Daniel Tompkins, but added the middle initial "D." while a student at Columbia College to distinguish himself from another Daniel Tompkins who was a student there. There is controversy as to what the middle initial stood for; some have suggested "Decius."[1][2][3] The generally accepted conclusion is that it did not stand for anything, and served only to distinguish him from the other Daniel Tompkins.[4][5][6][7]

Early life, family, and career

The Daniel D. Tompkins Memorial in Scarsdale, New York
The Daniel D. Tompkins Memorial in Scarsdale, New York

Daniel D. Tompkins was born in Scarsdale, Westchester County, New York, at his home, the estate of Fox Meadow.[8] He was the son of Sarah Ann (Hyatt) and Jonathan Griffin Tompkins. His older brother, Caleb Tompkins was a United States Representative from 1817 to 1821. Daniel Tompkins graduated from Columbia College in New York City in 1795, and then studied law with James Kent and Peter Jay Munro.[9] He was admitted to the bar in 1797, and practiced in New York City.[10] Despite the Federalist leanings of Kent and Munro, Tomkins entered politics as a Democratic-Republican.[10] He was a delegate to the New York State Constitutional Convention in 1801, and a member of the New York State Assembly in 1804. He was elected to the 9th United States Congress, but resigned before the beginning of the term to accept, at age 30, an appointment as associate justice of the New York Supreme Court, in which capacity he served from 1804 to 1807.

On February 20, 1798, Daniel Tompkins, 23, married 16-year-old Hannah Minthorne, the daughter of Mangle Minthorne, an Assistant Alderman of New York City.[11][12] The couple had eight children, including Arietta Minthorn Tompkins (born July 31, 1800), who married a son of Smith Thompson in 1818, and (Mangle) Minthorne Tompkins (December 26, 1807 – June 5, 1881), who was the Free Soil Party candidate for Governor of New York in 1852. Their children Hannah and Minthorne were named after their mother, and Hannah and Minthorne streets in Staten Island are named for them.[13] Hannah was ill in the year before her husband became vice president, and did not attend his inauguration.[14] She survived him by nearly four years in Tompkinsville, Staten Island.


Coat of Arms of Daniel D. Tompkins
Coat of Arms of Daniel D. Tompkins

On April 30, 1807, he defeated the incumbent Governor Morgan Lewis – Tompkins received 35,074 votes, Lewis 30,989 – and remained in office as Governor of New York until 1817. He was reelected in 1810, defeating Jonas Platt – Tompkins 43,094 votes, Jonas Platt 36,484. In 1813 he defeated Stephen Van Rensselaer – Tompkins 43,324 votes, Van Rensselaer 39,718 – and in 1816, he beat Rufus King – Tompkins 45,412 votes, King 38,647. Tompkins was supported by DeWitt Clinton in his first run for office, but Tompkins later broke with Clinton by supporting James Madison over Clinton in the 1808 presidential election.[15]

During the War of 1812, Tompkins proved to be one of the most effective war governors. He played an important role in reorganizing the state militia and promoted the formation of a standing state military force based on select conscription. He declined an appointment as United States Secretary of State by President James Madison in 1814, instead accepting appointment as commander of the federal military district that included New York City.[16]

Tompkins was also elected a member of the American Antiquarian Society in 1814.[17]

In 1815 Tompkins established a settlement along the eastern shore of Staten Island that came to be called Tompkinsville. He built a dock along the waterfront in the neighborhood in 1817 and began offering daily steam ferry service between Staten Island and Manhattan. In 1816 he purchased much of the land later known as Tompkinsville from the Church of St. Andrew, but his financial troubles later led the church to foreclose. His son-in-law and daughter, Dr. John S. and Hannah Westervelt then bought the property, which they later divided into many lots to sell off.

In 1817, Governor Tompkins suggested that July 4, 1827, be set as the date on which all slaves in New York state—including those who were born before the Gradual Manumission Act of July 4, 1799, (and who were therefore not eligible for freedom)—should be freed.[18]

Vice president

Many New York Democratic-Republicans supported Tompkins for president in the 1816 presidential election, but James Monroe received the party's nomination.[15] Tompkins was instead elected as Monroe's running mate, and Tompkins won reelection in 1820, serving from March 4, 1817, to March 4, 1825. In 1820, while serving as vice president, he ran for Governor of New York against incumbent DeWitt Clinton. The election was held in April 1820; Tompkins lost. He received 45,900 votes while Clinton received 47,447. In 1821, he was a delegate to the New York State Constitutional Convention, serving as its president.[19]

Tompkins entered in office in poor health, the result of a fall from a horse on November 3, 1814. Tompkins's finances were also quite poor, as Tompkins had borrowed money to finance the war effort during the War of 1812, and Tompkins slipped into alcoholism. Tompkins had failed to adequately document his expenses, and both the New York legislature and the federal government refused to fully reimburse him. With poor physical and financial health, Tompkins spent much of his vice presidency outside of Washington, D.C., and Tompkins made for a poor presiding officer of the Senate while it debated the Missouri Compromise in 1820. In 1823, Tompkins finally won compensation from the federal government, but he continued to drink heavily and was unable to resolve his business affairs.[15]

He died in Tompkinsville on June 11, 1825, 99 days after leaving office, and was interred in the Minthorne vault in the west yard of St. Mark's Church in-the-Bowery, New York City, as was his wife.[14] His post-vice presidency lifespan is the shortest of any vice president, and he also lived the shortest life of any Vice President. He was the youngest person to become Vice President until John C. Breckinridge, and the only 19th century vice president to serve two full terms under the same president.

Tompkins was the second vice president to serve two full terms, after John Adams, who was George Washington's vice president from 1789 to 1797. He would be the last to do so for nearly a century, until Thomas R. Marshall, who served under Woodrow Wilson from 1913 to 1921. (Since Marshall, John Nance Garner, Richard M. Nixon, George H. W. Bush, Al Gore, Dick Cheney, and Joe Biden, have done so as well. Apart from Garner, they all left the vice presidency at the same time as the president they had served under.)


The cover to the vault in which Tompkin's remains were interred
The cover to the vault in which Tompkin's remains were interred

Tompkinsville, a neighborhood on Staten Island, is named for Tompkins. There is also a Masonic lodge in the town named for him. Tompkins is credited with being one of the founding members of the Brighton Heights Reformed Church on Staten Island. The church was founded in 1823, during his term as vice president. Its first meeting place was in what was known as Quarantine, a predecessor of the facility on Ellis Island.

Four forts in New York State in the War of 1812 were named for Governor Tompkins, in Staten Island, Sackets Harbor, Buffalo, and Plattsburgh.

Tompkins County in New York, Tompkins Square Park in Manhattan, Public School 69 Daniel D. Tompkins School in Staten Island, and the Town of Tompkins are named after him, as is Tompkins Road, running between Post Road (NY-22) and Fenimore Road in Scarsdale, New York. Tompkinsville, Kentucky, is named for Tompkins. It is the county seat of Monroe County, Kentucky, which is named for the president under whom Tompkins served as vice president. Tompkins Park in Bedford Stuyvesant Brooklyn, NY (now called Von King Park) was named after Daniel D. Tompkins[20] Also the nearby Tompkins Avenue and Tompkins Public Houses are named after the same.

Tompkins was member of Hiram Lodge 72, Mt. Pleasant, NY[21] and became Grand Master of the Grand Lodge of New York form 1820 to 1822[22]. The Daniel D. Tompkins Memorial Chapel at the Masonic Home in Utica, New York was built in his honor in 1911.[23] The Grand Lodge of New York celebrated the Centennial of the chapel on June 25, 2011.[24][25]

Tompkins was mentioned by Kris Kringle in the 1947 film Miracle on 34th Street. The screenplay was incorrect, however, in that Kringle mentions that Tompkins served as vice president under John Quincy Adams when Adams's vice president was actually John C. Calhoun. (Tompkins was the 6th vice president and Quincy Adams was the 6th president, leading to confusion in the script).[26]


  1. ^ Publishers weekly, Volume 195, Part 2. New Providence, New Jersey,: R.R. Bowker Co. 1969. p. 100.
  2. ^ Fredriksen, John C. (2000). Green Coats and Glory: The United States Regiment of Riflemen, 1808–1821. Youngstown, NY: Old Fort Niagara Association. p. 29.
  3. ^ New York State Historical Association (1920). "Governor Tompkins' Middle Name". State Service: An Illustrated Monthly Magazine Devoted to the Government of the State of New York and its Affairs, Volume 4. Albany, NY: State Service Magazine Co., Inc.: 502.
  4. ^ Winchester, Charles M. (February 1, 1920). "New York's Forty-Four Governors". State Service: An Illustrated Monthly Magazine. Albany, NY: State Service Magazine Company: 147.
  5. ^ Winchester, Charles M. (June 1, 1920). "Governor Tompkins' Middle Name". State Service: An Illustrated Monthly Magazine. Albany, NY: State Service Magazine Company: 502.
  6. ^ Skinner, Charles R. (1919). Governors of New York from 1777 to 1920. Albany, NY: J. B. Lyon Company. p. 2.
  7. ^ Smith, Henry T. (1898). Manual of Westchester County. 1. White Plains, NY: Henry T. Smith. p. 246.
  8. ^ "FOX MEADOW SALES. First Break Made Into Famous Westchester Estate", New York Times, April 3, 1921, p.76
  9. ^ Cox, Thomas H. (2009). Gibbons v. Ogden, Law, and Society in the Early Republic. Athens, OH: Ohio University Press. p. 92. ISBN 978-0-8214-1846-8.
  10. ^ a b Gibbons v. Ogden, Law, and Society in the Early Republic, p. 92.
  11. ^ Irwin, Ray W. Daniel D. Tompkins: Governor of New York and Vice President of the United States, p. 27 (1968)
  12. ^ (3 March 1798). Marriages, The Weekly Magazine, p. 160 (1798)
  13. ^ Platt, Tevah (3 June 2010). Staten Island's Westervelt Avenue is named for daughter Hannah's husband.Neighborhood still memorializes Daniel Tompkins, Staten Island Advance
  14. ^ a b Dunlap, Leslie W. Our Vice-Presidents and Second Ladies, p. 32-34 (1988)
  15. ^ a b c "Daniel D. Tompkins, 6th Vice President (1817–1825)". US Senate. US Senate. Retrieved 22 October 2015.
  16. ^ Spencer C. Tucker, The Encyclopedia Of the War Of 1812, 2012, page 713
  17. ^ "MemberListT".
  18. ^ White, Shane. Somewhat More Independent: The End of Slavery in New York City, 1770–1810. University of Georgia Press, 1991. pp. 53–54
  19. ^  Chisholm, Hugh, ed. (1911). "Tompkins, Daniel D." . Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press.
  20. ^ "Herbert Von King Park".
  21. ^ Freemasons: Tales From the Craft. 2014. p. 49. Archived from the original on Nov 13, 2018.
  22. ^ "Celebrating more than 100 years of the Freemasonry: famous Freemasons in the history". Mathawan Lodge No 192 F.A. & A.M., New Jersey. Archived from the original on May 10, 2008.
  23. ^ "Tompkins Chapel was built in 1911 in memory of Most Worshipful Daniel D. Tompkins, Grand Master of Masons in 1820". MasonicHomeNY. Retrieved 2011-10-26.
  24. ^ "The Centennial of the Daniel D. Tompkins Memorial Chapel". Retrieved 2011-10-26.
  25. ^ "Centennial of the Daniel D. Tompkins Memorial Chapel" (PDF). Retrieved 2011-10-26.
  26. ^ "The Making of Miracle on 34th Street, 50th Anniversary Edition" (Sindpiper Publishing), 1997

External links

Media related to Daniel D. Tompkins at Wikimedia Commons

Party political offices
Preceded by
Morgan Lewis
Democratic-Republican nominee for Governor of New York
1807, 1810, 1813, 1816
Succeeded by
DeWitt Clinton
Preceded by
Elbridge Gerry
Democratic-Republican nominee for Vice President of the United States
1816, 1820
Succeeded by
John C. Calhoun
Albert Gallatin (Withdrew)
Nathan Sanford¹
Political offices
Preceded by
Morgan Lewis
Governor of New York
Succeeded by
John Tayler
Preceded by
Elbridge Gerry
Vice President of the United States
Succeeded by
John C. Calhoun
Academic offices
Preceded by
Morgan Lewis
Chancellor of the University of the State of New York
Succeeded by
John Tayler
Notes and references
1. The Democratic-Republican Party split in the 1824 election, fielding four separate candidates.
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