DOCSLIB.ORG

Y:\News Letters\Newsletters\OHS Extra\2012-05-29 OHS Extra.Htm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Y:\News Letters\Newsletters\OHS Extra\2012-05-29 OHS Extra.Htm From: Oklahoma Historical Society [[email protected]] on behalf of Oklahoma Historical Society [[email protected]] Sent: Tuesday, May 29, 2012 3:53 PM To: [email protected] Subject: OHS EXTRA! from Oklahoma Historical Society Having trouble viewing this email? Click here You're receiving this email because of your relationship with Oklahoma Historical Society. You may unsubscribe if you no longer wish to receive our emails. May 29, 2012 Use Planned Giving to Leave a Legacy with OHS JOIN OHS For a full listing of benefits, download the membership brochure. The Daughter of Dawn 2012 deadCENTER Film Festival June 10, 2012 12:30 and 2:30pm OKC Museum of Art The Daughter of Dawn is an 80-minute, six-reel silent film shot in July of 1920 in the Wichita Mountains of southwest Oklahoma. The story, played by an all-Indian cast of 300 Comanches and Kiowas, includes a four-way love story, two buffalo hunt scenes, a battle scene, village scenes, dances, deceit, courage, hand to hand combat, love scenes, and a happy ending. The Indians, who had been on the reservation less than fifty years, brought with them their own tipis, horses, clothing, OHS and material culture. The lead actor is White Parker, the son of the great EVENTS Comanche leader Quanah Parker. Cherokee The script for the movie was developed by Norbert Myles, an actor, writer and Strip Regional director brought into the project by Richard Banks who started the Texas Film Heritage Company in 1916. Myles wrote on the cover of his script that, "This story has been Center: 5/31 Open Day at Turkey made possible by R.E. Banks, whose knowledge of the Indian, and of his traditions, Creek School, 10am-3pm, was gained during the twenty-five years that he lived with them." (580)237-1907X227 file:///Y|/News_Letters/Newsletters/OHS%20Extra/2012-05-29%20OHS%20extra.htm[5/31/2012 9:44:35 AM] The first screening of The Daughter of Dawn will be at the 2012 deadCENTER Film George M. Festival in Oklahoma City. The film will run Sunday, June 10, 2012, at the Murrell Home: Oklahoma City Museum of Art at 12:30pm and again at 2:30pm. 6/2 Lawn Social, 10am, (918)456-2751 Eventually, we will release DVD and Blu-ray versions that include director's cuts on Oklahoma the history of the film, the Indian history and material culture depicted, the Wichita History Mountains and the buffalo herd that still runs free, and a special feature on one tipi Center: in the movie. It is a significant tipi given by the Cheyenne to the Kiowas in the 6/5 Film Row, 7pm, 1830s as a symbol of peace. The tipi in the movie was renewed in 1916 with (405)522-0785 images painted by Silverhorn and Steven Mopope, one of the Kiowa Five. That very tipi was given to the Oklahoma Historical Society in 1928 and is part of "Oklahoma 6/5 OkieTales, 10:30am- @ the Movies," now on exhibit at the Oklahoma History Center. Only through the 11:30am, each Wednesday June & July, rescue of the film did we learn the significance of the tipi. (405)522-0785 For more information about The Daughter of Dawn contact Bill Moore by email at 6/27 Muskogee: Your [email protected]. Key to Northeastern Oklahoma Research Funding for this project provided by: Lunch & Learn Lecture, 11:30am, (405)522-5225 Lawton Community Foundation McMann Foundation 6/30 Beginning Beadwork, National Film Preservation Foundation 9am-5pm, (405)522-0785 Oklahoma City University Oklahoma Historical Society Pawnee Bill Special thanks to the Friends of the Oklahoma Historical Society Archives and the Ranch: 6/16, 23, 30 Pawnee Bill's Friends of the Oklahoma History Center Original Wild West Show Series, 7:30pm, (918)762- The original music composition is by David Yeagley. The score is performed by the 2513 Oklahoma City University Orchestra: Ben Nilles, Conductor; John Cross, Music Editor; Mark Parker, Dean of the School of Music; Robert Henry, OCU President. Pioneer Woman Okietales Museum: Wednesdays, June & July 2012, 10:30am-11:30am 6/16 Father's Day Oklahoma History Center celebration, (580)765- Oklahoma City, OK 6108 Sod House: Mark your calendars and load up the little ones for a special program to explore 6/16 Teneriffe Lace Oklahoma's past. Each Wednesday from 10:30am-11:30am the History Center Workshop, 10am-2pm, hosts Okietales, a one-of-a-kind reading and storytelling time where kids can hear (580)463-2441 and see history! Spiro Mounds: This program, designed for ages four through nine. Each week will explore a 6/21 Summer Solstice different topic from the Wild West and Cowboys to Land Runs and Pioneer Life. Walks, 11am, (918)962- 2062 Best of all, parents can enjoy some quiet time in the café or check out the exhibits for an hour while the kids participate in the program. Admission is $2.00 for each Planned Giving child and includes museum admission following the program. Space is limited and pre-registration is required. Museum & Research Center Hours Dates & Topics: June 6 Native Oklahoma June 13 The Wild West Sign up to Volunteer file:///Y|/News_Letters/Newsletters/OHS%20Extra/2012-05-29%20OHS%20extra.htm[5/31/2012 9:44:35 AM] June 20 Land Run June 27 Pioneer Life Visit OHS Museums and July 4 No Program - State Holiday Sites July 11 Rt. 66 July 18 Oklahoma and Space Current OHC Exhibits July 25 Alice in Wonderland For more information on Okietales or to register please contact Jason Harris at Found in Collections (405) 522-0785 or at [email protected]. Calendar of Events Oklahoma Journeys The Press Room Ways to Support OHS Read the Encyclopedia of Oklahoma Benjamin Franklin Live! Thursday, July 5, 2012 Visit the OHC Museum Oklahoma History Center Store Oklahoma City, OK The The Oklahoma History Center will host a special day of activities with Benjamin Importance of Franklin on Thursday, July 5th. Through a special partnership with SONIC, History... America's Drive-In, visitors of all ages will have the chance to meet Dr. Franklin, listen to stories of his scientific exploits, follow along as he recounts some of his "What famous inventions, and more. The program will provide first-hand accounts of one distinguishes the of America's Founding Fathers. historian from the collector of The museum will offer a children's program with Benjamin Franklin at 10am with historical facts is generalization." activities to follow. The program is appropriate for all school age children. At 2pm Benjamin Franklin will provide an afternoon matinee for families and adults. At 6pm E. H. Carr the museum will open its doors for an extraordinary evening program scheduled to begin at 7pm. An Evening with Benjamin Franklin is a family friendly program and Oklahoma will bring the exploits of Dr. Franklin to life. Admission to the program is free and Historical seating is first come. Partial sponsorship for Benjamin Franklin Live is provided by Society SONIC, America's Drive-In. 800 Nazih Zuhdi Dr. For more information please contact the museum at (405)522-0765. Oklahoma City, OK 73105 Shelly Crynes, Editor [email protected] (405)522-0317 Download, fill out the annual giving form, and mail it to: file:///Y|/News_Letters/Newsletters/OHS%20Extra/2012-05-29%20OHS%20extra.htm[5/31/2012 9:44:35 AM] DONATE NOW Development Department Oklahoma Historical Society 800 Nazih Zuhdi Drive Oklahoma City, OK 73105 Forward email This email was sent to [email protected] by [email protected] | Instant removal with SafeUnsubscribe™ | Privacy Policy. Oklahoma Historical Society | 800 Nazih Zuhdi Drive | Oklahoma City | OK | 73105 file:///Y|/News_Letters/Newsletters/OHS%20Extra/2012-05-29%20OHS%20extra.htm[5/31/2012 9:44:35 AM].
Load more

Recommended publications
  • Acting for the Camera: Horace Poolaw's Film Stills of Family, 1925
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2011 ACTING FOR THE CAMERA HORACE POOLAW'S FILM STILLS OF FAMILY, 1925-1950 Hadley Jerman University of Oklahoma Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Jerman, Hadley, "ACTING FOR THE CAMERA HORACE POOLAW'S FILM STILLS OF FAMILY, 1925-1950" (2011). Great Plains Quarterly. 2684. http://digitalcommons.unl.edu/greatplainsquarterly/2684 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ACTING FOR THE CAMERA HORACE POOLAW'S FILM STILLS OF FAMILY, 1925-1950 HADLEY JERMAN [Prior to the invention of the camera], one [viewed oneself as if before a] mirror and produced the biographical portrait and the introspective biography. [Today], one poses for the camera, or still more, one acts for the motion picture. -Lewis Mumford, Technics and Civilization (1934) During the late 1920s, American technology making dramatically posed, narrative-rich historian Lewis Mumford drafted these words portraits of family members, Mumford asserted in a manuscript that would become Technics that the modern individual now viewed him or and Civilization. At the same time, Kiowa pho­ herself "as a public character, being watched" by tographer Horace Poolaw began documenting others. He further suggested that humankind daily life in southwestern Oklahoma with the developed a "camera-eye" way of looking at very technology Mumford alleged altered the the world and at oneself as if continuously on way humanity saw itself.
    [Show full text]
  • MODERNITY, MULTIPLES, and MASCULINITY HORACE POOLAW's POSTCARDS of ELDER KIOWA MEN Laura E
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2011 MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN Laura E. Smith Michigan State University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Smith, Laura E., "MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN" (2011). Great Plains Quarterly. 2681. http://digitalcommons.unl.edu/greatplainsquarterly/2681 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN LAURA E. SMITH Many Indians in the late nineteenth and Poolaw printed some of his photographs on early twentieth century commodified aspects postcard stock to sell at local fairs in the early of their cultures in order to make a living and to mid twentieth century. In order for the sometimes present their identities, history, and postcards to appeal to the greatest number artworks in ways that were satisfying to them. of consumers, he had to compose his images Ten vintage postcards from the Oklahoma and select subject matter that fit into common Historical Society by Kiowa photographer visual assumptions and expectations of Indian Horace Poolaw (1906-1984) indicate that he identity, such as the "chief." recognized popular tastes for Plains Indian On the other hand, Poolaw created these male imagery while both participating in that postcards in an intense period in Oklahoma production and working independently of it.
    [Show full text]
  • The Daughter of Dawn Wichita Mountains Wildlife Refuge
    U.S. Fish & Wildlife Service The Daughter of Dawn Wichita Mountains Wildlife Refuge The film was written and directed by Norbert Myles from West Virginia and produced by Richard E. Banks, owner of the Texas Film Company. Banks had lived and worked with Native Americans for over 25 years. It was through his efforts that an authentic story from the perspective of the Plains tribes was part of the script. The authenticity includes a battle sequence, village scenes, and tribal dances. There are even two buffalo hunt sequences where hunters chase down the fabled buffalo herds of Wichita Mountains. However, little is known about the actual film shoot or Wichita staff reaction or support to the crew or cast. The film highlights many cultural aspects of the Comanche, including, ways of dressing, use of sign language to communicate, and bareback horse riding. Charons Garden Wilderness, Wichita Mountains Wildlife Refuge. Photography by Kirk Rodgers A sneak preview of the film was held in October, 1920 at the College Theater in Wichita Mountains Wildlife Refuge is For the first time, Native Americans were Los Angeles. But for unknown reasons, known for many things: incredible fall used to tell a story about themselves. the film was never distributed and colors, majestic views from Mount Scott, Here, there were no actors in red make thought to be lost. free-range bison herds, a wilderness up or indistinguishable or inaccurate in some of the oldest mountains in the tribal wear and objects. For the film, the The story is basic Hollywood—boy country, lakes, and short-grass prairie.
    [Show full text]
  • Through Indian Eyes: Native American Cinema Through Indian Eyes: Native American Cinema
    THROUGH INDIAN EYES: NATIVE AMERICAN CINEMA THROUGH INDIAN EYES: NATIVE AMERICAN CINEMA Program generously supported by San Manuel Band of Mission Indians and Hollywood Foreign Press Association. SERIES CURATORS: Jan-Christopher Horak, Dawn Jackson (Saginaw Chippewa), Shannon Kelley, Paul Malcolm and Valerie Red-Horse Mohl (Cherokee). ASSOCIATE CURATOR: NIna Rao. 1 TRANSMITTING THE KNOWLEDGE OF THE ANCESTORS: NATIVE AMERICAN FILMMAKERS TODAY I. Film Board of Canada and the Smithsonian Institution, and private ones such as Sundance Institute, in order to establish film training programs, local Native In his seminal film, Imagining Indians (1993), Victor Masayesva, Jr. discusses a television networks and other distribution platforms. However, the success of litany of complaints made by Native Americans about how they are perceived filmmaker Chris Eyre’s Smoke Signals (1998), the first all Native American film by mainstream American society, given the 100+ year history of racist imag- to break Hollywood’s stranglehold on the domestic, commercial film market, ery emanating from the Hollywood filmmaking establishment: All Indians are opened the gates for numerous other indigenous filmmakers. Some of the blood thirsty savages; The genocide of Native Americans has disappeared into resulting films have been financed independently through Native American history; All Indians who are not savages are dead or doomed to die; Americans tribal councils, others through non-Native sources. They have all been guided have a romantic love of images of Indians as noble savages; Indians are never by Indian eyes, i.e. directed by Native Americans. Far from being relegated to individualized, especially Indian women, but rather objectified as objects, or a particular genre, the films of Native American filmmakers include comedies, like animals, rather than humans; Indians are never depicted in modern dress; dramas, shorts, documentaries, and experimental and animated works.
    [Show full text]
  • Modernity, Multiples, and Masculinity: Horace Poolaw's Postcards of Elder
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2011 MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN Laura E. Smith Michigan State University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Smith, Laura E., "MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN" (2011). Great Plains Quarterly. 2681. http://digitalcommons.unl.edu/greatplainsquarterly/2681 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN LAURA E. SMITH Many Indians in the late nineteenth and Poolaw printed some of his photographs on early twentieth century commodified aspects postcard stock to sell at local fairs in the early of their cultures in order to make a living and to mid twentieth century. In order for the sometimes present their identities, history, and postcards to appeal to the greatest number artworks in ways that were satisfying to them. of consumers, he had to compose his images Ten vintage postcards from the Oklahoma and select subject matter that fit into common Historical Society by Kiowa photographer visual assumptions and expectations of Indian Horace Poolaw (1906-1984) indicate that he identity, such as the "chief." recognized popular tastes for Plains Indian On the other hand, Poolaw created these male imagery while both participating in that postcards in an intense period in Oklahoma production and working independently of it.
    [Show full text]
  • Y:\Newsletters\OHS Extra\121713.Htm
    From: Oklahoma Historical Society <[email protected]> on behalf of Oklahoma Historical Society <[email protected]> Sent: Wednesday, December 18, 2013 3:46 PM To: Gary Phillips Subject: OHS EXTRA! from Oklahoma Historical Society You're receiving this email because of your relationship with Oklahoma Historical Society. You may unsubscribe if you no longer wish to receive our emails. December 17, 2013 OHS EVENTS George M. Murrell Home: 12/21, Christmas Open House, 1pm, (918) 456-2751 Oklahoma History Center: 1/11, Printmaking, 1pm, (405) 522-3602 1/25, Beginning Quilting, Silent Film "Daughter of Dawn" Selected to Library of 1pm, (405) 522-3602 Congress 2013 National Film Registry Gateway to OK History Visitor Info OHS Museums & Sites Current OHC Exhibits Event Calendar Press Room The Oklahoma Historical Society (OHS) today announced the Library of Congress in Washington, D.C. has selected "The Daughter of Dawn," as Support OHS one of the 25 films inducted to its 2013 National Film Registry, a collection of cinematic treasures that represent important cultural, artistic Encyclopedia Oklahoma and historic achievements in filmmaking. The 80-minute, six-reel silent movie was shot during the summer of 1920 in Oklahoma's Wichita Planned Giving Mountains Wildlife Refuge outside of Lawton. "Daughter of Dawn" is file:///Y|/Newsletters/OHS%20Extra/121713.htm[12/19/2013 12:00:11 PM] listed alongside films including "Pulp Fiction," "Mary Poppins" and "The From the Right Stuff." Encyclopedia... "This film is an American treasure both as an early art form in the history of cinema and as a window into the material culture of Oklahoma's Kiowa Thanks again to OETA for and Comanche tribes," said Dr.
    [Show full text]
  • Interactions: UCLA Journal of Education and Information Studies
    UCLA InterActions: UCLA Journal of Education and Information Studies Title The Daughter of Dawn: Restoration in a Rural Community Permalink https://escholarship.org/uc/item/38m5d8mv Journal InterActions: UCLA Journal of Education and Information Studies, 13(2) ISSN 1548-3320 Author Gowan, Jana D Publication Date 2017 DOI 10.5070/D4132032951 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Introduction The profession of film archiving is an uneven blend of largely routine, detailed work necessary to preserve moving image cultural heritage and the occasional, dramatic rescue of a film that might have been lost forever. Restoration and preservation of such films, while exciting, are also complicated and subjective processes that require the efforts of a variety of professionals as well as the necessary resources of institutional infrastructure and financial means. How then does a smaller archive with limited resources, both human and financial, approach a film restoration project? The recent restoration of The Daughter of Dawn, an American silent film made in 1920, by OHS is a significant example of film preservation performed by a regional film archive as well as of its implications for preserving diverse cultural heritage within rural communities. What is the significance of this restoration for the larger field of moving image archiving? What larger implications or lessons for the archival profession can be gleaned from the restoration of The Daughter of Dawn? Do these implications speak to the preservation of diverse cultural heritage of rural communities? Similar to the creators of the film - Anglo-European settlers who wrote and directed the film and Native American actors and actresses who performed - the area surrounding the Wichita Mountains Wildlife Refuge is a mix of one urban and several rural communities.
    [Show full text]
  • Doctoral Dissertation Template
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE INTRA-COLONIAL SPACES: DESIRE AND DISPLACEMENT IN IMAGES OF INDIAN TERRITORY, THE HAWA’IAN ISLANDS, AND NEW MEXICO TERRITORY, 1885-1920 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By JAMES FREDERICK PECK Norman, Oklahoma 2016 INTRA-COLONIAL SPACES: DESIRE AND DISPLACEMENT IN IMAGES OF INDIAN TERRITORY, THE HAWA’IAN ISLANDS, AND NEW MEXICO TERRITORY, 1885-1920 A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. Kenneth Haltman, Chair ______________________________ Dr. Alison Fields ______________________________ Mr. B. Byron Price ______________________________ Dr. W. Jackson Rushing III ______________________________ Dr. Warren Metcalf ______________________________ Dr. Mary Jo Watson © Copyright by JAMES FREDERICK PECK 2016 All Rights Reserved. Dedication I dedicate this dissertation to my late mother, Patricia Eileen (Hardie) Peck, who always believed in me; to my wife, Sydney Nicole Peck, who always supported me; and to my son, Alexander Walter Peck, who always laughed at my jokes. There is no way this dissertation would have ever been completed without each and every one of you. I love you all. Miss you, mom. Acknowledgments I would like to extend my sincere thanks to my dissertation chair, Kenneth Haltman. You have always held me to the highest standards. If I did not always reach those standards, the fault lies with me. You taught me to look more closely at art, to read texts more carefully, and to write more thoughtfully - if not always more concisely. I would also like to thank Jack Rushing, Byron Price, and Alison Fields for helping me mature as a scholar.
    [Show full text]
  • 2017Spring Prasch.Pdf
    Warner Brothers premiered Dodge City in the real Kansas town of that name on April 1, 1939. Activities included a parade, of course, that featured the film’s star Errol Flynn (mounted, right) and dozens of other cast members, along with tens of thousands of visitors and residents of the “Cowboy Capital.” Kansas History: A Journal of the Central Plains 40 (Spring 2017): 46-71 46 Kansas History The Place of the Present in the Past: Dichronicity in Recent Kansas/Plains Films Edited and introduced by Thomas Prasch rranging the films in this year’s selection of reviews (coming to you an issue earlier than usual because of the special issue devoted to the sesquicentennial of the Chisholm Trail this summer) presented an interesting quandary. Usually, it is a simple enough procedure: start with the classic films, then go in chronological order. But where, in that case, did Kevin Flanagan’s review of American Interior belong? On the one hand, the film was about John Evans, whose quixotic expedition in the 1790s to find the Welsh-speaking AIndians that he was convinced lived in the American interior (there is this legend about the twelfth-century Welsh Prince Madoc, see) took him deep into the Great Plains, as far as Mandan territory in the Dakotas. On the other hand, it was just as much, or more, about the quixotic expedition of the contemporary Welsh rocker Gruff Rhys, retracing the route of his distant ancestor in a series of concerts and conversations that reflected as often on contemporary issues and circumstances as they did on the eighteenth century.
    [Show full text]
  • Introduction the Profession of Film Archiving Is an Uneven Blend Of
    Introduction The profession of film archiving is an uneven blend of largely routine, detailed work necessary to preserve moving image cultural heritage and the occasional, dramatic rescue of a film that might have been lost forever. Restoration and preservation of such films, while exciting, are also complicated and subjective processes that require the efforts of a variety of professionals as well as the necessary resources of institutional infrastructure and financial means. How then does a smaller archive with limited resources, both human and financial, approach a film restoration project? The recent restoration of The Daughter of Dawn, an American silent film made in 1920, by OHS is a significant example of film preservation performed by a regional film archive as well as of its implications for preserving diverse cultural heritage within rural communities. What is the significance of this restoration for the larger field of moving image archiving? What larger implications or lessons for the archival profession can be gleaned from the restoration of The Daughter of Dawn? Do these implications speak to the preservation of diverse cultural heritage of rural communities? Similar to the creators of the film - Anglo-European settlers who wrote and directed the film and Native American actors and actresses who performed - the area surrounding the Wichita Mountains Wildlife Refuge is a mix of one urban and several rural communities. The closest towns, Medicine Park and Indiahoma, are rural and home to approximately 300-400 people, and the adjacent city of Cache, with a population of just under 3,000, is the former home of Comanche chief Quanah Parker.
    [Show full text]