June 2015 Th SSAASSSS CCOONNVVEENNTTIIOONN San Antonio , 12 by Capitan in George Baylor, SASS Life #24287 Regulator Photos by Black Jack Mcginnis, SASS #2041
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Stagecoach Trail (#36 on the ASRA Topo Trail Map)
Stagecoach Trail (#36 on the ASRA Topo Trail Map) Distance: 2 miles; 1½ hrs. up, ¾ hrs down “Stagecoach Trail to Russell Road” sign. The (hiking) first ¼ mile is the steepest, but it provides good views of the North Fork American River, at Difficulty: Moderate up, easy down several spots on the right. Slope: 8% avg; 23% max. (see below) At about ¼ mile, the trail turns sharply left at the “Stagecoach Trail” sign. As you pause to catch your breath, you can almost hear the echo of Trailhead / Parking: (N38-55-010; W121-02-207) harness bells on horses and the clatter of stage- Trailhead is at confluence area, 1¾ miles south coaches that once traveled this road. of ASRA Park Headquarters. Take Hwy 49 from A short distance up the trail, the graceful arches Auburn south to Old Foresthill Road at the bottom of Mt. Quarries RR Bridge come into view on the of the canyon. Continue straight for ¼ mile and left. A little further along, the appearance of park on the left. Trailhead is just beyond parking ponderosa pine, big leaf maple, interior live oak, area at green gate near kiosk and port-a-potty. blue oak, willow, and Himalayan blackberry bushes signal the first of several riparian Description corridors on the trail. Here you can see water This historic trail offers great, bird’s eye views of running year round, unlike other spots on the the confluence area and American River canyon. trail where it is only visible in winter and spring. Its gradual gradient offers a good aerobic workout A little further on, a narrow unmarked trail known on the way up, climbing 800 ft in 2 miles from the as Tinker’s Cut-off intersects on the left. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Read an Excerpt
ACROSS THE PLAINS The Journey of the Palace Wagon Family by SANDRA FENlCHEL ASHER Dramatic Publishing Wcxxlstock, lllinois • London, England • Melooume, Australia © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** TIle amaleur and stock acting rights to this wen: are controlled exclusively by TIm DRAMATIC PUBUSHING COMPANY without wha;e pennission in writing 00 performance of it may be given. Royalty fees are given in our current catalogue and are subject to change without notice. Royalty must be paid every time a play is perfonned whether or not it is JI=lted for profit and whether a- not admission is charged. A play is perfonned any time it is acted bef<re an audience. All inquiries conceming amateur and stock rights should be addressed to: DRAMATIC PUBUSlllNG P. O. Box 129, Woodstock, lliioois 60098. COPYRIGHT UW GWES THE AUTHOR OR THE AUTHOR'S AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. This law provides lIlIlhcrs with a fair return fa- their creative efforts. Authas earn their living from the royalties they receive fnm book sales and from the perfonnance of their work Conscientious offiervance ofcopyright law is not ooly ethical, it encour ages authors to continue their creative work. This wa-k is fully protected by copyright No altecations, deletions a- substitutions may be made in the work without the pria- written consent of the publisher. No part of this work may be reproduced a- ttansmitted in any form or by any means, electrooic or me chanical, including photocopy, recording, videotape, film, or any information storage and retrieval system, without pennission in writing from the publisher. -
A History of Fort Bascom in the Canadian River Valley
New Mexico Historical Review Volume 87 Number 3 Article 4 7-1-2012 Boots on the Ground: A History of Fort Bascom in the Canadian River Valley James Blackshear Follow this and additional works at: https://digitalrepository.unm.edu/nmhr Recommended Citation Blackshear, James. "Boots on the Ground: A History of Fort Bascom in the Canadian River Valley." New Mexico Historical Review 87, 3 (2012). https://digitalrepository.unm.edu/nmhr/vol87/iss3/4 This Article is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Historical Review by an authorized editor of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. Boots on the Ground a history of fort bascom in the canadian river valley James Blackshear n 1863 the Union Army in New Mexico Territory, prompted by fears of a Isecond Rebel invasion from Texas and its desire to check incursions by southern Plains Indians, built Fort Bascom on the south bank of the Canadian River. The U.S. Army placed the fort about eleven miles north of present-day Tucumcari, New Mexico, a day’s ride from the western edge of the Llano Estacado (see map 1). Fort Bascom operated as a permanent post from 1863 to 1870. From late 1870 through most of 1874, it functioned as an extension of Fort Union, and served as a base of operations for patrols in New Mexico and expeditions into Texas. Fort Bascom has garnered little scholarly interest despite its historical signifi cance. -
Ashton Patriotic Sublime.5.Pdf (9.823Mb)
commercial spaces like theaters, and to performances spanning the gamut from the solemn, to the joyous. This diversity encompassed celebrations outside the expected calendar of national days. Patriotic sentiment was even a key feature of events celebrating the economic and commercial expansion of the new nation. The commemorative celebration for the laying of the foundation-stone of the Baltimore & Ohio Railroad, the “great national work which is intended and calculated to cement more strongly the union of the Eastern and the Western States,” took place on July 4, 1828.1 It beautifully illustrated the musical ties that bound different spaces together – in this case a parade route, a temporary outdoor civic space, and the permanent space of the Holliday Street Theatre. Organizers chose July Fourth for the event, wishing to signal civic pride and affective patriotism. Baltimore filled with visitors in the days before the celebration, so that on the morning of the Fourth the “immense throng of spectators…filled every window in Baltimore-street, and the pavement below….fifty thousand spectators, at least, must have been present.” The parade was massive and incorporated a great diversity of groups, including “bands of music, trades, and other bodies.” One focal point was a huge model, “completely rigged,” of a naval vessel, the “Union,” complete with uniformed sailors. Bands playing patriotic tunes were interspersed amongst the nationalist imagery on display: militia uniforms, banners emblazoned with patriotic verse, national flags, eagle figures, shields, and more. Charles Carrollton, one of the last surviving signers of the Declaration of Independence, gave the main public address at the site, accompanied by a march composed for the occasion, the “Carrollton March” (see Figure 2.4). -
Hell on Wheels
MercantileEXCITINGSee section our NovemberNovemberNovember 2001 2001 2001 CowboyCowboyCowboy ChronicleChronicleChronicle(starting on PagepagePagePage 90) 111 The Cowboy Chronicle~ The Monthly Journal of the Single Action Shooting Society ® Vol. 21 No. 11 © Single Action Shooting Society, Inc. November 2008 . HELL ON WHEELS . THE SASS HIGH PLAINS REGIONAL By Captain George Baylor, SASS Life #24287 heyenne, Wyoming – The HIGHLIGHTS on pages 70-73 very name conjures up images of the Old West. chief surveyor for the Union Pacific C Wyoming is a very big state Railroad, surveyed a town site at with very few people in it. It has what would become Cheyenne, only 500,000 people in the entire Wyoming. He called it Cow Creek state, but about twice as many ante- Crossing. His friends, however, lope. A lady at Fort Laramie told me thought it would sound better as Cheyenne was nice “if you like big Cheyenne. Within days, speculators cities.” Cheyenne has 55,000 people. had bought lots for a $150 and sold A considerable amount of history them for $1500, and Hell on Wheels happened in Wyoming. For example, came over from Julesburg, Colorado— Fort Laramie was the resupply point the previous Hell on Wheels town. for travelers going west, settlers, and Soon, Cheyenne had a government, the army fighting the Indian wars. but not much law. A vigilance com- On the far west side of the state, mittee was formed and banishments, Buffalo Bill built his dream town in even lynchings, tamed the lawless- Cody, Wyoming. ness of the town to some extent. Cheyenne, in a way, really got its The railroad was always the cen- start when the South seceded from tral point of Cheyenne. -
CHAMPION AEROSPACE LLC AVIATION CATALOG AV-14 Spark
® CHAMPION AEROSPACE LLC AVIATION CATALOG AV-14 REVISED AUGUST 2014 Spark Plugs Oil Filters Slick by Champion Exciters Leads Igniters ® Table of Contents SECTION PAGE Spark Plugs ........................................................................................................................................... 1 Product Features ....................................................................................................................................... 1 Spark Plug Type Designation System ............................................................................................................. 2 Spark Plug Types and Specifications ............................................................................................................. 3 Spark Plug by Popular Aircraft and Engines ................................................................................................ 4-12 Spark Plug Application by Engine Manufacturer .........................................................................................13-16 Other U. S. Aircraft and Piston Engines ....................................................................................................17-18 U. S. Helicopter and Piston Engines ........................................................................................................18-19 International Aircraft Using U. S. Piston Engines ........................................................................................ 19-22 Slick by Champion ............................................................................................................................. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
José Piedad Tafoya, 1834–1913
New Mexico Historical Review Volume 81 Number 1 Article 3 1-1-2006 Comanchero: José Piedad Tafoya, 1834–1913 Thomas Merlan Follow this and additional works at: https://digitalrepository.unm.edu/nmhr Recommended Citation Merlan, Thomas. "Comanchero: José Piedad Tafoya, 1834–1913." New Mexico Historical Review 81, 1 (). https://digitalrepository.unm.edu/nmhr/vol81/iss1/3 This Article is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Historical Review by an authorized editor of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. Comanchero JOSE PIEDAD TAFOYA, 1834-1913 Thomas Merlan and Frances Levine ose Piedad Tafoya is generally known as a comanchero who traded with Jthe Native people of the Southern Plains during the mid- to late nine teenth century. Born in a New Mexican village on the then far northern frontier of Mexico, he died in a village scarcely twenty-five miles away in the new U.S. state ofNew Mexico. The label comanchero, however, was an inadequate description of Tafoya, for he was also an army scout, farmer, rancher, man of property, and family man. Later, like a number of his New Mexican contemporaries who observed the changing character of territo rial New Mexico, he sent his son to be educated at St. Michael's College in Santa Fe. The purpose here is not only to review an<;l supplement the facts ofTafoya's life as a comanchero but to offer a biographical essay on a man whose life spanned two major economic and cultural networks. -
<B>FREDERICK (FRED) J. FRAIKOR.</B> Born 1937. <B
<b>FREDERICK (FRED) J. FRAIKOR.</b> Born 1937. <b>Transcript</b> of <b>OH 1359V A-B</b> This interview was recorded on June 16, 2005, for the Maria Rogers Oral History Program and the Rocky Flats Cold War Museum. The interviewer is Hannah Nordhaus. The interview is also available in video format, filmed by Hannah Nordhaus. The interview was transcribed by Sandy Adler. NOTE: Interviewer’s questions and comments appear in parentheses. Added material appears in brackets. [A]. 00:00 (OK, we’re recording. This is the Rocky Flats Cold War Museum Oral History Project. I’m interviewing Fred Fraikor. I’m Hannah Nordhaus. It’s the 16th of June, 2005. We’re at Fred’s office at the Colorado School of Mines, where he teaches.) (Fred, to get started, if you could just tell me a little bit about your background, where you were born, what your parents did.) OK. I was born in a steel town called Ducaine, Pennsylvania, which is one of the suburbs of Pittsburgh. My parents, although my dad grew up here, were of Slovak—back then it was Czechoslovakia—origin. My dad, like all the other immigrants at the time, would run back and forth, they’d make their money in the coal mines and the steel mills and then they’d go back to Czechoslovakia, buy up land, and come back here. What they didn’t realize was that the Communists would then confiscate the land, which is why I’m not a big land baron at this point. He brought my mother back here in 1936, just before World War II, when the Nazis invaded. -
Review of Death of a Gunfighter: the Quest for Jack Slade, the West's Most Elusive Legend by Dan Rottenberg J
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 2010 Review of Death of a Gunfighter: The Quest for Jack Slade, the West's Most Elusive Legend By Dan Rottenberg J. Randolph Cox Dundas, Minnesota 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 Cox, J. Randolph, "Review of Death of a Gunfighter: The Quest for Jack Slade, the West's Most Elusive Legend By Dan Rottenberg" (2010). Great Plains Quarterly. 2531. http://digitalcommons.unl.edu/greatplainsquarterly/2531 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. 56 GREAT PLAINS QUARTERLY, WINTER 2010 Death of a Gunfighter: The Quest for Jack Slade, the West's Most Elusive Legend. By Dan Rottenberg. Yardley, PA: Westholme, 2008. xiv + 520 pp. Maps, photographs, notes, bibliogra phy, index. $29.95. Freight teamster and wagon master along the Overland Trail, stagecoach driver in Texas, as well as stagecoach division superintendent along the Central Overland route, Joseph Alfred "Jack" Slade (1831-1864) is remembered for having helped launch and operate the Pony Express in 1860-61. He is also remembered as a gunfighter and the "Law West of Kearney." The BOOK REVIEWS 57 legends about him (including those in Mark Twain's Roughing It and Prentiss Ingraham's dime novels about Buffalo Bill) are largely false, but the truth has been difficult to establish. -
Vaya Con Dios, Kemosabe: the Multilingual Space of Westerns from 1945 to 1976
https://doi.org/10.5007/2175-7968.2020v40n2p282 VAYA CON DIOS, KEMOSABE: THE MULTILINGUAL SPACE OF WESTERNS FROM 1945 TO 1976 William F. Hanes1 1Pesquisador Autônomo, Niterói, Rio de Janeiro, Brasil Abstract: Since the mythic space of the Western helped shape how Americans view themselves, as well as how the world has viewed them, the characterization of Native American, Hispanic, and Anglo interaction warrants closer scrutiny. For a corpus with substantial diachrony, every Western in the National Registry of Films produced between the end of the Second World War and the American Bicentennial (1945-1976), i.e. the cultural apex of the genre, was assessed for the presence of foreign language and interpretation, the relationship between English and social power, and change over time. The analysis showed that although English was universally the language of power, and that the social status of characters could be measured by their fluency, there was a significant presence of foreign language, principally Spanish (63% of the films), with some form of interpretation occurring in half the films. Questions of cultural identity were associated with multilingualism and, although no diachronic pattern could be found in the distribution of foreign language, protagonism for Hispanics and Native Americans did grow over time. A spectrum of narrative/cinematic approaches to foreign language was determined that could be useful for further research on the presentation of foreigners and their language in the dramatic arts. Keywords: Westerns, Hollywood, Multilingualism, Cold War, Revisionism VAYA CON DIOS, KEMOSABE: O ESPAÇO MULTILINGUE DE FAROESTES AMERICANOS DE 1945 A 1976 Resumo: Considerando-se que o espaço mítico do Faroeste ajudou a dar forma ao modo como os norte-americanos veem a si mesmos, e também Esta obra utiliza uma licença Creative Commons CC BY: https://creativecommons.org/lice William F.