An Archa Esslllent of S

Total Page:16

File Type:pdf, Size:1020Kb

An Archa Esslllent of S An Archa eSSlllent of S David L. Ni(l~els and Bradley]. Vierra Center for Archaeological Research The University of Texas at San Antonio Archaeological Survey Report, No. 269 2000 An Archaeological AsseSSlllent of San Pedro Parl~, (41BX19) San Antonio, Texas Edited by Barbara A. Meissner with Contributions by 1. Waynne Cox, Brett A. Houl~, David L. Nicl~els and Bradley J. Vierra Robert J. Hard and C. Britt BouSTI1an Principal Investigators Texas Antiquities Pennit No. 1929 ©copyright 2000 Center for Archaeological Research The University of Texas at San Antonio Archaeological Survey Report, No. 269 The following information is provided in accordance with the General Rules of Practice and Procedure, Chapter 41.11 (Investigative Reports), Texas Antiquities Committee: 1. Type of investigation: Historic and Archaeological Assessment and Investigation 2. Project name: San Pedro Park Southwest Comer (SARA Ashby Area Project) 3. County: Bexar 4. Principal investigators: Robert 1. Hard and C. Britt Bousman 5. Name and location of sponsoring agency: San Antonio River Authority, 100 East Guenther Street, San Anto­ nio, Texas 78283-0027 6. Texas Antiquities Permit No.: 1929 7. Published by the Center for Archaeological Research, The University of Texas at San Antonio, 6900 N. Loop 1604 W., San Antonio, Texas 78249-0658, 2000 A list of publications offered by the Center for Archaeological Research is available. Call (210) 458-4378; write to the Center for Archaeological Research, The University of Texas at San Antonio, 6900 N. Loop 1604 W., San Antonio, Texas 78249-0658; e-mail to [email protected]; or visit CAR's web site at http://car.utsa.edul. Abstract In July 1996, the Center for Archaeological Research (CAR) of The University of Texas at San Antonio (UTSA) conducted shovel testing and backhoe trenching operations along the western edge of San Pedro Park, near downtown San Antonio, Texas. The purpose of the testing was to detennine the exact location at which the Alazan acequia would be impacted by a planned drainage improvement project under North Flores Street, and to then assess the likelihood that the project would significantly impact buried cultural material. Using old maps as guides, the acequia was located approximately 55 m south of Ashby Street. It was unlined, and cut 90 cm into bedrock, with its bottom 295 cm below the modem ground surface. Although no cultural materials were found in the acequia, a series of shovel tests produced 1085 artifacts, both Prehistoric and Historic. Due to the depth of previously disturbed sediments under North Flores Street, CAR detennined it was unlikely that significant archaeological deposits would be encountered, and recommended that the project be allowed to proceed as planned. However, the results of the shovel testing indicated that there were previously undisturbed areas along the western edge of the park that were likely to contain intact buried cultural deposits. Based on these results, CAR recommended that any planned construction within the park be preceded by an archaeological testing program to further assess the nature and potential significance of those deposits. Following the 1996 testing project, one of the subcontractors for the drainage improvement project used the southwest comer of San Pedro Park as a staging area for construction. CAR returned to this southwest comer of in April 1998 to conduct further shovel testing, along with 1-x-1 m unit excavations, to detennine the extent to which any buried archaeological deposits had been impacted by the heavy machinery and stockpiles of gravel, sand, and other construction materials stored in the park. An analysis ofthe artifact assemblage, along with finite comparisons of the topography before and after the construction staging area was used, indicate that the area was impacted by the construction company. A detailed set of recommendations for management of the cultural resources of San Pedro Park is included in the final chapter of this document. Contents Abstract ................................................................................................................................................................. i Figures ............................................................................................................................................................... 1V Tables ................................................................................................................................................................ v Acknowledgments .............................................................................................................................................. vi Chapter 1: Introduction ...................................................................................................................................... 1 Site Description ............................................................................................................................................. 4 Modern Environment ............................................................................................................................. 4 Paleoenvironment ................................................................................................................................... 5 Geology .................................................................................................................................................. 6 Chapter 2: Historic Background ........................................................................................................................ 9 Prehistoric Context ....................................................................................................................................... 9 Historic Period ............................................................................................................................................ 10 The Spanish Colonial Period ................................................................................................................ 10 San Pedro Park in the Nineteenth Century ........................................................................................... 12 San Pedro Park in the Twentieth Century ............................................................................................. 15 Chapter 3: The 1996 Investigations ................................................................................................................. 17 Introduction ................................................................................................................................................. 17 Methods ....................................................................................................................................................... 17 Backhoe Trenches ................................................................................................................................. 17 Shovel Tests .......................................................................................................................................... 18 Laboratory ............................................................................................................................................ 19 Shovel Test and Backhoe Trench Results ................................................................................................... 19 Discussion ................................................................................................................................................... 25 Historic Component ............................................................................................................................. 25 Prehistoric Component ......................................................................................................................... 28 Artifact Analysis ......................................................................................................................................... 30 Historic Artifacts .................................................................................................................................. 30 Prehistoric Artifacts .............................................................................................................................. 34 Vertebrate Faunal Remains ......................................................................................................................... 40 Conclusions and Recommendations ..................................................................................................... 40 Chapter 4: The 1998 Investigations ................................................................................................................. 43 Introduction ................................................................................................................................................. 43 Methods ....................................................................................................................................................... 43 Shovel Testing ...................................................................................................................................... 43 Mapping ................................................................................................................................................ 44 l-x-2 m Excavation Units ..................................................................................................................... 44 Results
Recommended publications
  • Art Nouveau Revival 1960S-1990S
    Art Nouveau Revival 1960s-1990s Stanley Mouse & Alton Kelly Kathleen James | ADM-103 – The Essay | 13 January 2020 Introduction ................................................................................................................................. 1 Social Context .............................................................................................................................. 1 The Rise and Fall of Art Nouveau ............................................................................................... 2 Origins & Revival ...................................................................................................................... 2 Le style Mucha .......................................................................................................................... 2 ContemPorary Artists .................................................................................................................. 3 Kelley Mouse Studios & the Grateful dead ............................................................................. 3 Stephanie young and street art ............................................................................................... 5 Bibliography ................................................................................................................................. 7 Table of Figures ............................................................................................................................ 7 Introduction This essay investigates the relationshiP between the Art
    [Show full text]
  • Publicsite.R?Scontinent=USA&Screen=
    Results and Description Print Page 1 of 4 Print Results Close Screen Sale 15537 - Life on the Golden Road with the Grateful Dead: The Ram Rod Shurtliff Collection, 8 May 2007 220 San Bruno Avenue, San Francisco, California Prices are inclusive of Buyer's Premium and sales tax (VAT, TVA etc) and may be subject to change. Lot Description Hammer Price 1 A Bob Seidemann mounted-to-board photographic print of The Grateful Dead, $1,680 1971 2 Two color photographs of Jerry Garcia and Bob Weir, circa 1968 $900 3 Five black and white photographs of The Grateful Dead, circa 1969 $780 4 A massive display piece of The Grateful Dead from The Winterland Ballroom, circa $9,600 1966-1978 5 A poster of Pig Pen and Janis Joplin, 1972 $720 6 A Herb Greene signed black and white photograph of The Grateful Dead, 1965, $1,320 1988 7 A Herb Greene signed black and white photograph of Jerry Garcia, 1966, 1980s $960 8 A Herb Greene signed limited edition black and white photograph of The Grateful $2,400 Dead with Bob Dylan, 1987, 1999 9 A Herb Greene signed black and white photograph of The Grateful Dead and Bob $1,440 Dylan, 1987, 1999 10 A Herb Greene signed and numbered limited edition poster of Jerry Garcia, 1966, $900 2003 11 A group of photographs of The Grateful Dead, 1960s-1990s $480 12 A William Smythe signed color photograph of Phil Lesh, 1983 $360 13 A Bob Thomas group of original paintings created for The Grateful Dead album $87,000 jacket "Live/Dead," 1969 14 An RIAA gold record given to The Grateful Dead for "Grateful Dead" (aka "Skull $11,400 and
    [Show full text]
  • Grateful Dead Records: Artwork MS.332.Ser
    http://oac.cdlib.org/findaid/ark:/13030/c8ff3qrq Online items available Grateful Dead Records: Artwork MS.332.Ser. 9 Wyatt Young, Alix Norton University of California, Santa Cruz 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Grateful Dead Records: Artwork MS.332.Ser. 9 1 MS.332.Ser. 9 Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Artwork Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser. 9 Physical Description: 178 Linear Feet42 boxes, 9 map-case drawers, and 103 oversized items Date (inclusive): 1972-2012 Date (bulk): 1980-2008 Language of Material: English . https://www.gdao.org/ Access Collection is open for research. Advance notice is required to access large and framed items so that they can be retrieved from storage. Please contact Special Collections and Archives in advance to request access. Accruals The first accrual was received in 2008. A second accrual was received in June 2012. Acquisition Information Gift of Grateful Dead Productions, 2008 and 2012. Arrangement This collection is arranged in three series: Series 1: Business Art Series 2: Fan Art Series 3: Band Art Materials within each series are arranged alphabetically by last name of artist, where identified. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD. Famed for their concerts, the band performed more than 2,300 shows over thirty years, disbanding after the death of lead guitarist Jerry Garcia in August 1995.
    [Show full text]
  • Introduction in Their Thirty Years Together, the Grateful Dead Forever
    Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement.
    [Show full text]
  • The Psychedelic Poster Art and Artists of the Late 1960S
    Focus on Topic The Psychedelic Poster Art and Artists of the late 1960s by Ted Bahr Bahr Gallery New York, USA 46 Focus on Topic The stylistic trademarks of the 1960s To advertise these concerts, both promoters turned to Wes Wilson at Contact Printing, who had been laying psychedelic poster were obscured and disguised out the primitive handbills used to advertise the Mime lettering, vivid color, vibrant energy, flowing Troupe Benefits and the Trips Festival. Wilson took organic patterns, and a mix of cultural images LSD at the Festival and was impacted by the music, from different places and periods -- anything to the scene, and the sensuous free-love sensibilities of confuse, enchant, thrill, and entertain the viewer. the hippie ethos. His posters quickly evolved to match the flowing, tripping, improvisational nature of the The style was also tribal in the sense that if you developing psychedelic music -- or “acid rock” -- and could decipher and appreciate these posters his lettering began to protrude, extend, and squeeze then you were truly a member of the hippie into every available space, mimicking and reflecting the subculture – you were hip, man. totality of the psychedelic experience. His early style culminated in the July 1966 poster for The Association which featured stylized flame lettering as the image The psychedelic poster movement coincided with the itself, a piece that Wilson considered to be the first rise of hippie culture, the use of mind-altering drugs like truly psychedelic poster. LSD, and the explosion of rock and roll. San Francisco was the center of this universe, and while prominent psychedelic poster movements also developed in London, Detroit, Los Angeles, and Austin, Bay Area artists both initiated and dominated the genre.
    [Show full text]
  • Grateful Dead Archive Online
    Ithaka S+R Case Study Grateful Dead Archive Online University of California at Santa Cruz www.gdao.org The Ithaka S+R Case Studies in Sustainability were conducted in partnership with the Association of Research Libraries and were made possible by the generous support of the Institute of Museum and Library Services. A summary report, “Searching for Sustainability: Strategies from Eight Digitized Special Collections,” is available at http://www.sr.ithaka. org/research-publications/searching-sustainability. This specific case study was researched and written by Nancy L. Maron, Program Director, Ithaka S+R. ABSTRACT Few archives come with a built-in fanbase. The Grateful Dead Archive Online (GDAO) is distinguished from many other academic special collections by the variety of media it holds, from concert tickets to audio files and art created by fans of the band, and by its potential audience, the many thousands of fans of the Grateful Dead. Support for the Archive has come from grant funding, private donors, and from this fan base, which poses one of the project’s fascinating opportunities and challenges. How can the GDAO benefit from the enormous potential audience of devoted fans, and from the material they could contribute, while still remaining true to its academic home at the University Library of the University of California at Santa Cruz? INTRODUCTION Some archives may have devoted researchers who use them, but few have true fans. The Grateful Dead Archive (GDA), housed at the University of California at Santa Cruz (UCSC), is a real exception in several ways. The focus of the archive—the live music and touring of the Grateful Dead, the jam band fronted by Jerry Garcia—is part of fairly recent cultural memory.
    [Show full text]
  • FOR IMMEDIATE RELEASE August 27, 2018
    Contact: Amy Schreiber Executive Assistant for Advancement and Administration 260. 422. 6467, ext. 334 [email protected] FOR IMMEDIATE RELEASE August 27, 2018 Solo exhibition by Chuck Sperry, legendary rock poster artist, opens September 15 Including a sister exhibition of work from the psychedelic era opening September 8 [Fort Wayne, IN] ̶ The Fort Wayne Museum of Art is pleased to announce dual exhibitions exploring the intersection of art, music, and journalism, and their influence by the psychedelic era of the 1960s. On September 8, FWMoA will open Litmus Test: Works on Paper from the Psychedelic Era, followed by the opening of All Access: Exploring Humanism in the Art of Chuck Sperry a week later on September 15. The Psychedelic Era was, among many things, a cultural frontier for colors and imagery. Music, politics, and drugs ignited an unprecedented expansion of art revolving around these elements. From Berkeley College to the Grande Ballroom in Detroit, young idealists organized and the art of the era came to fruition. This exhibition will be our bridge to that time, showcasing a psychedelic era works on paper. The poster work and ephemera of Gary Grimshaw and the photography of Leni Sinclair will showcase the art that poured from that time and place. Blotter sheets from Mark Mothersbaugh, H.R. Giger, S. Clay Wilson, Chuck Sperry, and more will represent the creative fuel for many of the artists of the time. Also featured will be the work of the poster artists of the time: Wes Wilson, Victor Moscoso, Stanley Mouse, Rick Griffin, and Alton Kelley.
    [Show full text]
  • Suddenly That Summer
    July 2012 Suddenly That Summer By Sheila Weller It was billed as “the Summer of Love,” a blast of glamour, ecstasy, and Utopianism that drew some 75,000 young people to the San Francisco streets in 1967. Who were the true movers behind the Haight-Ashbury happening that turned America on to a whole new age? Photograph by Jim Marshall/Digital colorization by Lorna Clark/Permission of Jim Marshall L.L.C. FREE FOR ALL The Charlatans perform in Golden Gate Park. In a 25-square-block area of San Francisco, in the summer of 1967, an ecstatic, Dionysian mini-world sprang up like a mushroom, dividing American culture into a Before and After unparalleled since World War II. If you were between 15 and 30 that year, it was almost impossible to resist the lure of that transcendent, peer-driven season of glamour, ecstasy, and Utopianism. It was billed as the Summer of Love, and its creators did not employ a single publicist or craft a media plan. Yet the phenomenon washed over America like a tidal wave, erasing the last dregs of the martini-sipping Mad Men era and ushering in a series of liberations and awakenings that irreversibly changed our way of life. The Summer of Love also thrust a new kind of music—acid rock—across the airwaves, nearly put barbers out of business, traded clothes for costumes, turned psychedelic drugs into sacred door keys, and revived the outdoor gatherings of the Messianic Age, making everyone an acolyte and a priest. It turned sex with strangers into a mode of generosity, made “uptight” an epithet on a par with “racist,” refashioned the notion of earnest Peace Corps idealism into a bacchanalian rhapsody, and set that favorite American adjective, “free,” on a fresh altar.
    [Show full text]
  • Book Review with TTU Libraries Cover Page (746.4Kb)
    BOOK REVIEW OF "THE GRATEFUL DEAD" The Texas Tech community has made this publication openly available. Please share how this access benefits you. Your story matters to us. Citation Weiner, R.G. (1997). [Review of the book The Grateful Dead by Goldberg, Christine]. Journal of Popular Culture, 31(1), 215-217. Citable Link http://hdl.handle.net/2346/1542 Terms of Use CC-BY Title page template design credit to Harvard DASH. Book Reviews . 215 lack sufficient empirical corroboration; however, the essay format of his expose offers him more freedom in this regard. Maase also has a ten­ dency to argue in a quasi-teleological way, suggesting that all develop­ ments within European popular culture were ultimately targeted at the basic cultural shift that he recognizes. This reader would have welcomed a more elaborate annotation, although this is partially compensated by the selected bibliography at the end. Also disappointing is the lack of an index in a work with such scholarly pretensions. Nevertheless, the book makes a valuable contribution to our understanding of European popular culture. The publisher should seriously consider an English translation, in order to reach a much broader, international audience. Tilburg University, The Netherlands Mel van Elteren Chelsea House Publisher's newest addition to their Pop Culture Legends Series (which includes books on Marilyn Monroe, Madonna, Stephen King, and Bruce Springsteen, among others) is a short history of the leg­ endary Grateful Dead (GO). These books, designed for young adult readers and the general public, provide a unique perspective on popular culture icons. Scholars of Popular Culture can study and analyze books like these in order to have a greater understanding of how such figures fit into the popular milieu and mindset of our culture.
    [Show full text]
  • Art Laws and Outlaws: Legal Issues in Music Graphics
    ART LAWS AND OUTLAWS: LEGAL ISSUES IN MUSIC GRAPHICS NELS JACOBSON Nels Jacobson Law / Jagmo Design Legal Issues in the Music, Film and Emerging Technology Industries Continuing Legal Education Program presented in conjunction with SXSW 2015 March 20, 2015 Detail from poster for 5/1/92 show at Liberty Lunch in Austin, TX. Jagmo © 1992 Nels Jacobson. Art Laws and Outlaws: Legal Issues in Music Graphics 2015 © Nels Jacobson ART LAWS AND OUTLAWS in the physical posters themselves. And graphic design software by Adobe, Corel, Xara, and others has made it easier for neophytes to try their hand at designing I. INTRODUCTION posters themselves. It is not uncommon for posters Visual imagery has played a part in the promotion designed on computers and offered as signed and and presentation of rock music for about as long as numbered limited-edition screen prints by today’s most rock and roll has been around. Concert posters and popular rock artists to fetch almost as much as vintage handbills, print ads, wardrobe and stage sets, album posters from the ‘60s. covers, box sets and other packaging all play a part in fashioning a recognizable identity for a band and generating interest in both product and live performances. This article will focus predominantly on posters, and some of the legal issues associated with their creation and commodification. A powerful poster is capable of not only publicizing an upcoming concert but also, in exceptional cases, of taking on a life of its own as an iconic commemorative trophy. Since at least the 1960s some rock and roll posters have been considered works of art in their own right, not unlike the 19th Century posters of Chéret and Toulouse-Lautrec.
    [Show full text]
  • Chapter 1: Architectural and Social Background
    HAIGHT-ASHBURY AND ITS CONTRIBUTION TO THE COUNTERCULTURE MOVEMENT A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Historic Preservation and Planning by Ethan James Potter August 2020 i © 2020 Ethan James Potter i ABSTRACT The City of San Francisco, specifically the Haight-Ashbury neighborhood, was the epicenter of the American Counterculture Movement in the mid to late sixties. The social, cultural, and political impact of this movement is vast and widely known. This thesis provides a themed historical narrative of the Haight-Ashbury, specifically about its role in the Counterculture Movement. There are three major themes that explore the history of both the Counterculture Movement and Haight-Ashbury. Significant planning and preservation efforts for Haight-Ashbury, since the sixties, are also surveyed. Subjects such as intangible culture, history, city planning, and architecture are examined as they pertain to Haight-Ashbury and the Counterculture Movement. ii BIOGRAPHICAL SKETCH Ethan Potter is, above all, passionate for history. He grew up in Sammamish Washington, playing baseball and football. He studied history, English, and anthropology at Washington State University graduating with a Bachelor of Arts in History. He then worked in education as a tutor and a docent. Ethan decided to pursue a degree in Historic Preservation for its ability to educate the public about history. Ethan was inspired to pursue history after reading Carl L. Becker’s 1930 speech, “Every Man A Historian,” which demonstrates how historical research is conducted by nearly everyone, every day.
    [Show full text]
  • Classic Posters – the Interviews Book One
    Classic Posters – The Interviews Book One 1 Classic Posters – The Interviews Book One DEDICATION Table of Contents This book is dedicated to poster 2 Introduction expert extraorinare Eric King who 5 Chet Helms and the Avalon Ballroom patiently (and kindly) answered 35 Eddie Wilson and The Armadillo thousands of my questions over a 48 Emek 70 Alton Kelley period of many years. King alos 89 David Singer served as a host and guide for me 108 Ed Walker and S.F. Rock Posters in the Bay Area introducing me to 113 Eric King – Poster Expert Extraordinaire the poster artists and collectors in 133 Frank Kozik 145 Grant Mechinan of S.F. Rock Posters Berkeley, San Francisco and 151 Penelope Fried points north. Eric King is good 170 Phil Cushway and ArtRock company. 183 Greg Davidson – Poster Expert 202 Russ Gibb – The Grande Ballroom Thank you Eric! 217 Randy Tuten 252 Stanley Mouse 264 Victor Moscoso In addition, thanks to Phil Cushway, 284 Dennis King and D. King Gallery Jack Bodnar, Gary Grimshaw, Mark 292 Paul Grushkin and the “Art of Rock” Arminsky, Sam Yeats, Jagmo (Nels Jacobson) and others for being kind enough to share their extensive poster © 2002-2011 Michael Erlewine collections with me for photographing. ISBN 0-925182-74-5 I also want to thank Alton Kelley, All rights reserved. No part of the publication Stanley Mouse, David Singer, Frank may be reproduced, stored in a retrieval system, Kozik, Grant Mechinan, Penelope Fried, or transmitted, in any form or by any means, Phil Cushway, Greg Davidson, Russ electronic, mechanical, photocopying, recording, Gibb, Randy Tutan, Victor Moscoso, or otherwise, without the prior permission of the Eddie Wilson, Chet Helms, Emek, publisher.
    [Show full text]