Read Ebook {PDF EPUB} Treasure by S. Smith Treasure by S. Smith. , so Howard D. Clark tells us in his new book "Lost Mines of the Old West." (Ghost Town Press 50¢.) He doesn't tell if they each lost the same leg, but it's a good book. : Twenty years ago, I planted 60 weathered wooden peg legs in likely spots to keep the famous Peg Leg Smith Lost Gold Legend on the front pages of the newspapers of the Southwest. : On display in the Desert office is an 18 "karrot" gold nugget from Lost Pegleg Mine No.999. The nugget looks and feels suspiciously like the replica of an ordinary bunch of carrots (18 of them) done in plaster paris and then lacquered with a few coats of that gold paint you buy in the store. Treasure Map. Gold is where you find it. Peg Leg Smith's fabulous lost treasure is still somewhere on this map -- just follow the trail of wooden peg legs. Details to follow. Meanwhile, enjoy the Desert Rat Scrap Book archive. And as I transcribe more DRSBs and do a bit more research, this page will grow and grow and grow and. Don't click on this sentence . Southwest Humor, South West Humor, Southwest, South, West, Humor, Folk, Lore, Folklore, Lost Treasure, Lost Treasures, Lost, Treasure, Treasures, Harry Oliver, Harry, Oliver, Desert Rat, Desert, Rat, DesertRat, Scrap, Book, ScrapBook, Desert Rat Scrap Book, DesertRat ScrapBook, Peg Leg Smith, PegLeg Smith, Peg, Leg, PegLeg, Smith, Lost Dutchman Mine, Lost, Dutchman, Mine, Ghost Town, Ghost Towns, Ghost, Town, Towns, Lost Gold Mines, Gold, DRSB, HOFC, Harry Oliver, Harry, Oliver. Treasure. Two kids, two bikes, and an idea they can change their world. It's 2077. There's no apocalypse, but some things are different. Things like the weather, the internet, and food. In twelve-year-old Clare's world, blueberry is just a flavor and apples are found only in fairy tales. Then one day Clare meets an old woman who teaches her about seeds and real food. The woman (Ana) tempts Clare with the notion that food exists other than the square, processed, packaged food she has always known. Under Ana's tutelage, Clare and her friends learn about seeds and gardening despite suspicions that such actions are illegal. When the authorities discover the children's forbidden tomato plant and arrest their mother, Clare and her brother flee. Clare has heard of a place called "The Garden State," and with their bikes, a little money, and backpacks, the children begin a lonely cross-country journey that tests them both physically and spiritually. Will they succeed in their quest to find a place of food freedom? And can they, only children, help change the world? Treasure is a gentle dystopian, frightening only is the possibility that we may not be far from the future it paints. Two kids, two bikes, and an idea they can change their world. It's 2077. There's no apocalypse, but some things are different. Things like the weather, the internet, and food. In twelve-year-old. Description. Two kids, two bikes, and an idea they can change their world. It's 2077. There's no apocalypse, but some things are different. Things like the weather, the internet, and food. In twelve-year-old Clare's world, blueberry is just a flavor and apples are found only in fairy tales. Then one day Clare meets an old woman who teaches her about seeds and real food. The woman (Ana) tempts Clare with the notion that food exists other than the square, processed, packaged food she has always known. Under Ana's tutelage, Clare and her friends learn about seeds and gardening despite suspicions that such actions are illegal. When the authorities discover the children's forbidden tomato plant and arrest their mother, Clare and her brother flee. Clare has heard of a place called "The Garden State," and with their bikes, a little money, and backpacks, the children begin a lonely cross-country journey that tests them both physically and spiritually. Will they succeed in their quest to find a place of food freedom? And can they, only children, help change the world? Treasure is a gentle dystopian, frightening only is the possibility that we may not be far from the future it paints. Advance Praise. Green Book Festival 2013 Winner - YA Category. UP Authors Fiction Challenge Winner. "An engaging read of another reality . this book is a stunning effort, and a great YA/children's book." - The Kindle Book Review. "This series fills the void for younger-audience dystopians." - Book Lover, Goodreads Librarian. "In this future, dystopian world, there is no need to worry about post-apocalyptic warfare and violence. The problem is much more subtle in this original and clever story." - Mother Daughter Book Reviews. "Here's a great piece of "juvenile" literature that doesn't lose sight of one key fact: kids can think." Lit Prof, review on Amazon. Green Book Festival 2013 Winner - YA Category. UP Authors Fiction Challenge Winner. "An engaging read of another reality . this book is a stunning effort, and a great YA/children's book." - The Kindle. Vinyl Treasures: Johnny Smith’s ‘Moonlight in Vermont’ Undeservedly obscure today, Smith is an icon of 20th-century guitar, and this was his finest moment. I’m lucky to have a group of inspired friends who retain a youthful exuberance for musical discovery. Recently, my friend Richard Julian texted me about an album he was excited about: Moonlight in Vermont by the Johnny Smith Quintet, featuring Stan Getz. His text reminded me how much I’ve studied and loved both this LP and Johnny Smith, who is one of my all-time favorite guitarists. Released in 1956 on the Roost label, Moonlight in Vermont compiles two previously released 10-inch records: Johnny Smith Quintet Jazz at NBC and Johnny Smith Quintet Featuring Stan Getz Jazz at NBC . Along with Smith's guitar work, Getz’s tenor sax adds an equally outstanding voice on an album that sounds cohesive despite its origin as two separate records. Born in 1922, Johnny Smith was a self-taught guitarist and learned to read music while in the military. This served him well, as he went on to become the staff studio guitarist and arranger for NBC before prioritizing his family in Colorado Springs. Smith stayed active and recorded a great legacy of fine records on the Roost label, among other notable ventures. To me, Moonlight in Vermont is the quintessential Johnny Smith album, a showcase for his versatility and unique approach to the guitar. My guess is that he had a formidable left hand. His challenging wide-stretch chord voicings are very pianistic, exemplifying a high bar of musicality while covering a large section of real estate on the guitar neck. Smith rarely plays the common grips we mere mortals gravitate toward. This is illustrated wonderfully on the title track. The first three chords of Johnny’s chord melody employ (from middle C, low to high) C - E - G - A, and (below middle C) A - C - E - G and G - A - C - E. I might suggest trying this at home, kind readers. You’ll discover how deceptively effortless and introspective Johnny Smith sounds, when in actuality these chords are an athletic finger cruncher. That said, the bottom line is a lovely musical experience for all music fans, and the choices he makes always sound inviting. Chet Atkins called Johnny Smith his favorite jazz guitarist, which makes perfect sense to me. Smith's approach is compositional and immersed with intention and counterpoint strategy, but right when we might think every hair is in place, he’ll play a flurry of 64th notes that make you sit up in your seat. The second track here, “Tabu,” shows his capacity to shred, while Getz and company throw the ball back and forth. When Smith plays phrases that would challenge the likes of Jimmy Bryant, he still sounds as relaxed and in control as a Ferrari going 80 mph with a wealth of unused headroom. “Tenderly” is another great track here and sounds like the twin sister of “Moonlight in Vermont.” Both songs feature a perfect dialog between Getz and Smith, and his chord choices are a wonder. “Jaguar,” one of my faves, is another burner. Smith swings while bassist Eddie Safranski and drummer Don Lamond groove hard and pianist Sanford Gold plays futuristic Monk-like fills in between the 64th-note unison lines. In addition to being one of the jazz guitarists of the ’50s and having a hit with “Moonlight in Vermont,” Smith has a sought-after signature guitar, wrote the Ventures hit “Walk Don’t Run,” left a legacy of great records, and was a Guitar Player columnist. On the side-two opener, “Stars Fell on Alabama,” Smith and Getz play unison lines, and their teamwork is stellar. Their take on this track is surprisingly exotic and has an element of mystery. In fact, every track on Moonlight in Vermont is excellent, and it contains absolutely no filler. In addition to being one of the great jazz guitarists of the ’50s and having a hit with “Moonlight in Vermont,” Smith has a sought-after signature guitar, wrote the Ventures hit “Walk Don’t Run,” left a legacy of great records, and was a Guitar Player columnist. So I always wonder why he doesn’t come up more often in conversations about guitar. His music might lack the free-and-easy rollercoaster ride exhibited by the works of Wes Montgomery or Grant Green, but his chordal approach is groundbreaking, his single-note lines are hot, and the group arrangements are thrilling. He’s one of the stand-out guitarists of the 20th century. Thanks again for the text, Richard! Treasure hunters find Spanish coins from 1715 shipwreck on Florida beach. A pair of treasure hunters in Florida say they discovered a trove of Spanish coins from a 1715 shipwreck while scanning a beach with a metal detector. Jonah Martinez, 43, of St. Lucie, made the historic find Friday while scouring the sand at the Turtle Trail Beach Access in Indian River County with his friend. The duo dug up 22 Spanish silver coins believed to be from a shipwreck 305 years ago — a discovery Martinez estimates is worth about $7,000, TCPalm.com reports. “Not everyone knows why it’s called the Treasure Coast,” Martinez told the newspaper. “This is why.” Jonah Martinez (left) and Cole Smith Courtesy CBS12. Twelve Spanish ships packed with treasures from the New World were headed for Spain on July 31, 1715, but 11 of the galleons were lost during a hurricane off the Florida coast. The bulk of the treasure is still beneath the ocean, the newspaper reports. “I know how to read the beach, and I’m always trying to increase my odds of finding something,” said Martinez. Martinez’s friend Cole Smith accompanied him on the excursion along Florida’s aptly named Treasure Coast, which runs along the Atlantic shoreline through the state’s Indian River, St. Lucie and Martin counties. Martinez said he has no plans to sell the coins, which he estimated are worth up to $7,000. Courtesy CBS12. “Our metal detectors were catching target after target,” Smith told WPEC. “We found 22 beautiful Spanish coins from the 1715 treasure shipwreck that were all hammer-struck … You can lick it and taste the saltwater.” But the discovery isn’t even the most lucrative find of Martinez’s 24-year treasure-hunting career. He once found $6.5 million worth of gold coins, the newspaper reports. Gold Plates. When word spread that Joseph Smith had secured the copyright for the Book of Mormon, it caused a stir in the local press. Newspapers began publishing information about the forthcoming book and its translation, drawing on speculation that had circulated “for some time past,” according to Palmyra’s Wayne Sentinel. The ancient artifact Joseph had found “is generally known and spoken of,” the Sentinel reported, “as the ‘ Golden Bible. ’” Though the editor stated the term had grown common in the area, his reference to the plates’ golden appearance represents the earliest on record. 1. A replica of the Book of Mormon plates. With rumors swirling about the plates, Joseph sought to set the record straight by publishing official statements in the first edition of the Book of Mormon. Joseph’s preface and a testimonial written by a group of eight witnesses described the plates as having an “ appearance of gold.” 2 The Book of Mormon authors simply said they engraved their writings on “plates.” 3 In their descriptions, Joseph Smith and the witnesses emphasized the antiquity of the plates and the curious engravings, 4 but it was the golden sheen of the plates that captivated the popular imagination. 5 Joseph unearthed the plates in September 1827 at the direction of an angel named Moroni, who further commanded Joseph to translate the ancient record. 6 He worked on the translation between early 1828 and June 1829 after which he returned the plates to the angel. 7. Witnesses later left statements that detailed the plates’ material composition, weight, dimensions, thickness, and binding. The plates weighed about “forty to sixty” pounds, 8 and together were between four and six inches thick. 9 The leaves measured about “six” or “seven inches wide by eight inches in length” 10 and individually had the thickness “of plates of tin” 11 and, according to Emma Smith, would rustle with a metallic sound when the edges were moved by the thumb, as one does sometimes thumb the edges of a book.” 12 Three D-shaped rings bound the leaves “through the back edges” 13 into a volume. According to one witness, there was a sealant securing “about the half of the book” from tampering. This sealed portion made it impossible to separate the leaves and “appeared as solid as wood.” 14 Joseph Smith derived his translation from the loose leaves of the plates. 15. Based on these parameters, modern researchers have estimated plates of pure gold would weigh at least 45 kilograms (100 pounds) and might be too soft for engraved characters. 16 Book of Mormon record keepers may have employed an alloy to forge the metal plates, making them golden in appearance but not fully gold in substance. William Smith, Joseph’s younger brother, believed “a mixture of gold and copper” made up the plates. 17. The following publications provide further information about this topic. By referring or linking you to these resources, we do not endorse or guarantee the content or the views of the author. Kirk B. Henrichsen, comp., “How Witnesses Described the ‘Gold Plates,’” Journal of Book of Mormon Studies, vol. 10, no. 1 (2001), 16–21, 78–79. John W. Welch, “The Miraculous Translation of the Book of Mormon,” in John W. Welch, ed., Opening the Heavens: Accounts of Divine Manifestations, 1820–1844 (Provo, Utah: Brigham Young University Press, 2005), 76–213.