Scottsdale's Museum of the West Management Agreement

Total Page:16

File Type:pdf, Size:1020Kb

Scottsdale's Museum of the West Management Agreement Item 17 CITY COUNCIl REPORT Meeting Date: February 26, 2013 General Plan Element: Economic Vitality General Plan Goal: Sustain Scottsdale as a tourist destination ACTION Museum Management Agreement for the Scottsdale's Museum of the West. Adopt Resolution 9307 authorizing Museum Management Agreement 2013-025-COS with Scottsdale Museum ofthe West, Inc.; and. Adopt Ordinance 4071, which waives certain financial policies and governing guidance related to municipal financing of Scottsdale's Museum ofthe West. BACKGROUND On May 25, 2012 staff Issued a Request for Qualifications (RFQ) seeking experienced and qualified persons to present proposals for a downtown cultural park that would include a western themed museum and an additional cultural venue that complements the museum. The RFQ approach was to look at the development of the entire Loloma site in establishing synergy with various arts and cultural uses. The RFQ closed on July 24, 2012 with a single submission by the Scottsdale Museum ofthe West, Inc. At the October 2, 2012 City Council Work Study Session staff presented to the City Council results from the May 25, 2012 RFQ process. As a result of the Work Study session. Council directed staff to: • Develop financial plan scenarios for capital and tenant improvement cost estimates; • Extend the ten-percent (10%) allocation ofthe city's portion ofthe Tourism Development Program funds as long-term debt support for a western museum project until July 31, 2013; • Begin development of a city design/build solicitation for construction of a western museum, contingent on City Council financial plan approval; • Initiate the development of an operating agreement with Scottsdale Museum of the West, Inc. (SMoW) for the operation of a western museum, contingent on City Council financial plan approval. Subsequent to the Council direction of October 2, 2012, SMoW representatives submitted a more detailed definition of their vision forthe downtown cultural park, suggesting it will include, in addition to the western themed museum, a venue that complements the museum and enhances the overall cultural experience on City-owned real property identified as the "Loloma Parcel." Action Taken City Council Report | Museum Management Agreement To this end, the existing Loloma Transit Station building is planned as a vital cultural facility including a sculpture garden and a terraced seating amphitheater to accommodate up to two hundred guests for outdoor events such as storytelling, speaker forums, campfire circles, live reenactments, cross- cultural programming and musical performances. An update and request for a recommendation to the City Council will be presented to the Tourism Development Commission on February 19, 2013 and the Economic Development Subcommittee on February 21, 2013. The concept of a Scottsdale western museum dates back to the 1980s when community leaders created a vision of preserving and promoting Scottsdale's western heritage. Over the years the western museum vision has evolved into a variety of efforts and actions. ANALYSIS & ASSESSMENT Recent Staff Action Third Partv Independent Evaluation Staff contracted with ConsultEcon, Inc., an independent consulting company that provides economic, feasibility, management and planning services to non-profit organizations, public agencies and private agencies to evaluate SMoW's statement of qualifications. The purpose of the study was to review proposed operating plans and market conditions and to provide an independent evaluation of SMoW's market potential. ConsultEcon conducted their study based on information contained in SMoW's statement of qualifications, the 2006 AMS Feasibility Study, and additional research, interviews and analysis. Key items noted in the report include: • Market Context - SMoW is expected to attract visitors from both resident and tourist markets. The overall resident market area is defined as the Phoenix Metropolitan Area, which is projected to increase 5.8 percent, from approximately 4.25 million in 2011 to 4.5 million in 2016. • Visitation Potential - Depending on the final size and program ofthe facility, preliminary attendance potential is estimated at 87,000 to 118,000, with a mid-range estimate rounded to 103,000 in a stabilized year of operation. • Stabilized attendance levels are expected to be achieved in the fifth year after project opening. During the first few years after opening the project is expected to build up to its stabilized attendance level based on word of mouth advertising, staff and volunteer competency growth and reputation. • Operations - A multi-year organizational ramp up from initial opening until a stable year of operations in year 5 is assumed based on SMoW's proposed organization development approach. • Operating Potential - Total current dollar revenue in a stabilized year (Year 5) is estimated at $2.8 million, including operational revenues and non-operational revenues. Page 2 of 6 City Council Report | Museum Management Agreement • Operating Expenses and Staffing-Total estimated operating expenses in current dollars would grow from $2.2 million in year one to $2.8 million in stable year 5. • Benchmarking Analysis ~ Benchmarking SMoW operations against comparable museums contributed to the development ofthe operating plan. The benchmark museums indicate that there is a good opportunity for operating success for SMoW based characteristics and the experience of comparable museums. Museum Management Agreement The Management Agreement serves as the contract between the City of Scottsdale and the Manager of the Museum. The city will maintain ownership of the facility and SMoW will provide management services for the museum. Key responsibilities of each party are further defined as follows: SMoW (Manager) responsibilities 1. Participate in museum design and construction 2. Contract and manage exhibit and graphic consultants to develop western themes 3. Art Collection: Ownership ofthe Manager's collection to be conveyed to city if SMoW ceases to operate. 4. Naming Rights: Initial name ofthe museum shall be "Scottsdale's Museum ofthe West". City has sole and absolute discretion as to name, payments for naming rights, payment of all or a portion of naming rights payment to the City. 5. Management 8i Operation - Open for 300 days a year minimum Open during downtown events like Art Walk Establish business operations and gift shop retails outlet - Comply with federal, state and local tax requirements - Board Membership- City has right to appoint and replace not less than 15% ofthe voting members on Manager's governing board 6. Term of Agreement: 10 years with three (3) additional ten (10) year extension options. 7. Financial Commitments Engage in Fundraising to provide new shows - Develop program for five year city matching donation program Pay all museum staff salaries contractual service and utility bills - Letter of Credit- establish $500,000 within first five years City of Scottsdale responsibilities 1. Selection and contract contract award to Design Build Manager 2. Design and construction ofthe building shell, tenant improvements and Specialty Work 3. Submittal and approval of necessary city planning and Plan Review 4. Resolve ownership of Loloma Transit Center 5. Provide payments up to $400,000 annually to match funds donated to the museum. Page 3 of 6 City Councii Report | Museum Management Agreement RESOURCE IMPACTS Capital Funding Support: On September 20, 2011 the Tourism Development Commission unanimously approved the recommendation that a ten-percent 10% allocation ofthe city's portion of Tourism Development Program funds to be reserved as long-term debt support for a western art and history museum project. On October 18, 2011 the City Council directed staff to work toward a lease to be brought back to City Council for approval and directed staff to reserve a ten-percent (10%) allocation ofthe city's portion ofthe Tourism Development Program funds as long-term debt support for a western art and history museum project and on October 2, 2012 extended the allocation until July 31, 2013 pending negotiation ofthe Management Agreement. Staff recommends that Scottsdale Municipal Property Corporation (MPC) bonds be issued in FY 2013/2014 to fund: (a) the estimated $13.6 million in museum and cultural plaza development costs (capital and tenant improvements), (b) $1 million as a debt service reserve required by financial policy #37 (requiring a reserve of one times annual debt service), and (c) the costs of issuing the bonds. Annual debt service on the bonds is estimated at $1 million per year for 20 years. Financial Policy No. 29 requires dedicated, non-general fund financial support for payment of MPC bond debt service and Financial Policy No. 21A limits tourism capital project commitments to $600,000 per year per project. Because the two projects (the museum and the garden/amphitheater) are complementary and supportive of one another, staffs advice is that council may consider allocating $1,000,000 in annual bed tax debt support for this combination project. A second option would be for Council to waive financial policy #37 which otherwise requires a reserve for debt service purposes—doing so would reduce the annual debt service and bed tax support requirement to an estimated $900,000 per year for 20 years. Should Council wish to move forward on the Scottsdale Museum ofthe West project, as expressed in the related Resolution, then Council will need to waive Financial Policy No. 21A and may choose to also waive Financial Policy
Recommended publications
  • 4312-52 DEPARTMENT of the INTERIOR National Park Service
    This document is scheduled to be published in the Federal Register on 04/22/2021 and available online at federalregister.gov/d/2021-08401, and on govinfo.gov 4312-52 DEPARTMENT OF THE INTERIOR National Park Service [NPS-WASO-NAGPRA-NPS0031764; PPWOCRADN0-PCU00RP14.R50000] Notice of Intent to Repatriate Cultural Items: Gilcrease Museum, Tulsa, OK AGENCY: National Park Service, Interior. ACTION: Notice. SUMMARY: The Gilcrease Museum, in consultation with the appropriate Indian Tribes or Native Hawaiian organizations, has determined that the cultural items listed in this notice meet the definitions of sacred objects and objects of cultural patrimony. Lineal descendants or representatives of any Indian Tribe or Native Hawaiian organization not identified in this notice that wish to claim these cultural items should submit a written request to the Gilcrease Museum. If no additional claimants come forward, transfer of control of the cultural items to the lineal descendants, Indian Tribes, or Native Hawaiian organizations stated in this notice may proceed. DATES: Lineal descendants or representatives of any Indian Tribe or Native Hawaiian organization not identified in this notice that wish to claim these cultural items should submit a written request with information in support of the claim to the Gilcrease Museum at the address in this notice by [INSERT DATE 30 DAYS AFTER PUBLICATION IN THE FEDERAL REGISTER]. ADDRESSES: Laura Bryant, Gilcrease Museum, 1400 N. Gilcrease Museum Road, Tulsa, OK 74127, telephone (918) 596-2747, email [email protected]. SUPPLEMENTARY INFORMATION: Notice is here given in accordance with the Native American Graves Protection and Repatriation Act (NAGPRA), 25 U.S.C.
    [Show full text]
  • 2013-2014 Program Guide.Pub
    Community Performance & Art Center Foundation BOARD OF DIRECTORS Chairman Harry Paxton Vice Chair Eloise Fredrickson Secretary Marie Cory Mary Lou Catania Richard Ducote Mike Finkelstein Eugene Friesen Nancy Karsh David Urbaniak Susan Voorhees Mary Wehmeyer STAFF Executive Director Chris Ashcraft Director of Development Al Saterbak Office Manager Amanda Urbaniak Facilities Supervisor George Cantu Sound & Lighting Technicians Phil Wenstrand Mark Marlatt Welcome to CPAC Welcome to the 2013-2014 season at CPAC! This year will feature more than 75 performances including some of the region’s most tal- ented performers such as Arizona’s Official State Balladeer Dolan Ellis, the Larry Redhouse Trio and critically acclaimed western singer Bill Ganz. CPAC will welcome international touring ragtime pianist, Mimi Blais, from Montreal, Canada and the Tucson Arizona Boys Chorus who have performed in dozens of countries throughout the world. CPAC also welcomes back many audience favorites in- cluding magician Rodney Housley, Jack Lasseter, Forever Young, Arthur Migliazza, Lisa Otey, a Tribute to Simon and Garfunkel and much more! Shoestring Theater Company will feature four produc- tions this season including a summer show entitled “Charlie and the Chocolate Factory.” I hope to see you at many of our performances, art shows, classes and events over the coming year. Once again, thank you for your ongoing support of the Community Performance and Art Center. None of this would be possible without your sup- port. Christopher Ashcraft Executive Director Support CPAC Today! Membership and individual donations help fund CPAC’s wide array of diverse arts programs for our community. The arts entertain and educate audiences, bring people of all ages and backgrounds to- gether, promote economic vitality and enrich quality of life.
    [Show full text]
  • The Paystreak 2007
    The Paystreak Volume 9, No. 1, Spring, Summer and Fall, 2007 The Newsletter of the Alaska Mining Hall of Fame Foundation (AMHF) In This Issue: Alaska Mining Hall of Fame Foundation New Inductees.......................................................................................1 Program ................................................................................................................................................................... 2 Acknowledgements ................................................................................................................................................. 2 Alaska’s Quicksilver Mining Industry .................................................................................................................... 3 Previous Inductees, Alaska Mining Hall of Fame................................................................................................... 4 New Inductee Biographies ......................................................................................................................................9 Other 2007 Inductee Biographies..........................................................................................................................28 Distinguished Alaskans Aid Foundation...............................................................................................................42 AMHF Directors and Officers: .............................................................................................................................42 Alaska Mining
    [Show full text]
  • “Willie Or Billy” Claiborne, A.K.A
    OLD WEST STORUES William Floyd “Willie or Billy” Claiborne, a.k.a. “The Kid” Or was his name Calyborne? Clayborn? Or was it Claborn? Or did Billy even know. There are copies of his signature in at least two of these versions. All his trial documents list him as Clayborne. Viola Slaughter, wife of the noted Arizona lawman John Horton Slaughter, knew him well and spelled it as Claibourne. Well, we do know for sure that he was born in Mississippi. Or was it Louisiana? But more than likely it was in Alabama. The 1870 census shows records that would fit all three states. The record for Mississippi spells the name as Claborn, but the census takers were not the best for spelling. But this one seems to best fit the bill for Billy (Photo at right) and it shows that he was born in Alabama. He stated in court that he was born on October 21, 1860, and was from Mississippi. So we accept the date and the fact that he probably meant that he was raised in Mississippi. He migrated to the Devil’s River area of west Texas where some accounts say he killed two men. He became a cowboy and went to work for John Horton Slaughter. He was part of a crew that drove a Slaughter herd of cattle from Texas to Arizona and stayed. On October 1, 1881, in Charleston, Arizona Territory (now a ghost town), he shot and killed a blacksmith named James Hickey at Harry Queen’s Saloon. Exactly why he did it is not known.
    [Show full text]
  • Finding Aid Formatting
    Title: Museum of Northern Arizona Photo Archives – Crafts and Arts Prints Dates: 1930s-1990s Extent: 2802 images Name of Creator(s): Museum of Northern Arizona staff including Leland Abel, John Adair, E. Capps, Harold S. Colton, S. Cooper, Robert Fronske, Marc Gaede, Parker Hamilton, Lyndon L. Hargrave, Neil Judd, A.J. "Lex" Lindsay, P. Long, M. Middleton, T. Nichols, L. W. Smith, C. Turner, W.M. Wells, and Barton Wright. Organizational History: In 1959, the Photography Department and position of Photographer created by director Dr. E. B. Danson, with Parker Hamilton as MNA’s first Assistant in Photography, later that year promoted to Photographer. Prior to 1959, the photo archives were a part of the Publications Department but not under the management of a photographer. In 1960, a large-scale cataloging initiative of new and old prints, negatives, and slides was undertaken. A photography studio and cataloging room was established in Fleischman Hall (now Schaeffer) in 1965. An inventory was made of negatives in June 1969 which noted missing negatives. By the early 1980s the Photography Department became the Photo Archives, reflecting a shift in focus from active photography to preservation of and access to existing materials. An inventory of negatives was done again in February 1988 with notes made of missing negatives. The Photo Archives moved to the Library in 1995. In 2005, the Photo Archives ceased operation as a department, and staff photography became the responsibility of the Marketing Department while the care of materials and use requests were the responsibility of the Library staff. The Photo Archives were made the responsibility of the Archivist in 2008.
    [Show full text]
  • Marshall Noice – Selected Exhibits
    Marshall Noice – Selected Exhibits 2015 Hockaday Museum of Art, Kalispell, MT, one man show Waxlander Gallery, Santa Fe, NM, one man show Anne Loucks Gallery, Glencoe, IL, two man show Lanning Gallery, Sedona, AZ, one man show National Cowboy and Western Heritage Museum, group invitational show 2014 Booth Western Art Museum, Cartersville, GA, Western American Art South of The Sweet Tea Line IV, invitational group show Gilcrease Museum, Tulsa, OK, Collector’s Reserve, invitational group show CODA Gallery, Palm Desert, CA, Exploring The Landscape of Color invitational group show 2013 Lustre Gallery, Telluride , CO, one man show Wells Gallery, Kiawah, SC, invitational group show M.A. Doran Gallery, Tulsa, OK, one man show National Cowboy and Western Heritage Museum, group invitational show Waxlander Gallery, Santa Fe, NM, one man show 2012 Waxlander Gallery, Santa Fe, NM, one man show Lustre Gallery, Telluride, CO, one man show Merritt Gallery, Chevy Chase, MD, invitational group show Bill Hester Fine Art, Chapel Hill, NC, one man show 2011 Altamira Fine Art, Jackson, WY, one man show Gilcrease Museum, Tulsa, OK Collector’s Reserve, invitational show The Art of Conservation, Jackson, WY, invitational show Terzian Galleries, Park City, UT, one man show National Cowboy and Western Heritage Museum, Small Works Great Wonders Oklahoma City, OK, invitational show Anne Loucks Gallery, Glencoe, IL, one man show 2010 Collector’s Reserve, Gilcrease Museum, Tulsa OK invitational show Waxlander Gallery, Santa Fe, NM, one man show 2009 Art Feast, Santa Fe , NM, featured artist Waxlander Gallery, Santa Fe, NM, one man show American Art in Miniature, Gilcrease Museum, Tulsa, OK invitational show 2008 Western American Art South of the Sweet Tea Line II, Booth Western Art Museum,Cartersville, GA, group invitational show Sun Valley Contemporary, Ketchum, ID, one man show Waxlander Gallery, Santa Fe, NM, one man show Center Street Gallery, Jackson, WY, one man show M.A.
    [Show full text]
  • Twisted Trails of the Wold West by Matthew Baugh © 2006
    Twisted Trails of the Wold West By Matthew Baugh © 2006 The Old West was an interesting place, and even more so in the Wold- Newton Universe. Until fairly recently only a few of the heroes and villains who inhabited the early western United States had been confirmed through crossover stories as existing in the WNU. Several comic book miniseries have done a lot to change this, and though there are some problems fitting each into the tapestry of the WNU, it has been worth the effort. Marvel Comics’ miniseries, Rawhide Kid: Slap Leather was a humorous storyline, parodying the Kid’s established image and lampooning westerns in general. It is best known for ‘outing’ the Kid as a homosexual. While that assertion remains an open issue with fans, it isn’t what causes the problems with incorporating the story into the WNU. What is of more concern are the blatant anachronisms and impossibilities the story offers. We can accept it, but only with the caveat that some of the details have been distorted for comic effect. When the Rawhide Kid is established as a character in the Wold-Newton Universe he provides links to a number of other western characters, both from the Marvel Universe and from classic western novels and movies. It draws in the Marvel Comics series’ Blaze of Glory, Apache Skies, and Sunset Riders as wall as DC Comics’ The Kents. As with most Marvel and DC characters there is the problem with bringing in the mammoth superhero continuities of the Marvel and DC universes, though this is not insurmountable.
    [Show full text]
  • The Wit & Wisdom of Doc Holliday
    ® Cowboy Action Shooting Stages & Scenarios 26 August 2012 The Wit & Wisdom Of Doc Holliday The Ten CAS Commandments 1. Thou shalt not allow thy muzzle to point at any person! Thou shalt keep thy muzzle pointed downrange when drawing or holstering from a Cross-Draw holster. Thou shalt not sweep thy neighbor, nor thy neighbor's wife, nor thy neighbor's ass (nor any other portion of his anatomy!) Safety! First, Last, and Always. 2. Thou shalt abide by all SASS Safety Rules, and thou shalt have FUN! 3. Protect thine eyes and ears at all times. Spectators shall do the same. 4. Except when shooting, loading, or unloading, thou shalt keep thy pistols holstered. 5. Thou shalt not close the action of thy rifle until thou loadest it at the Load Station. Thou shalt open thy rifle's action immediately after completing the rifle portion of the stage. Thou shalt not close thy shotgun except while holding it in thy hands at the firing line. 6. Suffer not thy gun to fall upon the ground, for a dropped gun is “Dead”. A loaded dropped gun is dead, and shall not rise again this day. Only the Range Officer may retrieve or pick up a dropped gun. NOTE: An empty long gun carefully staged against a barricade, wall, or other prop that subsequently slips and falls shall not result in any penalty. 7. There is no Rule #7. 8. Suffer not thine ammunition to fall upon the ground. Dropped ammo is "Dead", and may only be retrieved by the brass pickers, after the shooter has completed the stage.
    [Show full text]
  • Tombstone, Arizona Shippensburg University
    Trent Otis © 2011 Applied GIS with Dr. Drzyzga Tombstone, Arizona Shippensburg University Photo © dailyventure.com. Photographer unknown. Tombstone and the Old West The People Wyatt Earp Virgil and Morgan Earp Tombstone established itself as a boomtown after The tragedy that occurred at Tombstone, Arizona involved Wyatt has been most often Virgil and Morgan Earp are the silver was discovered in a local mine in 1877. It quickly characters who were as interesting as the time period. From characterized as a strict, no nonsense brothers of Wyatt. Virgil held various became a prospering community which attracted all lawmen turned silver prospectors, dentists turned gam- person who prefered to settle disputes law enforcement positions throughout walks of life. blers, outlaws and worse, these men all had their stakes in with words rather than confrontation. his life and was appointed as a Deputy the events at Tombstone. Following are short descriptions U.S Marshal before moving to of these men. Wyatt is arguably one of the most Tombstone. Later on, he was The American Old West has captured the minds and inuential individuals in the Old West. appointed as acting marshal for the imaginations of the American people since the West He encoutered some initial hardship in town after the current marshal was became more civilized in the late 1800s to early 1900s. his life when his rst wife died. accidentally slain by one of the Earp In the early 1880s, a specic event occurred that would Eventually, his sutuation improved and antagonists. capture the essence of the old west in one story.
    [Show full text]
  • Harriet Rochlin Collection of Western Jewish History, Date (Inclusive): Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt9p3022wh No online items Finding Aid for the Harriet Rochlin Collection of Western Jewish History Processed by Manuscripts Division staff © 2004 The Regents of the University of California. All rights reserved. Finding Aid for the Harriet 1689 1 Rochlin Collection of Western Jewish History Finding Aid for the Harriet Rochlin Collection of Western Jewish History UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Processed by: Manuscripts Division staff Encoded by: ByteManagers using OAC finding aid conversion service specifications Encoding supervision and revision by: Caroline Cubé Edited by: Josh Fiala, May 2004 © 2004 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Harriet Rochlin Collection of Western Jewish History, Date (inclusive): ca. 1800-1991 Collection number: 1689 Extent: 82 boxes (41.0 linear ft.) 1 oversize box Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Harriet Shapiro (1924- ) was a freelance writer and contributor of articles, feature stories, and reviews to magazines and scholarly journals. The collection consists of biographical information relating to Jewish individuals, families, businesses, and groups in the western U.S. Includes newspaper and magazine articles, book excerpts, correspondence, advertisements, interviews, memoirs, obituaries, professional listings, affidavits, oral histories, notes, maps, brochures, photographs, and audiocassettes. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Language: English. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Advance notice required for access.
    [Show full text]
  • Interpretive Master Plan and Feasibility Study January 22, 2019 OVERVIEW OVERVIEW
    GILCREASE MUSEUM Interpretive Master Plan and Feasibility Study January 22, 2019 OVERVIEW The following Core Idea Framework will guide the development of the Gilcrease Museum visitor experience. Each primary core idea has 3 "sub-ideas". Our Changing America is included as part of each primary core idea. This serves to keep the core ideas fresh and relevant, and emphasizes that America is a young, ever-evolving country, with myriad opportunities for inquiry, involvement, and engagement. Thomas Gilcrease Institute of American History & Art | Interpretive Master Plan | Gallagher & Associates A concise number of core concepts allows visitors to CORE IDEAS, quickly grasp complex ideas THEMES, & VISITOR EXPERIENCE Thomas Gilcrease Institute of American History & Art | Interpretive Master Plan | Gallagher & Associates CORE IDEA I THIS AMERICAN LANDSCAPE The American Landscape, and our beautiful, complicated, fragile, awestruck relationship in and with this vast place. Thomas Gilcrease Institute of American History & Art | Interpretive Master Plan | Gallagher & Associates CORE IDEA I THIS AMERICAN LANDSCAPE Juxtapositions of disparate artifacts/art create dialogues that reinforce the meaning of each object. Primary Message How do we experience the American landscape and think about our place within it? It is a natural environment of rich resources and materials to discover, a place that ignites the creativity and passion of artists and innovators, and a landscape that encourages independence and self-expression. Secondary Messages What is the
    [Show full text]
  • Wyatt Earp by Robert Hilliard
    Wyatt Earp By Robert Hilliard One of the greatest legends of the American West, Wyatt Berry Stapp Earp was born on March 19, 1848, in Monmouth, Illinois, the third of five sons born to Nicholas and Virginia Ann Earp. The Civil War broke out when Wyatt was 13 years old. Desperate to leave the family farm in Illinois and find adventure, Earp tried several times to join his two older brothers, Virgil and James, in the Union army. But each time, Wyatt was caught before he ever reached the battlefield, and was returned home. At the age of 17 he finally left his family, now living in California, for a new life along the frontier. He worked hauling freight, and then later was hired to grade track for the Union Pacific Railroad. In his downtime he learned to box and became a respectable gambler. In 1869, Earp returned to the fold of his family, who had made a home in Lamar, Missouri. A new, more settled life seemed to await Earp. After his father resigned as constable of the township, Earp replaced him. By 1870 Wyatt married Urilla Sutherland, the daughter of the local hotel owner, built a house in town and was an expecting father. Suddenly, everything changed. Within a year of their marriage Urilla contracted typhus and died, along with her unborn child. Broken and devastated by his wife's death, Wyatt left Lamar, Missouri and set off on a new life devoid of any kind of discipline. In Arkansas, he was arrested for stealing a horse, but managed to avoid punishment by escaping from his jail cell.
    [Show full text]