Cowboy and drifter Frank Clifford lived a lot of lives—and raised a lot of hell—in the first quarter of his life. The number of times he changed his name—Clifford being just one of them—suggests that he often traveled just steps ahead of the law. During the 1870s and 1880s his restless spirit led him all over the Southwest, crossing the paths of many of the era’s most notorious characters, most notably Clay Allison and Billy the Kid. More than just an entertaining and informative narrative of his Wild West adventures, Clifford’s memoir also paints a picture of how ranchers and ordinary folk lived, worked, and stayed alive during those tumultuous years. Written in 1940 and edited and annotated by Frederick Nolan, Deep Trails in the Old West is likely one of the last eyewitness histories of the old West ever to be discovered. As Frank Clifford, the author rode with outlaw Clay Allison’s Colfax County vigilantes, traveled with Charlie Siringo, cowboyed on the Bell Ranch, contended with Apaches, and mined for gold in Hillsboro. In 1880 he was one of the Panhandle cowboys sent into New Mexico to recover cattle stolen by Billy the Kid and his compañeros—and in the process he got to know the Kid dangerously well. In unveiling this work, Nolan faithfully preserves Clifford’s own words, providing helpful annotation without censoring either the author’s strong opinions or his racial biases. For all its roughness, Deep Trails in the Old West is a rich resource of frontier lore, customs, and manners, told by a man who saw the Old West at its wildest—and lived to tell the tale.
Since 1819 over 3,000 souls found their personal “eternity at the end of a rope” in Texas. Some earned their way. Others were the victim of mistaken identity, or an act of vigilante justice. Deserved or not, when the hangman’s knot is pulled up tight and the black cap snugged down over your head it is too late to plead your case. This remarkable story begins in 1819 with the first legal hanging in Texas. By 1835 accounts of lynching dotted the records. Although by 1923 legal execution by hanging was discontinued in favor of the electric chair, vigilante justice remained a favorite pastime for some. The accounts of violence are numbing. The cultural and racial implications are profound, and offer a far more accurate, unbiased insight into the tally of African-American and Hispanic victims of mob violence in the Lone Star State than has ever been presented. Many of these deeds were nothing short of morbid theater, worthy of another era. This book is backed up by years of research and thousands of primary source documents. Includes Index and Bibliography.
Merging scholarly insight with a professional guitarist's sense of the musical life, Yankee Twang delves into the rich tradition of country & western music that is played and loved in the mill towns and cities of the American northeast. Scholar and musician Clifford R. Murphy draws on a wealth of ethnographic material, interviews, and encounters with recorded and live music to reveal the central role of country and western in the social lives and musical activity of working-class New Englanders. As Murphy shows, an extraordinary multiculturalism sets New England country and western music apart from other regional and national forms. Once segregated at work and worship, members of different ethnic groups used the country and western popularized on the radio and by barnstorming artists to come together at social events, united by a love of the music. Musicians, meanwhile, drew from the wide variety of ethnic musical traditions to create the New England style. But the music also gave--and gives--voice to working-class feeling. Murphy explores how the Yankee love of country and western emphasizes the western, reflecting the longing of many blue collar workers for the mythical cowboy's life of rugged but fulfilling individualism. Indeed, many New Englanders use country and western to comment on economic disenfranchisement and express their resentment of a mass media, government, and Nashville music establishment that they believe neither reflects their experiences nor considers them equal participants in American life.
Originally known as the Union District or Langdons Quarter, the village at the western end of Farmington was officially named Unionville by the U.S. Post Office in 1834. Settling along the banks of the Farmington River, Unionvilles early residents were an industrious group, diverting water into canals to power numerous family-run mills and factories and producing a host of manufactured goods. Although smaller than the neighboring industrial cities of New Britain and Bristol, Unionville gained an extraordinary manufacturing prominence in the Farmington Valley. Through carefully preserved vintage photographs from the Unionville Museums collections and from private sources, Unionville chronicles the villages resilient spirit throughout its many transformations.
He was such an eye-opener to me . . . such a reversal of the whole way you think about life and society." This article appears in the Spring 2012 issue of Southern Cultures. The full issue is also available as an ebook. Southern Cultures is published quarterly (spring, summer, fall, winter) by the University of North Carolina Press. The journal is sponsored by the University of North Carolina at Chapel Hill's Center for the Study of the American South.
In recent years, Los Angeles Times writer and editor Frank Clifford has journeyed along the Continental Divide, the hemispheric watershed that spans North America from the alkali badlands of southernmost New Mexico to the roof of the Rockies in Montana and into Canada. The result is The Backbone of the World, an arresting exploration of America’s longest wilderness corridor, a harsh and unforgiving region inhabited by men and women whose way of life is as imperiled as the neighboring wildlife. With the brutal beauty and stark cadences of a Cormac McCarthy novel, The Backbone of the World tells the story of the last remnants of the Old West, America’s mythic landscape, where past and present are barely discernible from one another and where people’s lives are still intrinsically linked to their natural surroundings. Clifford vividly captures the challenges of life along the Divide today through portraits of memorable characters: a ranching family whose isolated New Mexico homestead has become a mecca for illegal immigrants and drug smugglers; a sheep herder struggling to make a living tending his flock in the mountains above Vail, Colorado: an old mule packer who has spent years scouring the mountains of northwest Wyoming for the downed plane of his son; a Yellowstone Park ranger on a lone crusade to protect elk and grizzly bears from illegal hunters; and a group of Blackfeet Indians in northern Montana who are fearful that a wilderness sanctuary will be lost to oil and gas development. In each of their stories, the tide of change is looming as environmental, economic, social, and political forces threaten this uniquely unfettered population. Clifford’s participatory approach offers a haunting and immediate evocation of character and geography and an unsentimental eulogy to the people whose disappearance will sever a link with the defining American pioneer spirit. Set in a world of isolated ranches, trail camps, mountain bivouacs, and forgotten hamlets, The Backbone of the World highlights the frontier values that have both ennobled and degraded us, values that symbolize the last breath of our founding character.
John Simpson Chisum left a trail across the American West so wide that a blind scout could follow it. His life story seems to have been defined by his association with Billy the Kid and a singular, epic cattle drive across the barren expanses of West Texas to New Mexico.
This text's clear and engaging narrative balances political, social, and cultural history within a clear chronological framework. The Fifth Edition features a thorough revision of the narrative, a complete redesign of the book, and an enhanced art program. The authors explore the enduring vision of the American people, a vision they describe as "a shared determination to live up to the values that give meaning to America." Each chapter has been revised to incorporate the most up-to-date scholarship, with special emphasis placed on technology and public health: "Technology and Culture" boxed features explore the development of new technologies--such as the invention of indoor plumbing and the birth control pill--and their impact on American culture. -- This edition includes up-to-date scholarship on the experiences of women, Hispanic Americans, Asian Americans, African Americans, and Native Americans in the United States. -- Chapter 32 presents an integrated narrative and preliminary assessment of recent events from1996 to the present. -- The text features a chapter that consolidates all late-19th century material, examining how industrialization, urbanization, and immigration transformed everyday life, sharpened racial and ethnic divisions, and made Americans more conscious of social class.
The Citizen Soldiers explores the military reform movement that took its name from the famous Business Men's Military Training Camps at Plattsburg, New York. It also illuminates the story of two exceptional men: General Leonard Wood, the rambunctious and controversial former Rough Rider who galvanized the Plattsburg Idea with his magnetic personality; and Grenville Clark, a young Wall Street lawyer. The Plattsburg camps strove to advertise the lack of military preparation in the United States and stressed the military obligation every man owed to his country. Publicized by individuals who voluntarily underwent military training, the preparedness movement rapidly took shape in the years prior to America's entry into the First World War. Far from being war hawks, the Plattsburg men emphasized the need for a "citizen army" rather than a large professional establishment. Although they failed in their major objective—universal military training—their vision of a citizen army was largely realized in the National Defense Act of 1920, and their efforts helped to establish selective service as the United States' preferred recruitment method in World War I, World War II, the Korean War, and the Vietnam War. Featuring a new preface by the author, this new edition of a seminal study will hit shelves just in time for the World War I Centennial.
On the eve of the Civil War, the London Times informed its readers that Castle Pinckney has “been kept garrisoned, not to protect Charleston from naval attack from the ocean, but to serve as a bridle upon the city.” Located on a marshy island in the center of Charleston’s magnificent harbor, the large cannons on the ramparts of this horseshoe-shaped masonry fort had the ability to command downtown Charleston and the busy wharves along East Bay Street. This inescapable fact made Pinckney an important chess piece in the secession turmoil of 1832 and 1850, and in the months leading up to the 1861 bombardment of Fort Sumter. Holding Charleston by the Bridle: Castle Pinckney and the Civil War by W. Clifford Roberts, Jr. and Matthew A. M. Locke is the first book on the subject—from the fort’s innovative design as part of America’s “Second System” of coastal fortifications to the modern challenges of preserving its weathered brick walls against rising sea levels. The impressive bastion was constructed as a state-of-the-art seacoast fortress on the eve of the War of 1812. Luminaries including President James Monroe and Gens. Winfield Scott, Robert E. Lee, and P. G. T. Beauregard inspected its casemates and barracks. The history of Pinckney is as impressive as its list of visiting VIPs. Defending the fort was one of Winfield Scott’s major concerns during the Nullification Crisis of 1832. Seminole Indians and Africans from the illegal slave ship Echo were held there. In 1860, Maj. Robert Anderson knew Pinckney was the key to protecting his small Federal garrison at Fort Moultrie, but his requests to Washington for troops to hold it went unheeded. That December, three companies of Charleston militia scaled Pinckney’s walls and seized the fort in a daring act that pushed the nation to the edge of civil war. After First Manassas (Bull Run), 156 captured Yankee officers and enlisted men were sent to the island, and in 1863, members of the famous 54th Massachusetts were held there as POWs. The fort’s guns helped defend Charleston during the war’s longest siege. By 1865, the old fortress had been transformed into an earthen barbette battery with a Brooke Rifle and three giant 10-inch Columbiads. During Reconstruction Pinckney became an “American Bastille” for Southerners accused of crimes against the government. Authors Roberts and Locke rely on extensive primary research and archaeological evidence to tell the full story of Castle Pinckney for the first time. Given its importance to America’s history, it is a history long overdue.
Making movies is the most exciting way to earn a living and it is not surprising that media and film studies remain the most popular courses at colleges across the western world. A short film provides an opportunity for elliptical, poetic, condensed story telling. Shorts can take risks rarely seen in features. It is the arena where a strong voice or individual vision is possible; an invitation for experimentation and originality. Making Short Films, 3rd edition is entirely revised and restructured, providing a much more complete and detailed guide to filmmaking, with more information on new technology, illustrations and ideas for best practice.
Lawlessness in Texas did not end with the close of the cowboy era. It just evolved, swapping horses and pistols for cars and semiautomatics. From Patrolman "Newt" Stewart, killed by a group of servicemen in February 1900, to Whitesboro chief of police William Thomas "Will" Miller, run down by a vehicle in the line of duty in 1940, Ron DeLord and Cliff Caldwell present a comprehensive chronicle of the brave--and some not so brave--peace officers who laid down their lives in the service of the State of Texas in the first half of the twentieth century.
Based in records and iconography, this book surveys medieval festival playing in Britain more comprehensively than any other work to date. The study presents an inclusive view of the drama in the British Isles, from Kilkenny to Great Yarmouth, from Scotland to Cornwall. It offers detailed readings of individual plays-including the York Creed Play, Pentecost and Corpus Christi plays and the little studied Bodley plays, among others - as well as a summary of what is known of their production. Clifford Davidson here extends the usual chronological range to include work typically categorized as early modern, enabling a juxtaposition of earlier plays with later plays to yield a better understanding of both. Complementing documentary evidence with iconographic detail and citation of music, he pinpoints a number of common misconceptions about medieval drama. By organizing the study around the rituals of the liturgical seasons, he clarifies the relationship between liturgical feast and dramatic celebration.
Introducing Feminist Theology responds to the questions "What is feminist theology?" and "Why is it important?" by considering the perspectives of women from around the globe who have very diverse life experience and relationships to God, Church and creation. Clifford introduces the major forms of feminist theology: "radical, " "reformist, " and "reconstructionist, " and highlights some of their specific characteristics.
Film Composers in America is a landmark in the history of film. Here, renowned film scholar Clifford McCarty has attempted to identify every known composer who wrote background musical scores for films in the United States between 1911 and 1970. With information on roughly 20,000 films, the book is an essential tool for serious students of film and a treasure trove for film fans. It spans all types of American films, from features, shorts, cartoons, and documentaries to nontheatrical works, avant-garde films, and even trailers. Meticulously researched over 45 years, the book documents the work of more than 1,500 composers, from Robert Abramson to Josiah Zuro, including the first to score an American film, Walter C. Simon. It includes not only Hollywood professionals but also many composers of concert music--as well as popular music and other genres--whose cinematic work has never before been fully catalogued. The book also features an index that lets readers quickly find the composer for any American film through 1970. To recover this history, much of which was lost or never recorded, McCarty corresponded with or interviewed hundreds of composers, arrangers, orchestrators, musical directors, and music librarians. He also conducted extensive research in the archives of the seven largest film studios--Columbia, MGM, Paramount, RKO, 20th Century-Fox, Universal, and Warner Bros.--and wherever possible, he based his findings on the most reliable evidence, that of the manuscript scores and cue sheets (as opposed to less accurate screen credits). The result is the definitive guide to the composers and musical scores for the first 60 years of American film.
The product of a hardscrabble childhood, J. Mayo “Ink” Williams parlayed an Ivy League education into unlikely twin careers as a foundational producer of Black music and pioneering Black player in the early NFL. Clifford R. Murphy tells the story of an ambitious, upwardly mobile life affected, but never daunted, by white society’s racism or the Black community’s class tensions. Williams caroused with Paul Robeson, recorded the likes of Ma Rainey and Blind Lemon Jefferson, and lined up against Chicago Bears player-coach George Halas. Though resented by the artists he exploited, Williams combined a rock-solid instinct for what would sell with an ear for music that put him at the forefront of finding, recording, and blending blues and jazz. Murphy charts Williams’s wide-ranging accomplishments while providing portraits of the cutthroat recording industry and the possibilities, however constrained, of Black life in the 1920s and 1930s. Vivid and engaging, Ink brings to light the extraordinary journey of a Black businessman and athlete.
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