The year 1865 was bloody on the Plains as various Indian tribes, including the Southern Cheyenne and the Southern Sioux, joined with their northern relatives to wage war on the white man. They sought revenge for the 1864 massacre at Sand Creek, when John Chivington and his Colorado volunteers nearly wiped out a village of Southern Cheyenne and Arapaho. The violence in eastern Colorado spread westward to Fort Laramie and Fort Caspar in southeastern and central Wyoming, and then moved north to the lands along the Wyoming-Montana border.
Many recognize Giant City State Park as one of the premier recreation spots in southern Illinois, with its unspoiled forests, glorious rock formations, and famous sandstone lodge. But few know the park’s history or are aware of the remarkable men who struggled to build it. Giant City State Park and the Civilian Conservation Corps: A History in Words and Pictures provides the first in-depth portrait of the park’s creation, drawing on rarely seen photos, local and national archival research, and interviews to present an intriguing chapter in Illinois history. Kay Rippelmeyer traces the geological history of the park, exploring the circumstances that led to the breathtaking scenery for which Giant City is so well known, and providing insightful background on and cultural history of the area surrounding the park. Rippelmeyer then outlines the effects of the Great Depression and the New Deal on southern Illinois, including relief efforts by the Civilian Conservation Corps, which began setting up camps at Giant City in 1933. The men of the CCC, most of them natives of southern and central Illinois, are brought to life through vividly detailed, descriptive prose and hundreds of black-and-white photographs that lavishly illustrate life in the two camps at the park. This fascinating book not only documents the men’s hard work—from the clearing of the first roads and building of stone bridges, park shelters, cabins, and hiking and bridle trails, to quarry work and the raising of the lodge’s famous columns—it also reveals the more personal side of life in the two camps at the park, covering topics ranging from education, sports, and recreation, to camp newspapers, and even misbehavior and discipline. Supplementing the photographs and narrative are engaging conversations with alumni and family members of the CCC, which give readers a rich oral history of life at Giant City in the 1930s. The book is further enhanced by maps, rosters of enrollees and officers, and a list of CCC camps in southern Illinois. The culmination of three decades of research, Giant City State Park and the Civilian Conservation Corps provides the most intimate history ever of the park and its people, honoring one of Illinois’s most unforgettable places and the men who built it.
Sometimes you pick on the wrong people. That's just what the Bertuzzi crime family did when they chose to take on Buck Turner, Vietnam vet, war hero and family man.When his grandson is shot down, an old vet is murdered and his fellow VFW members are threatened with their lives, Buck and his friends are told they will never be safe as long as Bertuzzi is alive. Not the kind of men to spend their lives on the run or take intimidation sitting down, they take matters into their own hands and take the fight to the enemy.Now the mob has a group of well-trained combat veterans stalking them at every turn. These are not just old men, these are Old Soldiers.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
A historical survey of Europe, Asia, Africa, and the Americas during the lifetime of Abraham Lincoln, examining people, places, and events which gave color to the world of the nineteenth century.
