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Emily Carr

Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of British Columbia. She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose". Klee Wyck, her first book, published in 1941, won the Governor General's Literary Award for non-fiction and this book and others written by her or compiled from her writings later are still much in demand today.

Carr's keynote paintings, such as The Indian Church (1929), were not widely known in Canada at first. But her stature as one of Canada's most important artists continued to grow. Today, she is considered a cherished figure of Canadian arts and letters. Scholars and the public alike regard her as a Canadian national treasure and the Canadian Encyclopedia describes her as a Canadian icon. She has been designated a National Historic Person and had a Minor planet 5688 Kleewyck named after her anglicized native name. As one scholar in her 2014 book on Carr, put it, "we love her and she continues to speak to us".

Emily Carr lived most of her life in the city in which she was born and died, Victoria, British Columbia.

Early life
Born in Victoria, British Columbia, in 1871, the year British Columbia joined Canada, Emily Carr was the second youngest of nine children born to English parents Richard and Emily (Saunders) Carr. The Carr home was on Birdcage Walk (now Government Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself. Today it is a museum and National Historic Site of Canada called Emily Carr House.

The Carr children were raised in an English tradition. Her father believed it was sensible to live on Vancouver Island, a colony of Great Britain, where he could practice English customs and continue his British citizenship. The family home was made up in lavish English fashion, with high ceilings, ornate moldings, and a parlour. Carr was taught in the Presbyterian tradition, with Sunday morning prayers and evening Bible readings. Her father called on one child per week to recite the sermon, and Emily consistently had trouble reciting it.

Carr's mother died in 1886, and her father died in 1888. Her oldest sister Edith Carr became the guardian of the rest of the children.

Carr's father encouraged her artistic inclinations, but it was only in 1890, after her parents' deaths, that Carr pursued her art seriously. She studied at the California School of Design in San Francisco for three years (1890–1893) before returning to Victoria. In 1899, Carr visited Ucluelet on the west coast of Vancouver Island. That same year, Carr traveled to London, where she decided to transform herself into a professional artist and to make it her life's calling.

She began her studies at the Westminster School of Art. She then took art classes from John William Whiteley in Bushey, Hertfordshire and afterwards traveled to an art colony in St Ives, Cornwall, studying with Julius Olsson and Algernon Talmage (1901). In 1902, she returned to Bushey, and studied with Whiteley, till she experienced a nervous breakdown and had to convalesce.

She returned to British Columbia in 1904. In 1905, she gave children's art classes as well as creating political cartoons for the Week, a newspaper in Victoria and in 1906, Carr took a teaching position in Vancouver at the Vancouver Studio Club and School of Art for a short time – she was a popular teacher but left to open her own studio and give children's art classes.

First works on Indigenous people
In 1898, at age 27, Carr made the first of several sketching and painting trips to Aboriginal villages. She stayed in a village near Ucluelet on the west coast of Vancouver Island, home to the Nuu-chah-nulth people, then commonly known to English-speaking people as 'Nootka'. Carr was given the Indigenous name of Klee Wyck and she also chose it as the title of her first book. She later recalled that her time in Ucluelet made "a lasting impression on me".

In 1907, Carr made a sightseeing trip to Alaska with her sister Alice and decided on her artistic mission of documenting all she could of what she and many others perceived as the "vanishing totems" and way of life of the First Nations. She may have met an American artist on this trip, likely Theodore J. Richardson (1855-1914), who described his project of documenting Indigenous art and architecture (he travelled with Indigenous guides to produce watercolours and pastels in southeast Alaska documenting the Tlingit culture) and that possibly this encounter inspired Carr to initiate her own five–year project of documenting Indigenous villages and their neighbouring forests in British Columbia.

From 1908 to 1910 she made several trips to First Nations communities to record art and villages.

Work in France
Determined to further her knowledge of evolving artistic trends abroad, in 1910 Carr returned to Europe to study. In Montparnasse with her sister Alice, Emily Carr met modernist painter Harry Phelan Gibb with a letter of introduction. Upon viewing his work, she and her sister were shocked and intrigued by his use of distortion and vibrant colour; she wrote:"'Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the distortion of his nudes I felt revolt.'"

Carr enrolled at the Académie Colarossi in Paris, then transferred to private lessons with John Duncan Fergusson and followed him to the Atelier Blanche. After a bout of illness, she joined Gibb and his wife in the small village of Crécy-en-Brie and then St. Efflam, Brittany. Carr's study with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant colour palette rather than continuing with the more modified colours of her earlier training. In Crecy-en-Brie she fully embraced the Fauve style of bold colour and broad brushwork, then traveled to Concarneau on the coast of Brittany to study with Frances Hodgkins. When she returned to Paris she found that two of her paintings had been selected by the jury and hung in the 1911 Salon d'Automne.

Return to Canada
In March 1912 Carr opened a studio at 1465 West Broadway in Vancouver. She organized an exhibition of seventy watercolours and oils representative of her time in France, using her radical new style, bold colour palette and lack of detail. She was the first artist to introduce Post-Impressionism to Vancouver.

Later in 1912, Carr took a sketching trip to First Nations' villages in Haida Gwaii (formerly the Queen Charlotte Islands), the Upper Skeena River, and Alert Bay where she documented the art of the Haida, Gitxsan and Tsimshian. At Cumshewa, a Haida village on Moresby Island, she wrote in Klee Wyck, "'Cumshewa seems always to drip, always to be blurred with mist, its foliage always to hang wet-heavy ... these strong young trees ... grew up round the dilapidated old raven, sheltering him from the tearing winds now that he was old and rotting ... the memory of Cumshewa is of a great lonesomeness smothered in a blur of rain'."

Carr painted a carved raven, which she later developed as her iconic painting Big Raven. Tanoo, another painting inspired by work gathered on this trip, depicts three totems before house fronts at the village of the same name. On her return to the south, Carr organized a large exhibition of some of this work. She gave a detailed public talk titled "Lecture on Totem Poles" about the Aboriginal villages that she had visited, which ended with her mission statement:

"'I glory in our wonderful west and I hope to leave behind me some of the relics of its first primitive greatness. These things should be to us Canadians what the ancient Briton's relics are to the English. Only a few more years and they will be gone forever into silent nothingness and I would gather my collection together before they are forever past'."

Her "Lecture on Totems" at Dominion Hall in Vancouver is in the Emily Carr Papers at the British Columbia Provincial Archives in Victoria. In the lecture, she said "every pole shown in my collection has been studied from its own actual reality..."

While there was some positive reaction to her work, even in the new 'French' style, Carr perceived that Vancouver's reaction to her work and new style was not positive enough to support her career. She recounted as much in her book Growing Pains. She was determined to give up teaching and working in Vancouver, and in 1913 she returned to Victoria, where several of her sisters still lived.

During the next 15 years, Carr did little painting. She ran a boarding house known as the 'House of All Sorts'. It was the namesake and provided source material for her later book. With her financial circumstances straitened and her life in Victoria circumscribed, Carr painted a few works in this period drawn from local scenes: the cliffs at Dallas Road, the trees in Beacon Hill Park. Her own assessment of the period was that she had ceased to paint, which was not strictly true, although "[a]rt had ceased to be the primary drive of her life".

Growing recognition
Over time Carr's work came to the attention of several influential and supportive people, including (through the intervention of Victoria-born artist Sophie Pemberton in 1921) Harold Mortimer-Lamb and Marius Barbeau, a prominent ethnologist at the National Museum in Ottawa. Barbeau in turn persuaded Eric Brown, Director of Canada's National Gallery, to visit Carr in 1927. Brown invited Carr to exhibit her work at the National Gallery as part of an exhibition on West Coast art. Carr sent 65 oil paintings east (31 were included), along with samples of her pottery and rugs with Indigenous designs. The exhibition, which was largely of First Nations art, included works by Edwin Holgate and A.Y. Jackson as well as Carr, traveled to Toronto and Montreal.

Association with the Group of Seven

Carr made the trip east for the exhibition on West Coast art: Native and modern at the National Gallery of Canada in 1927. She met Frederick Varley in Vancouver and other members of the Group of Seven, at that time Canada's most recognized modern painters at the show's Toronto venue.

Lawren Harris of the Group became an important mentor and friend. "You are one of us," he told Carr, welcoming her into the ranks of Canada's leading modernists and along with other members of the Group into the Group of Seven shows as an invited contributor in 1930 and 1931.

Her encounter with the Group ended the artistic isolation of Carr's previous 15 years, leading to one of her most prolific periods, and the creation of many of her most notable works. Through her extensive correspondence with Harris, Carr also became aware of and studied Northern European symbolism.

Carr's artistic direction was influenced by Harris's work and the advice he gave in his correspondence (he told her to seek an equivalent for the totem poles in west coast landscape, for instance), but also by his belief in Theosophy. She was deeply interested and struggled to reconcile this with her own conception of God. Carr's "distrust for institutional religion" pervades much of her art. She thought a great deal about Theosophic thought, like many artists of the time, but in the end, remained unconvinced.

Influence of the Pacific Northwest school
In 1924 and 1925, Carr exhibited at the Artists of the Pacific Northwest shows in Seattle, Washington. She invited fellow exhibitor Mark Tobey to visit her in Victoria in the autumn of 1928 to teach a master class in her studio. Working with Tobey, Carr furthered her understanding of modern art, experimenting with Tobey's methods of full-on abstraction and Cubism, but she was reluctant to follow Tobey beyond the legacy of Cubism. "I was not ready for abstraction. I clung to earth and her dear shapes, her density, her herbage, her juice. I wanted her volume and I wanted to hear her throb."

Although Carr expressed reluctance about abstraction, Doris Shadbolt at the Vancouver Art Gallery, a major curator of Carr's work, records Carr in this period as abandoning the documentary impulse and starting to concentrate instead on capturing the emotional and mythological content embedded in the totemic carvings. She jettisoned her painterly and practiced Post-Impressionist style in favour of creating highly stylized and abstracted geometric forms.

Later developments
Carr continued to travel throughout the late 1920s and 1930s away from Victoria. One of her last trips north was in the summer of 1928, when she visited the Nass and Skeena rivers, as well as Haida Gwaii, formerly known as the Queen Charlotte Islands. She went to Yuquot (also known as Friendly Cove) and the northeast coast of Vancouver Island in 1930, and then to Lillooet in 1933. In the same year she bought a caravan she nicknamed the "Elephant" and had it towed to places she wanted to paint, going to nearby locations such as Goldstream Flats,the Esquimalt Lagoon and elsewhere.

Recognition of her work grew steadily, and in 1930 she exhibited in Ottawa, Victoria and Seattle, and in 1935, Carr's first solo show of her oil on paper works was held in eastern Canada at the Women's Art Association of Canada gallery in Toronto. In 1938 she had her first annual solo exhibition at the Vancouver Art Gallery as well as success at the Tate Gallery in London, England. Other shows abroad followed.

She began to meet other artists. In 1930, for instance, Carr travelled to New York and met Georgia O'Keeffe. In 1933, she was a founding member of the Canadian Group of Painters.

Paintings from Carr's last decade reveal her growing anxiety about the environmental impact of industry on British Columbia's landscape. Her work from this time reflected her growing concern over industrial logging, its ecological effects and its encroachment on the lives of Indigenous people. In her painting Odds and Ends, from 1939 "the cleared land and tree stumps shift the focus from the majestic forestscapes that lured European and American tourists to the West Coast to reveal instead the impact of deforestation."

Shift of focus and late life
Carr suffered her first heart attack in 1937, and another in 1939, forcing her to move in with her sister Alice to recover. In 1940 Carr suffered serious trouble with her heart, and in 1942 she had another heart attack. With her ability to travel curtailed, Carr's focus shifted from her painting to her writing. The editorial assistance of Carr's great friend and literary advisor Ira Dilworth, a professor of English, enabled Carr to see her own first book, Klee Wyck, published in 1941. Carr was awarded the Governor General's Literary Award for non-fiction the same year for the work.

In 1942 Carr established the Emily Carr Trust, and donated close to 170 paintings to the Vancouver Art Gallery. She had the only successful commercial show of her career at the Dominion Gallery in Montreal in 1944. She suffered her last heart attack and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria, British Columbia, shortly before she was to have been awarded an honorary doctorate by the University of British Columbia. Carr is buried at Ross Bay Cemetery.

Painting
Carr is remembered primarily for her painting. She was one of the artists who attempted to capture the spirit of Canada in a modern style. Carr's main themes in her mature work were the monumental works of the First Nations and nature: "native totem poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies". She blended these two themes in ways uniquely her own. Her "qualities of painterly skill and vision [...] enabled her to give form to a Pacific mythos that was so carefully distilled in her imagination".

At the California School of Design in San Francisco, Carr participated in art classes which were focused on a variety of artistic styles. Many of Carr's art professors were trained in the Beaux Arts tradition in Paris, France. Though she took classes in drawing, portraiture, still life, landscape painting, and flower painting, Carr preferred to paint landscapes.

Carr is known for her paintings of First Nations villages and Pacific Northwest Indian totems, but Maria Tippett explains that Carr's depictions of the forests of British Columbia from within make her work unique. Carr constructed a new understanding of Cascadia. This understanding includes a new approach to the presentation of native people and Canadian landscapes.

After visiting the Gitksan village of Kitwancool in the summer of 1928, Carr became captivated by the maternal imagery in Pacific Northwest Indigenous totem poles. After Carr was exposed to these types of images, her paintings reflected these images of mother and child in Native carvings.

Her painting can be divided into several distinct phases: her early work, before her studies in Paris; her early paintings under the Fauvist influence of her time in Paris; a Post Impressionist middle period before her encounter with the Group of Seven; and her later, formal period, under the cubist and post-cubist influences of Lawren Harris and American artist and friend, Mark Tobey. Carr used charcoal and watercolour for her sketches, and beginning in 1932, house paint thinned with gasoline on manila paper. The greatest part of her mature work was oil on canvas or, when money was scarce, oil on paper.

Legacy
Carr's work is still of relevance today to contemporary artists. Her painting Old Time Coast Village (1929–30) is referred to in Korean Canadian artist Jin-me Yoon's A Group of Sixty-Seven (1996). The work is composed of sixty-seven portraits of the Korean Canadian community in Vancouver standing in front of Old Time Coast Village and a landscape painting by Group of Seven member Lawren Harris.

Writings by Carr

 * Fresh Seeing. Clarke, Irwin and Company, 1972
 * Growing Pains. Vancouver: Douglas & McIntyre, 2005;
 * Hundreds and Thousands. The Journals of Emily Carr. Vancouver: Douglas & McIntyre, 2006;
 * Klee Wyck. Vancouver: Douglas & McIntyre, 2004;
 * Pause: A Sketchbook. Vancouver: Douglas & McIntyre, 2007;
 * The Book of Small. Vancouver: Douglas & McIntyre, 2004;
 * The Heart of a Peacock. Vancouver: Douglas & McIntyre, 2005;
 * The House of All Sorts. Vancouver: Douglas & McIntyre, 2004;

Writing by Carr edited by other authors

 * Bridge, Kathryn ed. Sister & I From Victoria to London. Victoria: Royal BC Museum, 2011
 * Bridge, Kathryn ed. Wildflowers. Victoria: Royal BC Museum, 2000;
 * Crean, Susan ed., Opposite Contraries. The Unknown Journals of Emily Carr and other writings Vancouver: Douglas & McIntyre, 2003;
 * Morra, Linda ed. Corresponding Influence. Selected Letters of Emily Carr & Ira Dilworth. Toronto: University of Toronto Press, 2006;
 * Silcox, David P., ed. Sister & I in Alaska. Vancouver: Figure 1, 2014;
 * Switzer, Ann-Lee ed. This and That. The Lost Stories of Emily Carr. Victoria: TouchWood Editions, 2007;
 * Walker, Doreen ed. Dear Nan. Letters of Emily Carr, Nan Cheney and Humphrey Toms. Vancouver: UBC Press, 1990.
 * Switzer, Ann-Lee ed. This and That: The Lost Stories of Emily Carr; Revised and Updated. Victoria: Touchwood Editions, 2024.

Biographies of Emily Carr

 * Baldiserra, Lisa. Emily Carr, Life and Times. Art Canada Institute.
 * Bridge, Kathryn ed. Emily Carr in England. Victoria: Royal BC Museum, 2014;
 * Hembroff-Schleicher, Edythe. Emily Carr: The Untold Story. Saanichton: Hancock House, 1978;
 * Shadbolt, Doris. The Art of Emily Carr. Vancouver: Douglas & McIntyre and Clarke Irwin, 1979.
 * Shadbolt, Doris. Emily Carr. Vancouver: Douglas & McIntyre, 1990.
 * Shadbolt, Doris. Seven Journeys: The Sketchbooks of Emily Carr. Douglas & McIntyre, 2002.
 * Thom, Ian M. and Charles Hill (ed). Emily Carr: New Perspectives on a Canadian Icon. Vancouver and Ottawa: Vancouver Art Gallery and the National Gallery of Canada, 2006.
 * Tippett, Maria. Emily Carr. A Biography. Toronto: Oxford University Press, 1979.

Recognition

Carr's life itself made her a "Canadian icon", according to the Canadian Encyclopedia. As well as being "an artist of stunning originality and strength", she was an exceptionally late bloomer, starting the work for which she is best known at the age of 57 (see Grandma Moses). Carr was also an artist who succeeded against the odds, living in an artistically unadventurous society, and working mostly in seclusion away from major art centres, thus making her "a darling of the women's movement" (like Georgia O'Keeffe, whom she met in 1930 in New York City). Emily Carr brought the north to the south; the west to the east; glimpses of the ancient culture of the Indigenous peoples of the Americas to the most newly arrived Europeans on the continent.

However, art historians who write about Carr in depth often respond to their particular points of view: Feminist studies (Sharyn R. Udall, 2000), First Nations scholarship (Gerta Moray, 2006), or the critical study of what an artist says as a tool to analyze the work itself (Charles C. Hill, Ian M. Thom, 2006).

In 1952, works by Emily Carr along with those of David Milne, Goodridge Roberts and Alfred Pellan represented Canada at the Venice Biennale.

On February 12, 1971, Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by William Rueter based on Carr's Big Raven (1931), held by the Vancouver Art Gallery. On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed by Pierre-Yves Pelletier based on Forest, British Columbia (1931–1932), also from the Vancouver Art Gallery collection.

In 1978, she was awarded the Royal Canadian Academy of Arts Medal. In 2014–2015, the Dulwich Picture Gallery in south London hosted a solo exhibition, the first time such show was held in Britain. In 2020, a travelling exhibition organized by the Audain Art Museum in Whistler, B.C. and co-curated by Kiriko Watanabe and Dr. Kathryn Bridge and titled Emily Carr: Fresh Seeing – French Modernism and the West Coast explored this aspect of Carr's work in detail.

Record sale prices
On November 28, 2013, one of Carr's paintings, The Crazy Stair (The Crooked Staircase), sold for $3.39 million at Heffel's live auction in Toronto. As of the sale, it is a record price for a painting by a Canadian female artist.

At the Cowley Abbott Auction in Toronto, December 1, 2022, Carr's The Totem of the Bear and the Moon (1912), oil on canvas, 37 x 17.75 ins (94 x 45.1 cms), Auction Estimate: $2,000,000.00 - $3,000,000.00, sold for $3,120,000.00.

At the Cowley Abbott Auction of An Important Private Collection of Canadian Art, December 6, 2023, lot 129, Carr's Nirvana, oil on paper, mounted on canvas, 35.25 x 20.25 ins (89.5 x 51.4 cm), Auction Estimate: $250,000.00 - $350,000.00, realized a price of $744,000.00.

Institutions named for Carr

 * Emily Carr House in Victoria, British Columbia
 * Emily Carr University of Art and Design in Vancouver, British Columbia
 * Emily Carr Public Library in Victoria, British Columbia
 * Emily Carr Secondary School in Woodbridge, Ontario
 * Emily Carr Elementary School in Vancouver, British Columbia
 * Emily Carr Middle School in Ottawa, Ontario
 * Emily Carr public schools in London, Toronto, Ontario
 * Emily Carr public school in Oakville, Ontario
 * In 1994, the Working Group for Planetary System Nomenclature of the International Astronomical Union adopted the name Carr for a crater on Venus. The Carr crater has an approximate diameter of 31.9 kilometers.
 * Emily Carr Inlet, an arm of Chapple Inlet on the North Coast of British Columbia

Archives
The British Columbia Archives holds the largest collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, the Emily Carr Art Collection, and a wealth of archival documents held in the fonds of Carr's friends. There is an Emily Carr fonds at Library and Archives Canada. The archival reference number is R1969, former archival reference number MG30-D215. The fonds covers the date range 1891 to 1991. It consists of 1.764 meters of textual records, 10 photographs, 1 print, 7 drawings. A number of the records have been digitized and are available online. Library and Archives Canada also holds a number of other fonds containing material that touch on Emily Carr and her artistic works.

title: Emily Carr


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Benjamin Paul Akers

Benjamin Paul Akers (July 10, 1825 – May 21, 1861) was an American sculptor from Maine.

Early life
He was born in 1825 in rural Saccarappa, Maine, into a large and indigent family. When his father, Deacon Akers, moved the family from Saccarappa to Salmon Falls on the Saco River, he started a wood-turning mill. For six years the young Akers worked in his father's mill, where he invented beautiful patterns and "turned" toys. His brother, Charles "Carl" Akers, was also a sculptor and crayon portrait artist. He wrote articles on art for the Atlantic Monthly and also The Crayon, a short-lived New York art magazine in the mid-19th century. Akers spent the winter of 1849 in Boston learning the art of plaster casting with the sculptor Joseph Carew. In 1850 he opened a studio in Portland, Maine. He received a "Commemorative Silver Medal" in the 1854 Exhibition and Fair of the Maine Charitable Mechanic Association. The award was for his bas relief called Peace. In 1855, at age 30, he went to Rome, Italy where he worked for several years.

His experience in Italy and its revelation to his immature art-spirit he discloses in a letter written in 1853:
 * "'I was thrown at once from a world where not in all my life had I seen art, although I lived there with my own shadowy creations—not strong, for I knew not the mighty or the feeble—thrown at once into a world where all was art. All around me, on earth, in the far heavens, were multitudes of forms, all silent but all demanding place; and none might help me, none to say 'here' or 'there'; I only in this mighty realm to appoint, to assign. I was set down in the Louvre a boy from the woods of that new world, no idle spectator.'"

Career
Patron John Neal claimed Akers was "the first person, man or woman, that ever tried to model anything in the shape of a head" in Portland, Maine. Neal provided Akers a studio space and commissioned his first bust. Among his works are busts of Edward Everett and Henry Wadsworth Longfellow, a head of John Milton and The Dead Pearl Diver, on display at the Portland Museum of Art. Nathaniel Hawthorne described Dead Pearl Diver as an important work of the protagonist, Kenyon, in his novel The Marble Faun, acknowledging his debt to Akers in the introduction. Neal lamented his passing, claiming that "had he lived a few years longer, he would have built up a reputation for himself and his beloved country, well worth coveting.

He planned a free gallery of art for New York, to contain copies in marble of the chief works of ancient art, but in the midst of his work and plans his health failed and he returned home in 1858, and the next year started for Rome, where after his arrival he entered upon the execution of a commission from August Belmont of a statue of Commodore Perry for Central Park, New York, which was left unfinished.

Marriage and children
In 1858 Akers met Elizabeth Taylor Allen a young mother, journalist and poet, and they married in August 1860 in Hollis. Their only child, Gertrude Rothermel, died in infancy. Akers died in Philadelphia, Pennsylvania on May 21, 1861, from tuberculosis. He is buried in Portland's Evergreen Cemetery.

Collections
Collections:
 * Boston Museum of Fine Art, Boston, Massachusetts
 * Harvard University Art Museums, Massachusetts
 * Portland Museum of Art, Maine

Books about Akers

 * Akers, Benjamin Paul by Thomas William Herringshaw
 * Akers, Benjamin Paul, article in National Cyclopedia of American Biography, Vol. 6
 * Akers, Benjamin Paul, book by George C. Groce
 * The Brick House and Its People, book ca. 1930 by Janet Webb Hobbs
 * Akers Brothers: brief sketch concerning those American artists, book ca. 1900 by Franklin Staples

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Benjamin Paul Akers


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Tusken Raiders

Tusken Raiders are a fictional alien race in the Star Wars franchise. They first appeared in Star Wars (1977).

Depiction
The Tusken Raiders are depicted as xenophobic and are known to be aggressive in their interactions with other species, though they are capable of compromise and cooperation with outsiders. They dress in heavy cloth robes, and cover their heads with strips of cloth to secure a breath mask and eye protection. They learned to train the Banthas native to Tatooine as mounts, and a marauding group of Tuskens will ride them single file, to hide their numbers.

Star Wars appearances
Tusken Raiders first appeared in Star Wars (1977). Early on in the film, a party of them attack Luke Skywalker in the Jundland Wastes and knock him unconscious. However, just as they are going through Luke's landspeeder, Obi-Wan Kenobi frightens them off by imitating a Krayt dragon's mating call and rescues Luke.

Tusken Raiders briefly appear in Episode I: The Phantom Menace, taking shots at the Boonta Eve Classic podracer pilots, and again in Episode II: Attack of the Clones, set 22 years before Star Wars; in this film, they kidnap Anakin Skywalker's mother, Shmi Skywalker, and torture her for a month. Anakin eventually finds her, but she is mortally injured and dies in his arms. Seized by a violent rage, Anakin slaughters the entire tribe out of revenge, including the women and children. This was referenced by Chancellor Palpatine in Episode III: Revenge of the Sith to justify Anakin's reasoning for killing Count Dooku, and after he says it, a faint sound of the Tusken Raider's braying calls is heard in Anakin's mind as he ponders. In Star Wars Rebels Season 3, Episode 20, a group of Tuskens attack Ezra and Chopper when they land on Tatooine to look for Kenobi, successfully destroying their ship. However, Ezra and Chopper escape and the Tuskens are killed by Darth Maul.

Tusken Raiders appear in The Mandalorian. In the Season 1 episode "Chapter 5: The Gunslinger", Din Djarin comes across a small group of Raiders while travelling through their land, in search of a bounty. They are initially hostile until he communicates with them via sign language. He successfully barters a pair of binoculars in exchange for safe passage. In the Season 2 episode "Chapter 9: The Marshal", a Tusken clan teams up with villagers from Mos Pelgo in order to slay a krayt dragon.

A tribe of Tusken Raiders appear in various flashbacks in the first three episodes of The Book of Boba Fett, where they find Boba Fett after the latter escaped from the Sarlacc, was robbed of his Mandalorian armor, and left for dead. They initially force him to work as a slave digging for black melons in the desert, until he wins their respect and admiration after he kills a large sand creature, saving a Tusken child's life in the process. Following this, the Tuskens welcome Fett as one of their own, teaching him their combat style and desert survival skills, and eventually initiating him into their tribe after he passes a trial. In turn, Fett helps the Tuskens raid a Pyke Syndicate spice train that had been attacking their territory, teaching them how to ride speeder bikes in the process, and demands that the Pykes pay a toll to the tribe before entering their territory again in the future. However, after returning from collecting the toll, Fett finds that the tribe has been massacred, seemingly by the Nikto gang he had stolen the speeder bikes from, and holds an impromptu funeral. In the seventh episode, it is revealed that it was the Pykes who killed the tribe and framed the Nikto gang.

Expanded Universe
According to the noncanon Star Wars Expanded Universe sources, Tusken Raiders are named after Fort Tusken, an early Old Republic mining settlement in which all of the settlers were overwhelmed, captured, or killed by Tusken Raiders, then referred to as "Sand People". The attack probably occurred due to the fort's placement over one of the Raiders' holy wells.

Although the Sand People are aggressive and violent by nature, they have deep-seated traditions that they cling to tightly. Young raiders are required to prove their adulthood in various physical activities. While the Sand People have no written language, the most revered member of a Tusken clan is the storyteller. He knows the life-story of every member of his clan, and also knows of the clan's history. The storyteller is required to memorize the histories word-for-word, eliminating any chance for misinterpretation or distortion. Apprentice storytellers often are more hard-pressed to prove themselves than warriors, for a single mistake in reciting the histories means instant death by decapitation. As violent as their nature is, Sand People stay as far from the moisture farmers as the farmers do them. There are occasional skirmishes with the more outlying settlements.

Specialists studying the past of the Tusken Raiders also used the term Ghorfa to denote an earlier sedentary phase of their culture, and lastly Kumumgah, for the earliest stratum of sentient civilization on the planet, believed by some to represent a common ancestry shared by the Ghorfas (the Tuskens) and the Jawas.

The comic book series Star Wars: Republic explains that exiled Jedi Sharad Hett and his son A'Sharad Hett lived among the Tusken Raiders for many years. Hett was one of the few non-Tuskens to be accepted into their ranks and was even given the title of "warlord". Although A'Sharad Hett believed he was half-Tusken for the better part of his life, during his training on Coruscant he learned that Humans and Tusken Raiders were genetically unable to interbreed. This leads him to believe that his mother must have been a human, captured by the Tusken Raiders at a young age and raised as a Tusken. The series Star Wars: Legacy, set some 200 years later, reveals that A'Sharad eventually turned to the dark side of the Force and, as the Sith Lord Darth Krayt, briefly conquered the galaxy.

In the Junior Jedi Knights and New Jedi Order series, it is revealed that Jedi Knight Tahiri Veila was raised by the Tusken Raiders after they killed her parents.

A Tusken Raider named "Hoar" appears as a playable character in the PlayStation fighting game Star Wars: Masters of Teräs Käsi. In the Xbox Original game Star Wars: Battlefront II players are allowed to play as Tusken Raiders in a special game mode called "hunt".

Tusken Raiders appear in Knights of the Old Republic and The Old Republic when players visit Tatooine. If the player pursues peace between the Tusken Raiders and the local mining corporations in Knights of the Old Republic, the player will be given an opportunity to learn the entire history of the Tusken Raiders and Tatooine. During the recital of Tusken Raider history, the player learns that Tusken Raiders were once human exactly like the player, Tatooine though now a desert planet was once a lush and verdant world, and the original humans in the Star Wars Galaxy were abducted from this world by the Rakata of the Infinite Empire and then seeded among the stars as slaves building the Infinite Empire's monuments.

Eventually the humans of Tatooine rebelled against the Infinite Empire, and in retaliation their world was destroyed by an orbital bombardment of the entire surface. Remaining groups of survivors adapted to the world's new destroyed surface, and the lesson that they took from all of this was that it was a sin to advance technologically and reach for the stars like their ancestors did. The player's companion will note that because the history has been passed only through recitation that it may be inaccurate; however almost everything the Tusken Raider recites to the player is confirmed throughout the game, and the only thing left to be confirmed is whether or not the Tusken Raiders were in fact once human and the origin for all humans throughout the galaxy.

Concept and creation
Star Wars creator George Lucas said that the Tuskens' design was inspired by the Bedouin, an Arab tribe from the desert regions of North Africa.

Tusken Sign Language
In his script for The Mandalorian episode "Chapter 5: The Gunslinger", Dave Filoni mentioned that the Tusken Raiders should use some form of sign language. Deaf actor Troy Kotsur was hired as a consultant. When developing the sign language, he attempted to avoid American Sign Language and suit the Tuskens' cultural and environmental context. A lifelong Star Wars fan, Kotsur also played a Tusken scout in the episode. The sign language later appeared to a greater extent in "Chapter 9: The Marshal", as well as the first three episodes of The Book of Boba Fett.

"Chapter 5: The Gunslinger" was the first time that Tuskens had communicated on-screen. Media outlets praised the sign language for humanizing the Tuskens and moving away from their characterization as indigenous "savages". Fans, especially deaf viewers, were similarly enthusiastic about the inclusion of an alien sign language in Star Wars and started a Facebook group to further develop the Tusken language.

title: Tusken Raiders


text:
Eat a Peach

Eat a Peach is the third studio album and the first double album by American rock band the Allman Brothers Band, containing a mix of live and studio recordings released in 1972. Following their artistic and commercial breakthrough with the July 1971 release of the live album At Fillmore East, the Allman Brothers Band got to work on their third studio album. Drug use among the band became an increasing problem, and at least one member underwent rehab for heroin addiction. On October 29, 1971, lead and slide guitarist Duane Allman, group leader and founder, was killed in a motorcycle accident in the band's adopted hometown of Macon, Georgia, making it the final album to feature him.

Produced by Tom Dowd, the album was released on February 12, 1972, in the United States by Capricorn Records. It was the band's fourth album since their debut The Allman Brothers Band in 1969; released as a double album, it constitutes both their third studio album and second live album.

Eat a Peach contains studio recordings from September–December 1971 at Criteria Studios, Miami—both with and without Duane Allman—and live recordings from the band's famed 1971 Fillmore East performances. The album contains the extended half-hour-long "Mountain Jam", which was long enough to take up two full sides of the original double-LP. Other highlights include vocalist Gregg Allman's performance of his brother's favorite song, "Melissa", plus Dickey Betts' "Blue Sky", which went on to become a classic rock radio staple. The album artwork was created by W. David Powell and J. F. Holmes at Wonder Graphics, and depicts the band's name on a peach truck, in addition to a large gatefold mural of mushrooms and fairies. The album's title came from a quote by Duane Allman: "You can't help the revolution, because there's just evolution ... Every time I'm in Georgia, I eat a peach for peace".

On release Eat a Peach was an immediate commercial success and peaked at number four on Billboard Top 200 Pop Albums chart. The album was later certified platinum and remains a top seller in the band's discography.

Background
The Allman Brothers Band had struggled to achieve commercial success in their two and a half years on the touring circuit; their first two studio albums, The Allman Brothers Band (1969) and Idlewild South (1970), had debuted to only modest sales. Despite this, they had achieved significant acclaim due to their live performances, which included extended jam renditions of songs. The band's third release was a live album, titled At Fillmore East, and represented their artistic and commercial breakthrough: it immediately received solid sales upon its July 1971 release and went gold some months later. In about a "three-or-four-week period", the band quite literally went from "rags to riches", and were able to pay their debts to manager Phil Walden and record label Capricorn Records.

Although suddenly wealthy and successful, much of the band and its entourage now struggled with substance abuse, which included instances of heroin addiction. Four individuals—group leader Duane Allman, bassist Berry Oakley, and roadies Robert Payne and Joseph "Red Dog" Campbell—checked into the Linwood-Bryant Hospital for rehabilitation in October 1971. Their addictions had begun to affect their performances and matters seemed to only be getting worse, according to many involved. The clinic was deemed a "joke" and a "nuthouse" by Payne and Red Dog, and was later described as more of a psychiatric ward, as true rehabilitation clinics were several years away. All involved (including Duane) struggled to keep off the substance in the ensuing days. Despite his struggles, Duane fueled the band's passion to get better and end their addictions: "Duane was so happy and full of positive energy. He was always like that unless he was just totally wasted. He was the leader, the great soul, and he kept saying, 'We are on a mission and it's time for this thing to happen,'" said Linda Oakley. "He was moving forward, and that energized everyone else. Everyone fed off of that."

On October 29, 1971, Duane Allman, aged 24, was killed in a motorcycle accident a day after returning to the band's home of Macon, Georgia from an extended tour of concert gigs. Allman was exceeding a safe speed at the intersection of Hillcrest Avenue and Bartlett Street as a flatbed lumber crane approached. The flatbed truck stopped suddenly in the intersection, forcing Allman to swerve his Harley-Davidson Sportster motorcycle sharply to the left to avoid a collision. As he was doing so, he struck either the back of the truck or the ball on the lumber crane and was immediately thrown from the motorcycle. The motorcycle bounced into the air, landed on Allman and skidded another 90 feet with him pinned underneath, crushing several internal organs. Though he was alive when he arrived at the hospital, despite immediate emergency surgery he died several hours later from massive internal injuries. The loss devastated all who knew him, just as At Fillmore East climbed into the top 15 of the national album charts.

Recording and production

Several weeks before the gold certification of At Fillmore East and their rehabilitation, the band headed to Miami's Criteria Studios to work on their third studio album. Once again they'd be working with producer Tom Dowd, whom had been instrumental in the successful recording and production of At Fillmore East. The band laid down the initial tracks for "Blue Sky". The band saved money on studio time by writing and debuting songs on the road. The band worked on three songs: "Blue Sky", an instrumental titled "The Road to Calico" (which would eventually develop into "Stand Back", with added vocals) and "Little Martha", the only song solely credited to Duane Allman. The band laid down these three songs and went back on the road for a short run of shows, and at this point several checked into rehab. After Duane's death, the band held a meeting on their future; it was clear all wanted to continue, and after a short period, they returned to the road. Drummer Butch Trucks later said, "We all had this thing in us and Duane put it there. He was the teacher and he gave something to us—his disciples—that we had to play out."

Following Duane's death, which severely impacted younger brother, organist/lead vocalist/songwriter Gregg Allman, lead guitarist Dickey Betts gradually took over as group leader. The band returned to Miami in December to complete work on the album. Twiggs Lyndon, the band's former head roadie, joined them; he had just completed a stay in a psychiatric hospital stemming from his 1970 arrest for the murder of a concert promoter at one of the band's shows. Lyndon became the band's production manager. The band recorded three more tracks with Dowd, including "Melissa", "Les Brers in A Minor", and "Ain't Wastin' Time No More". Allman's death provided the band with motivation: "We were all putting more into it, trying so hard to make it as good as it would have been with Duane. We knew our driving force, our soul, the guy that set us all on fire, wasn't there and we had to do something for him," said Trucks. The heroin addictions had taken their toll on the band members; Gregg Allman later said, "We were taking vitamins, we had doctors coming over and sticking us in the ass with B12 shots every day. Little by little by little, we crawled back up to the point where we were standing erect."

The other material on Eat a Peach comes from live recordings. Dowd later said, "When we recorded At Fillmore East, we ended up with almost a whole other album's worth of good material, and we used [two] tracks on Eat a Peach. Again, there was no overdubbing". Dowd started the mixing process for Eat a Peach but had run overtime and was called to commitments with Crosby, Stills and Nash; longtime Allman friend and colleague Johnny Sandlin took over for the remaining mixes. Sandlin later said of the mixing process, "As I mixed songs like "Blue Sky," I knew, of course, that I was listening to the last things that Duane ever played and there was just such a mix of beauty and sadness, knowing there's not going to be any more from him". He was particularly proud of his mixing work on the album, but was angry because he did not receive credit, only a "special thanks".

Completing the recording of Eat a Peach raised each members' spirits. Said Allman, "The music brought life back to us all, and it was simultaneously realized by every one of us. We found strength, vitality, newness, reason, and belonging as we worked on finishing Eat a Peach". "Those last three songs ... just kinda floated right on out of us ... The music was still good, it was still rich, and it still had that energy—it was still the Allman Brothers Band."

Composition
Much of the music on Eat a Peach that was recorded after Duane's death directly dealt with the tragedy. "Ain't Wastin' Time No More" was written by Gregg Allman for his brother immediately following his death. The song was composed when Duane was still alive, on a 110-year-old Steinway piano in Studio D of Criteria, but the lyrics deal with his passing, as well as veterans coming home from the Vietnam War. The song relates to the theme that "death is an inescapable inevitability—that every day is precious." "Les Brers in A Minor" is an instrumental written by Dickey Betts, and its title is "bad French" for "less brothers". When rehearsing the song, all in the band felt something was familiar about it—which turned out to be a solo of Betts's from live renditions of "Whipping Post" that resurfaced many years later on a bootleg recording. Recording of "Les Brers" began in the newly constructed Studio C of the recording complex at Criteria, but the band disliked the sound captured in the room and moved to Studio A. As a result, the recording contains a slight pitch variation due to the difficulty of matching the original speed of the instruments when the intro was spliced onto the master tape.

Gregg Allman recorded "Melissa" primarily as a tribute to his brother, who adored the song; the song was written in 1967 while staying in a hotel in Pensacola, Florida, and was one of the first he saved after dozens of writing attempts. Allman had previously not shown it to other members of the band ("I thought it was too soft for the Allman Brothers," he said), and was saving it for a possible solo album he assumed he would one day record. "One Way Out" was recorded on June 27, 1971, the final night of concerts at the Fillmore East, which the band, a favorite of the famed venue's promoter Bill Graham, headlined; "Trouble No More" and "Mountain Jam" were culled from the band's March performances there. "Mountain Jam" was always intended for inclusion on the band's next album; the band teased its appearance by including the opening seconds on the fade-out of the final song on At Fillmore East. The band considered it a signature song of the group, but they deemed the performance that was recorded relatively mediocre.

Artwork and title

The album's artwork was created by W. David Powell at Wonder Graphics. He had seen old postcards at a drugstore in Athens, Georgia, one depicting a peach on a truck and a watermelon on a rail car. Believing them perfect for an Allman Brothers album, he purchased them and "bought cans of pink and baby-blue Krylon spray paint and created a matted area to make the cards on a twelve-by-twenty-four LP cover." He envisioned the album having "an early-morning-sky feel". He hand-lettered the band name and photographed it with a small Kodak camera, developing the photos at the drugstore. He then cut and pasted the letters on the side of the truck, underneath the peach.

The album includes an elaborate gatefold mural featuring a fantasy landscape of mushrooms (referencing the psychedelic drug, a band favorite in its early days) and fairies, drawn by Powell and J. F. Holmes. There was very little planning involved in the piece, which was created when the duo were in Vero Beach, Florida. When one would be drawing or painting the image, another would be swimming in the ocean. "We swapped off this way with virtually no conversation about the drawing, just fluid trade-offs," said Powell. The art was created on a large illustration board, "on a one-to-one scale—it was the size of the actual spread," according to Powell. Holmes' work is featured largely on the left, with Powell's on the right. Both were "profoundly influenced" by Early Netherlandish painter Hieronymous Bosch on the piece.

At the time the artwork was finalized, Duane Allman was still alive and the title had not been finalized. As a result, the album lacks a title on the cover, which was an unusual approach for bands at the time. Powell later said, "When we showed it to someone at the label, he said, 'They are so hot right now, we could sell it in a brown paper bag'". Atlantic initially intended to title the album The Kind We Grow in Dixie, the label of the postcard series Powell had seen in Athens, but the band refused. Trucks suggested they name the album Eat a Peach for Peace, after a quote from Duane Allman. When the writer Ellen Mandel asked him what he was doing to help the revolution, he replied:

"I'm hitting a lick for peace—and every time I'm in Georgia, I eat a peach for peace. But you can't help the revolution, because there's just evolution. I understand the need for a lot of changes in the country, but I believe that as soon as everybody can just see a little bit better, and get a little hipper to what's going on, they're going to change it. Everybody will—not just the young people. Everybody is going to say, 'Man, this stinks. I cannot tolerate the smell of this thing anymore. Let's eliminate it and get straight with ourselves.' I believe if everybody does it for themselves, it'll take care of itself."

Drummer Butch Trucks considered Allman's comment a sly reference to the poem "The Love Song of J. Alfred Prufrock" by T. S. Eliot, one of Allman's favorite poets. An untrue story persisted for many years after the album's release that it was named after the truck Allman crashed into, purported to be a peach truck. The album art was later selected by Rolling Stone magazine in 1991 as one of the 100 greatest album covers of all time.

Release
Before the release of Eat a Peach, industry talk suggested the demise of the group after the death of Duane Allman. The record's promotional campaign was coordinated by Dick Wooley, the former head of promotion for Atlantic Records. He had recently quit his position there and was contacted by Walden to help Capricorn in its efforts. (Capricorn Records had recently separated from Atlantic Records as well; Eat a Peach would be among the first Capricorn albums released under a new distribution deal with Warner Bros. Records.) "They needed help because the buzz in the record business and on the street was that the ABB was finished as a band and would never survive without Duane," said Wooley. After being played some songs from Eat a Peach by Sandlin, Wooley was "blown away" and accepted the offer at half his usual salary. He arranged to have the band's New Year's Eve performance at New Orleans' Warehouse live simulcast on radio. "I took a gamble and cobbled together a network of radio stations in the Southeast via Ma Bell phone lines," said Wooley. The stunt helped launch Eat a Peach, which was issued by Capricorn in February 1972 and became an instant success. The album shipped enough copies to be certified by the RIAA as gold and peaked at number four on Billboard Top 200 Pop Albums chart. "We'd been through hell, but somehow we were rolling bigger than ever," said Gregg Allman.

Rolling Stone Tony Glover wrote that, even without their leader, "the Allman Brothers are still the best goddamned band in the land ... I hope the band keeps playing forever—how many groups can you think of who really make you believe they're playing for the joy of it?" In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau called side three "a magnificent testament", but was relatively unimpressed by the rest of the album, especially the low-tempo "Mountain Jam" sides: "I know the pace of living is slow down there, but this verges on the comatose. And all the tape in the world isn't going to bring Duane back." In a retrospective review, Stephen Thomas Erlewine of AllMusic called the record a showcase of "the Allmans at their peak". David Quantick of BBC Music also considered it their "creative peak", praising the album's "well-played, surprisingly lean bluesy rock". The album is mentioned as the band's top studio recording in the 2008 book 1,000 Recordings to Hear Before You Die (2008), with author Tom Moon praising the record's "sedate, beautifully contemplative studio material".

"Melissa" was the album's most successful single, peaking at number 65 on the Billboard Hot 100. "Ain't Wastin' Time No More" and "One Way Out" were also singles, charting at numbers 77 and 86, respectively.

Touring
Biographer Alan Paul notes that the band's members "all profoundly felt the absence of their guiding light" during the touring cycle for Eat a Peach. Dickey Betts had to convince the band members to tour, since all other members were reluctant. Despite rumors, the band did not replace Duane Allman, and simply toured as a five-piece. The Allman Brothers Band played 90 shows in 1972 in support of the record. "We were playing for him and that was the way to be closest to him," said Trucks. Allman and Oakley took turns introducing songs, which was traditionally Duane's role. Betts learned Duane's slide guitar parts, but put his own spin on them. Oakley had a downward spiral following Duane's death and was significantly inebriated for many shows on the tour. "He wasn't playing like he used to—instead, he'd hit maybe every fifth note," recalled Allman. Occasionally, the band would have bassist Joe Dan Petty, later of Grinderswitch, cover for Oakley for the show. After nearly a year of severe depression, Oakley was killed in a motorcycle accident not dissimilar from his friend's in November 1972.

Many label mates on Capricorn opened for the band, including Wet Willie, Cowboy, and Dr. John.

Track listing
Notes

 * "Mountain Jam", "One Way Out" and "Trouble No More" recorded live at the Fillmore East:
 * "Mountain Jam" – March 13, 1971 (late show)
 * "Trouble No More" – March 13, 1971 (early show)
 * "One Way Out" – June 27, 1971

 * All compact disc editions of the album include the entirety of "Mountain Jam" (which runs 33:44) as track 4.

Personnel
All credits adapted from liner notes.

The Allman Brothers Band Additional Musicians
 * Gregg Allman – lead vocals, Hammond organ, piano, Fender Rhodes electric piano, acoustic guitar
 * Duane Allman – slide guitar, lead guitar, acoustic guitar on all tracks except "Ain't Wastin' Time No More", "Les Brers in A Minor" and "Melissa"
 * Dickey Betts – lead guitar; lead vocals on "Blue Sky"
 * Berry Oakley – bass guitar
 * Jai Johanny Johanson – drums, congas
 * Butch Trucks – drums, percussion, timpani, gong, vibes, Tambourine
 * Thom Doucette – (not credited) harmonica on "Mountain Jam", "One Way Out", and "Trouble No More"
 * Jim Stanti – (not credited) tambourine on "Mountain Jam", "One Way Out", and "Trouble No More"

Production
 * Tom Dowd – production, mixing
 * Johnny Sandlin – mixing
 * Aaron Baron – engineer
 * Howie Albert – engineer
 * Larry Dahlstrom – engineer
 * Ron Albert – engineer
 * W. David Powell – artwork
 * J. F. Holmes – artwork

title: Eat a Peach


text:
Ouray (Ute leader)

Ouray (, c. 1833 – August 20, 1880) was a Native American chief of the Tabeguache (Uncompahgre) band of the Ute tribe, then located in western Colorado. Because of his leadership ability, Ouray was acknowledged by the United States government as a chief of the Ute and he traveled to Washington, D.C. to negotiate for the welfare of the Utes. Raised in the culturally diverse town of Taos, Ouray learned to speak many languages that helped him in the negotiations, which were complicated by the manipulation of his grief over his five-year-old son, abducted during an attack by the Sioux. Ouray met with Presidents Lincoln, Grant, and Hayes and was called the "man of peace" because he sought to make treaties with settlers and the government.

Following the Meeker Massacre (White River War) of 1879, he traveled in 1880 to Washington, D.C. He tried to secure a treaty for the Uncompahgre Ute, who wanted to stay in Colorado; but, the following year, the United States forced the Uncompahgre and the White River Ute to the west to reservations in present-day Utah.

Early life and education
Ouray was born in 1833 near the Taos Pueblo in Nuevo México, now in the state of New Mexico. His father, Guera Murah, also called Salvador, was a Jicarilla Apache adopted into the Ute, and his mother was Uncompahgre Ute.

His parents had another son named Quench, and then his mother died soon after. His father remarried and his stepmother left Ouray and his brother to live on a ranch with a Spanish-speaking couple around 1843 or 1845. His father returned to Colorado and became a leader of the Tabeguache Ute band and the boys remained in Taos. Ouray received a Catholic education and was raised in the Catholic faith. Living in a culturally diverse location, he learned Ute and Apache languages, sign language, Spanish, and English, which he found helpful later in life in negotiating with whites and Native Americans. He spent much of his youth working for Mexican sheepherders. He also hauled wood and packed mules that were bound for the Santa Fe Trail.

In 1850, Ouray and his brother left Taos to join their father, who died soon after. Ouray was the band's best rider, hunter, and fighter, and he became an enforcer (like a chief of police) and then sub-chief of the band. He fought both the Kiowa and the Sioux while living among the Tabeguache.

Chief
In 1860, Ouray became chief of the band at the age of 27. That year, he engaged in a "fact-finding tour" to determine the number of whites that were settling in the Uncompahgre and Gunnison River valleys and was alarmed by the number of miners and settlers on ancestral lands of the Utes. He understood, though, that fighting the whites would not turn back the tide of immigrants. Instead, he believed that the solution was to engage in treaty negotiations to protect their interests.

Treaty negotiation
Ouray was known as the "White man's friend," and his services were almost indispensable to the government in negotiating with his tribe, who kept in good faith all treaties that were made by him. He protected their interests as far as possible, and set them the example of living a civilized life.

Although Ouray sought reconciliation between different peoples, with the belief that war with the whites likely meant the demise of the Ute tribe, other more militant Utes considered him a coward for his propensity to negotiate. Disturbed by the treaties that Ouray entered into, his brother-in-law "Hot Stuff" tried to kill him with an axe during his near-daily visit to the Los Piños Indian Agency in 1874.

Treaty of Conejos of 1863
Colorado Territory was established on February 28, 1861. In 1862, he convinced Utes to negotiate with the government to enter into a treaty to ensure the protection of hereditary lands of the Tabeguache. Kit Carson had noticed in 1862 that prospectors were mining and settling in areas that had been traditional hunting grounds for the Utes and game was becoming scarce. Carson helped him draft a treaty. Ouray was part of the delegation and was the translator in a meeting with the new Territorial Governor John Evans, after which he traveled to Washington, D.C. to meet with President Abraham Lincoln.

Ouray negotiated with the U.S. government for the Treaty of Conejos (1863), which reduced their lands to 50% of what it had been, losing all lands east of the Continental Divide that included healing waters at Manitou Springs and the sacred land on Pikes Peak. It guaranteed that they would have the western one third of the state of the Colorado. The Utes agreed that they would allow roads and military forts to be built on the land. As an encouragement to take up farming, they were given sheep, cattle, and $10,000 in goods and provisions over ten years. The government generally did not provide the goods, provisions, or livestock mentioned in the treaty, and since game was scarce many Ute continued to hunt on ancestral Ute lands until they were removed to reservations in 1880 and 1881.

Treaty of 1868

Around 1866, there were some Native Americans who had stolen livestock and otherwise upset new settlers. Following an uprising by Chief Kaniatse, Colonel Kit Carson successfully negotiated a treaty with the Ouray and other Ute leaders in 1867. In the meantime, the government became interested in obtaining some more Ute land. Since the government had not lived up to its agreement to provide provisions for the winter months, Ouray was reluctant to give the government more land. Many Native Americans, though, were "in dire straits" and he agreed to be part of a delegation.

In 1868, Ouray, Nicaagat, with Kit Carson were among a delegation to negotiate a treaty that would result in the creation of a reservation for the Ute, served by an Indian Agencies at White River and near Montrose with a school, blacksmith shop, sawmill, and warehouse. They lost a little land in the treaty, but Ouray hoped that having a government presence would mean that their lands would be protected. The treaty was signed by 47 Ute chiefs.

Brunot Treaty of 1873
Silver deposits were found in the San Juan Mountains in 1872 and the government wanted again to negotiate for more land. Feeding on his grief due to the unknown status of his son after the Utes were attacked by the Sioux, U.S. Commissioner of Indian Affairs Felix Brunot had a 17-year-old orphan brought by Arapaho Chief Powder Face to meet Ouray and Chipeta in Washington, D.C. ten years after the abduction. This was the first of many attempts by Brunot to find his son and was conducted so that Ouray would relinquish mining property and keep treaty talks open. The boy was clearly not Ouray's son, he did not know anything from the Ute language, did not want to go with Ouray, and the details of his capture did not match the experience of Ouray's son. Tribal historians have stated that this meeting was upsetting to Ouray, but author Richard E. Wood states that the chief was impressed by the effort taken by the government. In 1873, with Ouray's help, the Brunot Agreement was ratified and the United States acquired the mineral-rich property they had been seeking. In exchange, the Native Americans were to receive provisions over time. Ouray was given land and a house in the Uncompahgre Valley near the Indian Agency. The government, though, was again reluctant to provide provisions. His negotiations had included a meeting with President Ulysses S. Grant.

Meeker Massacre
Tensions increased in the area following the Meeker Massacre (1879) at the White River Indian Agency. Not understanding the Utes' love of horses, Nathan Meeker had their race track plowed and tried to force the nomadic hunters and gatherers to farm, and Meeker sought military help. Seeking peace, a tribe of Ute men led by Chief Douglas asked Meeker for peace, but a fight ensued. This made further negotiations for peace between Native Americans and whites very difficult. Local settlers demanded that the Utes be moved. When Ouray found out about the massacre, he asked, as head of the Utes, for the warriors to disperse and release hostages to him. The hostages, including Josephine Meeker, were delivered to Ouray's house at the Los Piños Indian Agency and were cared for by Chipeta.

Final treaty
The U.S. government appointed a commission to determine a reservation for the Ute and Ouray and Chipeta went to Washington, D.C. in 1880 for the final treaty for the Utes. Members of the commission were Alfred B. Meacham, former U.S. Superintendent of Indian Affairs for Oregon; Otto Mears, a railroad executive, and George W. Manypenny, former Commissioner of Indian Affairs. When President Rutherford B. Hayes met Ouray in Washington, DC, he said that the Ute was "the most intellectual man I've ever conversed with."

When he had returned to Colorado, and while dying with Bright's disease, Ouray traveled to the Ignacio Indian Agency office to have the treaty signed by the Southern Utes.

Utes were later put on a reservation in Utah, Uintah and Ouray Indian Reservation, as well as two reservations in Colorado: Ute Mountain Ute Tribe and Southern Ute Indian Reservation.

Personal life
Ouray's first wife, Black Mare, died after the birth of their only child, a boy named Queashegut, also known as Pahlone, and called Paron (apple) by his father because of his round, dimpled face. In 1859, Ouray married the sixteen-year old Chipeta (Ute meaning: White Singing Bird), who had been caring for Ouray's son since Black Mare's death earlier that year.

When Queashegut was five years old, Ouray took him along on a buffalo hunt with a total party of 31 men in 1860 or 1863. Their hunting camp, near Fort Lupton, was attacked by 300 Sioux warriors and Queashegut left the tepee where he sought shelter with Chipeta to follow Ute warriors. After the fight, they were unable to find him. He had been captured and traded to an Arapaho band. Ouray never saw his son again and remained in deep grief. He tried to find his son for the rest of his life and feared "he was raised to fight against his own." While visiting Kit Carson at Fort Garland in 1866, Ouray and Chipeta met and adopted two girls and two boys.

Ouray's sister, Shawsheen (also Tsashin and Susan), was in Big Thompson Canyon in 1861 or 1863 when she was abducted by the Arapaho. Soldiers from Fort Collins found her two years later in 1863 or 1865, but she was afraid of them and escaped. She was later found by Utes and returned to Ouray's tribe.

He had several homes in Colorado, one of them by the town of Ouray. For twenty years, Ouray lived with Chipeta on a farm on the Uncompahgre River near Montrose. The 300-acre farm had pasture land and 50 acres of irrigated farm land. The six-room adobe house was well-furnished, including a piano and fine china. The Ute Indian Museum is located on their original 8.65 acre homestead in Montrose. Chipeta was a member of a Methodist church; Ouray was an Episcopalian. Ouray never cut his long Ute-fashion hair, though he often dressed in the European-American style.

Ouray died on August 24, 1880, near the Los Piños Indian Agency in Colorado. His people secretly buried him near Ignacio, Colorado. Forty-five years later, in 1925, his bones were re-interred in a full ceremony led by Buckskin Charley and John McCook at the Ignacio cemetery.

A 1928 article in the Denver Post reads in part, "He saw the shadow of doom on his people" and a 2012 article writes, "He sought peace among tribes and whites, and a fair shake for his people, though Ouray was dealt a sad task of liquidating a once-mighty force that ruled nearly 23 million acres of the Rocky Mountains."

Legacy and honors
Ouray's obituary in The Denver Tribune stated: "In the death of Ouray, one of the historical characters passes away. He has figured for many years as the greatest Indian of his time, and during his life has figured quite prominently. Ouray is in many respects...a remarkable Indian...pure instincts and keen perception. A friend to the white man and protector to the Indians alike."

Places named for Ouray

 * Camp Chief Ouray, located in Granby, Colorado.
 * Mount Ouray in the Sawatch Mountain Range and Ouray Peak in Chaffee County, both in Colorado, were named for him.
 * Ouray County and its county seat, the town of Ouray in Colorado, as well as the community of Ouray, Utah are named for him.
 * SS Chief Ouray, a World War II liberty ship, now named USS Deimos

title: Ouray (Ute leader)


text:
David Parlett

David Parlett (born 18 May 1939 in London) is a games scholar, historian, and translator from South London, who has studied both card games and board games. He is the president of the British Skat Association.

Life
David Sidney Parlett was born in London on 18 May 1939 to Sidney Thomas Parlett and Eleanor May Parlett, née Nunan. He is one of three brothers. During the Second World War, Parlett lived in Barry, Glamorgan. Parlett was educated at Battersea Grammar School and the University College of Wales in Aberystwyth. He has a BA in Modern Languages. Parlett was a technical writer with PR companies and later a freelance writer for Games & Puzzles magazine. He is married to Barbara and they have a son and a daughter.

Works
His published works include many popular books on games such as Penguin Book of Card Games, as well as the more academic volumes The Oxford Guide to Card Games and The Oxford History of Board Games, both now out of print. Parlett has also invented many card games and board games. The most successful of these is Hare and Tortoise (1974). Its German edition was awarded Spiel des Jahres (Game of the Year) in 1979.

Parlett is a Quaker.

Games and gaming

 * All the Best Card Games
 * Anarquía y Otros Juegos Sociales de Cartas
 * Botticelli and Beyond
 * Card Games for Everyone
 * Family Card Games
 * Know the Game: Patience
 * Original Card Games
 * Solitaire: Aces Up and 399 other Card Games
 * Teach Yourself Card Games
 * Teach Yourself Card Games for Four
 * Teach Yourself Card Games for One
 * Teach Yourself Card Games for Three
 * Teach Yourself Card Games for Two
 * Teach Yourself Poker and Brag
 * The Guinness Book of Word Games
 * The Oxford Dictionary of Card Games
 * The Oxford Guide to Card Games / A History of Card Games
 * The Oxford History of Board Games reprinted as History of Board Games
 * The Penguin Book of Card Games
 * The Penguin Book of Patience
 * The Penguin Book of Word Games
 * The Penguin Encyclopedia of Card Games
 * The Popular Dictionary of Card Games

Other subjects

 * A Short Dictionary of Languages
 * Dalcroze Today (translation of Marie-Laure Bachmann's work)
 * Learning a Language Alone
 * Selections from the Carmina Burana (translations)

Board games
Since 1974, David Parlett has published numerous games, including the following:
 * Around the World in 80 Days (2016)
 * Asterix: Das Kartenspiel (1990)
 * Chicken Out! (2017)
 * Die Wilden Kerle (The Wild Kids) (2017)
 * Hare and Tortoise (1973)
 * Katarenga (Colorado) (2017)
 * LifeCards
 * Metal Mickey's All Around the House Game (1982)
 * Ninety-Nine (1974) / Four Seasons (2016)
 * Pot Black: Snooker Dice (1980)
 * Rainbow Junior Scrabble (1989)
 * Roman Poker (2015)
 * Shoulder to Shoulder (1975)
 * Star Wars: Duell der Mächte (2015)
 * Sushi Spiel (Chinese Take-Away)
 * The Gnümies Party Game (2001)
 * The Puzzle of Oz (2012)
 * Zoo Party / 7Safari (2000) / Alles für die Katz

Card games
Parlett has invented more than 70 original card games that can be played with a standard deck of playing cards.

Solitaire games

 * Archway
 * Black Hole
 * Gay Gordons
 * Penguin

title: David Parlett


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Banner Records

Banner Records was an American record company and label in the 1920s and 1930s. It was created primarily for the S.S. Kresge Company, though it was employed as a budget label in other discount stores.

History
Banner was formed in January 1922 as the flagship label of the Plaza Music Company of New York City. Plaza Music produced several cheap labels targeted at discount houses and hired bandleader Adrian Schubert as musical director. At the beginning, Banner concentrated on popular dance hits, though it also recorded comedy, semi-classical music, and a small number of country and blues records. In its first years Banner also leased masters from Paramount Records and Emerson Records.

In July 1929 Plaza merged with Cameo-Pathé and the Scranton Button Company to form the (ARC). ARC dropped Pathé and Scranton Button's label Emerson but kept active all of the other labels belonging to the combined company, including Banner. After ARC acquired the rights to Brunswick Records, Banner's product lines began to reflect the general ARC product, and this added more African-American and country music to its catalogue. As part of the ARC-BRC combination, it no longer enjoyed a flagship status accorded to Melotone among the budget labels. Although ARC-BRC dropped some of the dime-store labels, it kept Banner until December 1938, when the CBS Broadcasting Network bought ARC-BRC and liquidated all of the dime-store labels.

In December 1946, entrepreneur Sam Selsman formed a new Banner Records label, devoted to Jewish music and Yiddish-language comedy routines; although this later Banner Records no longer actively records, its catalogue continues. There is no relationship between the Hebrew Banner label and the earlier products of Plaza Music or ARC/BRC; nor is there is a relationship to a dime-store label put out by Leeds and Caitlin in the early 1900s, though the label's design is similar.

Label Series
Banner debuted with two concurrent label series in January 1922: a popular 1000 series side by side with a "Standard" 2000 series of semi-classical music, comedy, and some Jewish material. Reaching Banner 1999 in the main series in mid-1927, Banner skipped ahead to 6000 and terminated the Standard series at the end of the year at Banner 2183. At this point, Banner also stopped the 6000 series at Banner 6167 and moved again to a 7000 series starting at Banner 7001. This ended in early 1929 at Banner 7265 and then reverted to the old series, starting at Banner 6200. The series survived the merger into ARC, but was ended at the start of 1930 at Banner 6566 and restarted at 0500 until it reached 0872 later in the year. The number series was then started again at 32001 and the price changed from 25 cents to 35 cents in order to bring Banner in line with other dime-store labels being sold 3 for a dollar. This lasted until 1935, when the dime-store labels were all married to a central numbering system. But releases were not necessarily unified; for example, Robert Johnson, who did have some releases on Melotone, did not appear on Banner.

Legacy
Banner discs are found throughout the United States, indicating their popularity as Plaza's flagship label. The audio fidelity of the records was average to slightly below average for the time, but as Banner was a cheap label they were pressed from cheaper materials that did not withstand repeated playing with the heavy phonograph players of the time. Most Banner discs found today exhibit considerable wear and surface noise, but they are still valued by virtue of the selections.

In keeping with their low-price production, it is common for a current hit song on the A-side and a lesser-known song as the B side. Many of these B side songs are eccentric tunes not recorded elsewhere (but, of course, found on the other Plaza/ARC labels). Many of these odd songs have great hot solos, making them quite enjoyable. Also scattered around these B sides are hot tunes by Luis Russell, Duke Ellington, small groups from the Ben Pollack orchestra, among others.

Roster: Plaza period

 * Harold Arlen
 * Sam Ash
 * Franklyn Baur
 * Al Bernard
 * May Singhi Breen
 * California Ramblers
 * Joe Candullo
 * Myron Cohen
 * Vernon Dalhart
 * Vaughn DeLeath
 * Cliff Edwards
 * Leo Erdody
 * Frank Ferera
 * Arthur Fields
 * The Four Aristocrats
 * Miss Frankie
 * Bob Fuller
 * Rev. J. M. Gates
 * Nathan Glantz
 * Porter Grainger
 * Lou Gold
 * Billy Golden via Emerson Records
 * Wendell Hall
 * W.C. Handy
 * Charles W. Harrison
 * Charles Hart
 * Lucille Hegamin
 * Fletcher Henderson
 * Rosa Henderson
 * Billy Jones & Ernie Hare
 * Joe Jordan
 * Irving Kaufman
 * Jack Kaufman
 * Louis Katzman
 * Hal Kemp
 * Sam Lanin
 * Scrappy Lambert
 * Julius Lenzberg
 * Jules Levy, Jr.
 * Vincent Lopez
 * Frank Luther
 * Hazel Meyers
 * Josie Miles
 * Lizzie Miles
 * Frank Munn
 * Billy Murray
 * Original Indiana Five
 * Original Memphis Five
 * Eddie Peabody
 * Jack Pettis
 * Evelyn Preer
 * The Radio Franks
 * Harry Richman
 * Carson Robison
 * Walter B. Rogers
 * Peter DeRose
 * Domenico Savino
 * Adrian Schubert
 * Ben Selvin
 * Boyd Senter
 * Elliott Shaw
 * Monroe Silver
 * Paul Specht
 * Elizabeth Spencer
 * Aileen Stanley
 * Cal Stewart via Emerson Records
 * Ernest Stoneman
 * Toots Paka Hawaiian Troupe
 * Fred Van Eps
 * Sam Ku West
 * Harry Yerkes

Roster: ARC period
Although some of the artists from the previous incarnation of Banner survived into this second period, particularly in 1929-1931, none of these artists appeared on the first label.

 * Henry "Red" Allen
 * Clarence Ashley
 * Gene Austin
 * Gene Autry
 * Baby Rose Marie
 * Smith Ballew
 * Charlie Barnet
 * Lucille Bogan
 * Big Bill Broonzy
 * Smiley Burnette
 * Chick Bullock
 * Henry Busse
 * Blanche Calloway
 * Cab Calloway
 * The Canova Family
 * Eddie Cantor
 * Bill Carlisle
 * Cliff Carlisle
 * Carter Family
 * Sam Collins
 * Bill Cox
 * Bing Crosby
 * Charlie Davis
 * Walter Davis
 * Eddie Dean
 * Georgia Tom Dorsey
 * Morton Downey, Sr.
 * Duke Ellington
 * Ruth Etting
 * Alice Faye
 * Red Foley
 * George Hamilton Green
 * Joe Green
 * Mal Hallett
 * Mike Hanapi
 * Annette Hanshaw
 * Joe Haymes
 * Hokum Boys
 * Hoosier Hot Shots
 * Frankie "Half Pint" Jaxon
 * Gene Kardos
 * Ed Kirkeby
 * Lead Belly
 * Guy Lombardo
 * Nick Lucas
 * Charles Magnante
 * Wingy Manone
 * Frankie Marvin
 * Johnny Marvin
 * Memphis Minnie
 * Mills Blue Rhythm Band
 * Mills Brothers
 * Mitchell Christian Singers
 * Russ Morgan
 * Buddy Moss
 * Will Osborne
 * Ben Pollack
 * Dick Powell
 * Prairie Ramblers
 * Yank Rachell
 * Joe Reichman
 * Harry Reser
 * Fred Rich
 * Tex Ritter
 * Fiddlin' Doc Roberts
 * Dick Robertson
 * Adrian Rollini
 * Luis Russell
 * Andy Sanella
 * Singin' Sam
 * Roy Smeck
 * Phil Spitalny
 * Eva Taylor
 * Varsity Eight
 * Joe Venuti
 * Don Voorhees
 * Jay Wilbur
 * Josh White
 * Clarence Williams
 * Victor Young

title: Banner Records


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File:Julesleger.gif

Summary
Jules Leger. Image taken from

© Public records of Canada Author: Cameron Reference: Internet site Nelson Canadian Discovery Disk Heading: "Time period gold category". Person in charge: Stéphane Fountain and Céline Gagnon Number of image: 783

Fair use for Jules Léger
The image linked here is claimed to be used under fair use as: # it is a historically significant photo of a famous individual;

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 * 3) Its inclusion in the article adds significantly to the article because it shows the subject of this article. Agnte 13:23, 20 November 2005 (UTC)
 * 4) The subject is deceased; therefore, the image is not replaceable.

title: File:Julesleger.gif


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Talk:John Ford (dramatist)

Article history
Please note that the original version of this article was set up by Deb using text from John Ford, and she turned John Ford into a disambiguation page. Please see the page history of John Ford for attributions of authorship. -- Oliver P. 20:47, 6 Aug 2003 (UTC)

Update: The page referred to above is now John Ford (disambiguation). Please see that page's history for attributions of authorship. --Paul A 03:56, 26 Nov 2004 (UTC)

Surely it would have been far from impossible for a not-yet-sixteen-year-old to have been admitted to Exeter College Oxford around 1600? Even 150 years later, such admissions were common, for example, in Scottish universities.81.158.101.97 (talk) 09:26, 1 April 2016 (UTC)

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Talk:John Ford

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Didn't find what I was looking for here
One tiny mention about Ford's use of shadows. Well at least it is acknowledged I guess. Problem as I see it is that the man's work is still communicating with the audience and the extensive history and Hollywood/industry info. in the article is necessary too, the reasons for the fact that this guy's work is still touching people today should be given a little more attention.TeeVeeed (talk) 21:31, 8 July 2017 (UTC)

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Racism
The article should mention that most of his films are widely seen as racist. (81.159.6.100 (talk) 04:01, 29 December 2017 (UTC))
 * Most critics say he exposed racism. 1) "My position is that Ford was neither a radical reformer nor a racist. While Ford believed in equal rights for all human beings, he was also making films the settings of which, both in time and place, often demanded a depiction of racist behavior. " [Stowell, John Ford] 2) "By 1937 the NAACP had drifted from suppression toward awarding favorable citation to movies such as John Ford's Hurricane which contained antiracist messages" [Cripps 1977]; 3) "A hymn to America's nomadic soul, The Searchers is also Ford's great meditation on its troubled racist history. " [Jim Kitses - 2007]; 4) "The image of Wayne standing apart from the family that greets him serves as a springboard for Ford's harshest view of the West, which is seen as a hotbed of racist attitudes" [Jay Carr, 2002]; 5) "Ironically, Ford is frequently charged with racism, jingoism and militarism by critics who mistake his subject for his attitude.  This upset Ford no end. " [Walter Wagner, 1975]. 6) "This is evident in John Ford's The Searchers, a seminal western in that it confronts the genre's racist legacy and offers a powerful interrogation of the entire mythology. " [J Brown, 2012].  Rjensen (talk) 05:56, 29 December 2017 (UTC)

Missing: Ford's masterpiece
The article, although very long, tells a detailed sequence of events but sort of skips over the heavy influence that John Ford's work had on film. Nowhere is it mentioned, for instance, whether any particular work is considered a masterpiece (or perhaps a masterpiece of his Western style, etc.)

DouglasHeld (talk) 11:55, 4 March 2022 (UTC)

Personality section
The Personality section is very long with lots of detail, but very few sources. Can someone provide them to avoid deletion of the offending material? I do not doubt its veracity, but the article still needs to conform to WP policy.Ashmoo (talk) 10:52, 17 April 2023 (UTC)

title: Talk:John Ford