Thursday, May 9, 2024

On This Day in the Old West: May 12

 On this day in the Old West, the first steamboat successfully navigated the Upper Mississippi. On May 10, 1823, the steamboat Virginia arrived at Fort St. Anthony (renamed Fort Snelling two years later), making the 729-mile trip from St. Louis in twenty days. The Virginia traveled to within eight miles of St. Anthony Falls with “a few passengers and a cargo of military supplies” bound for the site of present-day St. Paul, Minnesota. This marked the first time a steamboat traveled up the Mississippi all the way to the head of navigation.

Other boats, of course, had used the upper river for years: piroques, canoes, flatboats, and keelboats. The Virginia heralded a new era. Under steam power, people and cargo could be transported upstream far more quickly and efficiently, and in greater quantities, than on a boat with sails or poles or oars. Beginning around 1817, steamboats began to ply the lower Mississippi (and the Ohio) in large numbers, and travel from New Orleans to Pittsburgh soon became routine. But the upper Mississippi, more turbulent and filled with obstructions, was a different story. Long after the Virginia left St. Louis, skeptics postulated whether she would ever return. Some expected her to founder or give up when she reached the fearsome Des Moines Rapids. The Virginia did get stuck in the rapids, but removed cargo to lighten her load and was able to escape.

Despite “frequent groundings and delays, stormy weather, and a lack of navigational charts for the last two hundred miles,” Virginia reached Fort St. Anthony on May 10, having supplied other forts along her way. The journey was quite slow, with daylight travel only. Virginia took twenty days to cover seven hundred miles. At one point, a Native passenger named Great Eagle, irritated that the ship’s pilot had chosen the wrong channel, leaped from the boat and swam ashore to join his fellow Sauk tribesmen, who were walking upstream. By the time Virginia reached her next stop, the Sauks had already arrived, set up camp, and were dickering with fur traders. Still, sluggish as Virginia may have been, she proved a steamboat could conquer the upper Mississippi. The Virginia made two more supply runs during 1823 and before long, a fleet of steamships was carrying lead, furs, and grain down the Mississippi—and settlers upstream. The river remained an indispensable thoroughfare for decades, especially in the upper Midwest, where no railroad would reach St. Paul until after the Civil War.


After 1823, steamboat traffic grew quickly. One measure was the number of times steamboats docked at the upper river’s port cities. St. Paul recorded 41 steamboat arrivals in 1844 and 95 arrivals in 1849. By 1857, St. Paul had become a bustling port, with over 1,000 steamboat arrivals each year. But as quickly as the number of boats increased, they just couldn’t keep up with the demand. In 1854, a St. Paul newspaper, the Minnesota Pioneer, reported that every steamboat which arrived overflowed with passengers and freight, and that “the present tonnage on the river is by no means sufficient to handle one-half the business of the trade.” Every boat that docked created new business and an even greater backlog, as more and more immigrants disembarked to start farms and businesses. From famine to feast in just over thirty years—steamboat traffic had finally arrived in the upper Mississippi. 

Of course, the river hadn’t changed. Trees filled and surrounded it. Hundreds of islands and sand bars divided the channel. Above St. Paul, rocks and rapids kept the river unmanageable. Not until after the Civil War would the country look at creating a navigable channel in the Mississippi. The 1866 River and Harbor Act directed the Corps of Engineers to survey the river from St. Anthony Falls to the Rock Island Rapids and “ascertain the feasible means, by economizing the water of the stream, of insuring the passage, at all navigable seasons, of boats drawing four feet of water….”  In other words, Congress was asking the Corps to figure out how to create a continuous four-foot channel that would remain clear in high water or low. Low water was defined as the height of the water during the 1864 drought, so the Corps would need to ensure the river was at least four feet deep at that level. In 1867, they initiated a program of dredging sandbars, snagging, clearing overhanging trees, and removing sunken vessels to create that four-foot channel. This project didn’t greatly change the river’s character and didn’t actually improve the river much for navigation, but it started a series of navigation projects that would, in the end, do both. And it all started on May 10, 1823.

Your characters would have either taken a steamboat ride on their way West, or at the least, would know of the riverboats of the Mississippi. Just remember that the upper river would not have been as navigable until after the Civil War.

J.E.S. Hays
www.jeshays.com
www.facebook.com/JESHaysBooks

Wednesday, May 1, 2024

Western Movie Taglines Blog Series - May Movie Taglines #movietaglines #westernmovies

My 2024 blogging series, Western Movie Taglines, began in January when I explained what a tagline is and gave examples of good non-western movie taglines followed by several disappointing taglines from western movies.

In February, I shared 15 western movie taglines that were clever or witty, real groaners, or just plain silly. March through September, I will share 10 movie taglines each month. October through December will be the Top 40 Countdown of Best Western Movie Taglines.

I compiled a list of 250 westerns and their taglines. From that 250, I plucked out the best 125 to share between February and December. These 125 taglines range from good to outstanding as far as doing justice to their corresponding movies.

The Top 40 taglines are the ones that capture and sum up the heart of the movie in such a fabulous way that we're amazed at how a handful of words can be that powerful or theme-descriptive. Also in December, I will 1) share taglines I've written for two western movies and one early-settling of the American frontier movie that deserved better taglines and, 2) offer a downloadable document of the 250 movies and taglines that I compiled.

Taglines by month:

January Movie Taglines
February Movie Taglines
March Movie Taglines
April Movie Taglines

Onward to the May Western Movie Taglines—


Angel and the Badman
(1947)
Only a love like hers could conquer a man like him!

Blood on the Moon (1948)
A woman’s bullet kills as quick as a man’s!

 When there’s BLOOD ON THE MOON
…and death lurks in the shadows!

Dances with Wolves (1990)
Inside everyone is a frontier waiting to be discovered.

In 1864 one man went in search of the frontier…
And found himself.

The Gunfighter (1950)
His only friend was his gun…
His only refuge – a woman’s heart.

Legends of Fall (1994) 
After the fall from innocence, the legend begins.

The Rare Breed (1966)
A rare breed o heroic adventures…
A rare breed of fighting, frontier women.
A rare breed of bold young lovers…
Ready to meet the dangers of the West!

Tom Horn (1980)
See gun before he sees you.

True Grit (1969)
The strangest trio ever to track a killer. A fearless, one-eyed U.S. marshal who never knew a dry day in his life… A Texas ranger thirsty for bounty money… and a girl still wet behind the ears who didn't care what they were or who they were as long as they had

Wyatt Earp (1994)
The epic story of Love and Adventure in a Lawless Land.

Yellowstone Kelly (1959)
Always, the Kid strained to match Big Kelly’s stride…
And finally did, one Indian-screaming afternoon…

See you in June with the next ten western movie taglines.






www.kayespencer.com

 

Tuesday, April 23, 2024

Esther Walker - Civil War Veteran


Post (C) Doris McCraw

aka Angela Raines


Photo (C) Doris McCraw

This is the second part of a two-part post about the only female Civil War Veteran buried in the Civil War section of Evergreen Cemetery. Although Esther is buried in the Civil War GAR section, her headstone when she was buried was some distance from the other veterans.

The first part can be found on the link at the bottom of this post.

Esther Walker was a nurse with the New York 18th Army Corp according to her GAR burial record. This same record has her time of service as April 23, 1861, to December 3, 1864.  We learn from this record that she was born in Ireland in 1837.

Additional records offer the following information: 

On March 3, 1891, she applied for compensation as an invalid. This record also states she was a nurse with the Medical Department, U.S. Volunteers.  

Another record states: Esther Walker (formerly Dayton) Nurse, Medical Department U.S. Army.

The joys of research lead to so many pieces of information that you dig through. Still, some nuggets keep you going. 

One news article contained the following information about her time just before and during the war:

Mrs. Walker, who was formerly Mrs. Dayton, was engaged as a nurse at Bellevue Hospital, N. Y., When she answered the call of Secretary Stanton for nurses, leaving New York in June 1862, with a Christian commission. She reported at Beaufort, S. C., where a summer resort had been turned into a hospital. From there she was specially detailed for duty at General J. G. Foster's headquarters at Newberg, as a bullet, which that officer carried from the Mexican war, made the services of a nurse necessary. At the close of the war, she returned to Boston.A wikipedia summary of John Gray Foster)


Photo (C) Doris McCraw

In 1880, according to the census from that year, she was widowed and living in Michigan with four children: John Dayton, Joseph Dayton, George F. Dayton, and Esther Dayton. What is interesting, she also according to the 1900 census, when she was 61 and dealing with cancer, married James Walker in 1871. She had five children and James was about twenty years older than she. Her year of immigration was 1853. His was 1820.

She ended up in Colorado in 1900 and moved in with her son John 'Hugh' Dayton, a bookkeeper. Her other son, George F. Dayton was a police officer who had some renown in Colorado. However, she did travel to this area in the 1890s to visit her sons. She lived her approximately six months before succumbing to cancer.

She appears to have been active with the W.R.C. (Women's Relief Corp) an auxiliary to the GAR (Grand Army of the Republic). This organization worked to provide post-war relief to the Union Veterans. 

In the Sioux County Herald (an Iowa newspaper) of Nov. 15, 1899, the following was posted:


The following piece appeared in the Le Mars Sentinel of December 10, 1900:


There is more to find on this fascinating Civil War Veteran. What was her life like in the South during this conflict? Why didn't she continue as a nurse after the war? So many questions worth trying to find answers for.

For those who may have missed the earlier posts:

Esther Walker - Prairie Rose Publications

Alpheus R. Eastman - Western Fictioneers



Thursday, April 11, 2024

On This Day in the Old West: April 12

 Today we’ll celebrate an event that made secretaries happy across the country: the invention of a truly portable typewriter. On April 12, 1892, Patent No. 472,692 was issued to George C. Blickensderfer of Stamford, Connecticut, for a “type writing machine.” The Blickensderfer Manufacturing Company eventually became one of the world’s largest typewriter manufacturers.

The concept of a mechanical typewriter dates back at least to 1714, when Englishman Henry Mill filed a vaguely-worded patent for “an artificial machine or method for the impressing or transcribing of letters singly or progressively one after another.” However, the first machine that actually worked was built by Italian Pellegrino Turri in 1808 for his blind friend Countess Carolina Fantoni de Fivizzano. The details and appearance of this typewriter are unknown, but specimens of letters written by the Countess on it still exist. 

Various inventors in Europe and the United States tried creating typewriters in the 19th Century, but successful commercial production only began with the “writing ball” of Danish Rasmus Malling-Hansen in 1870. This device looked a little like a pincushion. Much more influential, in the long run, was the Sholes & Glidden Type Writer, which began production in late 1873 and appeared on the American market in 1874.

The Sholes & Glidden typed only in capital letters, and it introduced the QWERTY keyboard, which is still with us today. This keyboard was designed, so they say, to separate frequently-used pairs of typebars so that the typebars would not clash and get stuck at the printing point. The Sholes & Glidden was a decorative machine, with painted flowers and decals. It looked a bit like a sewing machine, as it was actually manufactured in the sewing machine department of the Remington arms company. It had limited success, but its successor, the Remington, soon became a dominant presence in the typewriting industry.

The Sholes & Glidden, like many early typewriters, is an understroke or “blind” writer, where the typebars are arranged in a circular basket underneath the platen (the printing surface) and type on the bottom of the platen. This means the typewriter (typist) has to lift up the carriage to see her work. It wasn’t until 1891 when the Daugherty Visible became the first frontstroke typewriter to go into production. In this model, the typebars rest below the platen and hit the front of it. With the Underwood of 1895, this style of typewriter began to gain ascendancy.

George Blickensderfer’s typewriter used a radical, minimalist design that reduced the number of moving parts from 2,500 to 250, improving reliability and reducing the weight by one-fourth. It worked on the principle of a revolving type wheel and swapped the QWERTY “universal” keyboard for a proprietary DHIATENSOR keyboard layout. Blickensderfer claimed this layout was the best option for efficient typing, since it clustered the ten most popular letters used in the English language on the first row. This argument, however, didn’t catch on, and in order to remain competitive, Blickensderfer typewriters began offering universal keyboard layouts in the early 20th Century.

The ”Blick” portable typewriter was easier to produce, transport, and operate, and soon became an international bestseller. In order to keep up with demand, Blickensderfer opened a factory on Atlantic Street in Stamford in 1896. Thanks in part to his efforts, Connecticut became an international hub of typewriter manufacturing and home to some of the world’s most prolific typewriter companies, including Underwood and Royal. 

Your characters may not have been typewriters, which is what typists were called at that time, but they would probably have been exposed to typewritten business papers even if they weren’t familiar with the process involved in creating them. 

 

J.E.S. Hays
www.jeshays.com
www.facebook.com/JESHaysBooks

Tuesday, April 9, 2024

Waiting and Mad, by Charles Marion Russell (1899)

 

A real look into the internal workings of the mind of Charlie Russell, Cowboy Artist Extraordinaire, with this witty and wonderful picture, Waiting and Mad (1899).

People who have known me for some time have surely heard me say, “I’ve been married for 33 years and I’ve spent 27 of them waiting.”  As someone who regularly waits by the door, waits by the shower and waits in the car while my Much Better Half does whatever it is that he’s doing, the feeling in this picture is very familiar.  And I’m sure the look on my face is much the same.

Just to be upfront about it – I love this picture.   Though Charlie was merely a capable draughtsman of the human form, every detail of this picture speaks volumes.

The story is clear from the surroundings and the look of … sultry disgust on the Indian woman’s face.  Here is a beautiful and sexualized woman – notice the nearly exposed breast and the provocative curve of hip.  Her pallet is ready for company, but the fire in the foreground has grown cold (a witty joke), the dinner bowl is now empty, and the long pipe is cast aside and unused (ditto).  Like the wispy smoke from the dead fire, there is only a dissipating trace of something that was once hot.

Most delicious of all is the look on her face: a mixture of disappointment, fury, resignation and bored familiarity.  One has the distinct impression that this has happened before, and will probably happen again in the future.  And she knows it.

So … why do I like this painting so much?  Mainly because Charlie’s views on humanity were much smarter and commonsensical than the ways we are taught to think today.  Charlie knew many Native Americans in his time in the West, and genuinely liked them.  He was one of nature’s democrats – he judged people as individuals, and knew that, as groups, people are more alike than they are different.

Today, we are taught that our differences matter more than our similarities, and that our cultural peculiarities are some sacred carapace that protect us from being more like one another.  Charlie would’ve thought we were crazy (and I’m with Charlie).  This picture works so well because Charlie was able to capture the look of everyone who has ever waited for their wife or husband to show up.  It would be the same picture if the woman was in an Asian setting, or a Middle-European one, or in a contemporary American home: and that is Charlie’s point.  We’re all people, and we’re all more alike than we are different. 
 
I love this picture! What do you think of it?


Wednesday, April 3, 2024

Western Movie Taglines Blog Series - April Movie Taglines #movietaglines #westernmovies

My 2024 blogging series, Western Movie Taglines, began in January when I explained what a tagline is and gave examples of good non-western movie taglines followed by several disappointing taglines from western movies.

In February, I shared 15 western movie taglines that were clever or witty, real groaners, or just plain silly. March through September, I will share 10 movie taglines each month. October through December will be the Top 40 Countdown of Best Western Movie Taglines.

I compiled a list of 250 (plus) westerns and their taglines. From that 250, I plucked out the best 125 to share between February and December. These 125 taglines range from good to outstanding as far as doing justice to their corresponding movies.

The Top 40 taglines are the ones that capture and sum up the heart of the movie in such a fabulous way that we're amazed at how a handful of words can be that powerful or theme-descriptive. Also in December, I will 1) share taglines I've written for two western movies and one early-settling of the American frontier movie that deserved better taglines and, 2) offer a downloadable document of the 250 movies and taglines that I compiled.

Onward to the April Western Movie Taglines—


Joe Kidd (1972)
If you’re looking for trouble – He’s Joe Kidd.

Joe didn’t look for trouble. It just found him.

The Plainsman (1966)
When the land needed law…
When the West needed taming...
When adventure needed a giant…
They sent for the Plainsman!

Five Card Stud (1968)
A card cheat was hung…

Then all hell broke loose!

Rango (2011)
No man can walk out on his own story.

Into the Badlands (1991)
Where the bounty hunter becomes the hunted.

Somewhere between civilization and the Ninth Circle of Hell

Silverado (1985)
Four strangers became friends. Four friends became heroes on the road to… Silverado.

The Tin Star (1957)
"When you wear the tin star you’re either a brave man…or a dead one.”

Monte Walsh (1970)
Monte Walsh is what the West was all about.

Monte Walsh (2003)
A man struggling to hold on to the tradition that made him a legend.

The Sheepman (1958)
They called him the Stranger with a Gun.




See you next time,
Kaye Spencer
www.kayespencer.com

Tuesday, March 26, 2024

Alpheus Randal Eastman -Private - 10th Minnesota Volunteers


Post (C) Doris McCraw

aka Angela Raines


Photo (C) Doris McCraw

This month Alpheus R. Eastman is the focus of the Civil War Veterans in Evergreen Cemetery. 

Eastman was born in November in Maine, probably in 1839 or 1840.  

He volunteered for the Civil War and was inducted in Minnesota. How he made it from Maine to Minnesota looks to be lost to time. We know he was living in Medford, Steele County, Minnesota, at the time of his enlistment. What makes Alpheus so interesting there is more than one Alpheus Eastman from Maine. In fact, there was an Alpheus K. Eastman, and an Alpheus R. Eastman who enlisted in Maine and immediately deserted. 

To the best of my ability, I have followed the trail that appears the Alpheus Randal Eastman buried in Evergreen Cemetery in Colorado Springs, Colorado.

Eastman was inducted on August 13, 1862, at the age of twenty-one. He served in Company A of the 10th Minnesota Infantry as a private. His Civil War record states he served in the Civil and Indian Wars. On January 16, 1865, he transferred to the Veterans Reserve Corps. 

For those who are interested below is a copy of Eastman's discharge papers:

Accessed through Ancestry

On June 1, 1866, Alpheus filed for a pension as an invalid. Below is a copy of the filing.

From Ancestry

At the time of his death of Chronic Bright's disease on January 11, 1905, he was living at 921 S. Corona St. in Colorado Springs, CO.

Bright's Disease is an inflammation of the kidneys. It can be caused by toxins, an infection, or an autoimmune condition. In its acute stage, the kidneys are severely inflamed. There is usually increased blood pressure and severe back pain.

In his book, "The 10th Minnesota Volunteers, 1862 – 1865:  A History of Action in the Sioux Uprising and the Civil War..." by Michael A. Eggleston he states in the early part of the preface:

".. Members of the 10th Regiment [Eastman's regiment] served from the organization of the Regiment in August 1862 until its final muster in August 1865. The experience of this Regiment is unique. Its members fought in two wars over a period of three years. Because this Regiment shared an experience with few other Civil War units and only a summary of the service was published in 1890, the story needs to be told. Volunteers who signed up to fight the Confederacy suddenly found themselves fighting the Sioux in the Minnesota Indian War instead. After two years of fighting the Sioux, they move south to fight the Confederate Army in a series of battles in the West."

The journey of these veterans is fascinating and sad. They went through so much and so many don't have any personal written records. Their stories are inferred from the official documents that remain. Hopefully, this series will shed some light on their lives and lead to further research.

For those who may have missed the earlier posts:

Helen Rood Dillon - Prarie Rose Publications

Virginia Strickler - Prairie Rose Publications Blog

Henry C. Davis - Western Fictioneers Blog

Chester H. Dillon - Western Fictioneers Blog

For anyone interested, I have a monthly substack newsletter: Thoughts and Tips on History


Until Next Time: Stay safe, Stay happy, and Stay healthy. 

Doris

 


Wednesday, March 13, 2024

Loops and Swift Horses are Surer Than Lead, by Charles Marion Russell (1916)

 

Hello There!

First off, I wanted to thank everyone for the kind words! I am a Western Writers of America Finalist for Best Western Juvenile Fiction for my book, Tom Mix and The Wild West Christmas. This is, simply, the most exciting thing that has ever happened to me, and I am thrilled beyond words. Thanks to everyone at Western Fictioneers who sent best wishes.

This month, I wanted to look at a painting by cowboy artist Charles Marion Russell. 

We can start with the obvious: the title of this work, Loops and Swift Horses are Surer Than Lead.  In my study of Western Art over the years, I have had occasion to look at several pictures that include bears in an attitude of menace. In fact, after Native Americans, bandits and over-zealous lawmen, perhaps the bear is the most frequently represented foeman in Western Art.

However, most any of Charlie’s contemporaries would take the obvious route, and paint a picture of Western figures shooting and killing the bear.  (Or, reaching for their rifles to do so, or putting them down after they have done so.)  Not Charlie. His cowboy heroes, though obviously well-armed, rope and scare the bear away to safer climes. Always more Roy Rogers than Clint Eastwood, Charlie didn’t see the West as a vast panorama of hardship and cruelty, but, rather, a boyish paradise of freedom and fun.

This is where Charlie differs most significantly from the artist frequently associated with him, Frederic Remington (1861-1909). For Remington, the West was unending hardship, merciless desert and physical exertion, a battle for survival to be won or lost. It is Remington, of course, who created in his work the now-familiar Western trope of the bleached steer skull that can still be seen in countless depictions of the West. Make a wrong move, Remington implied, and you’ll end up the same.

If this picture is any indication, perhaps Charlie’s vision was the truer one.  Loops and Swift Horses now hangs in the Amon Carter Museum of American Art, and is based on a true-life incident. This painting came about by way of his friends, the Coburn brothers of the famous Circle C Ranch in eastern Montana, where they described the roping of a giant brown bear. Artistic license was taken when Charlie turned the bruin into a Grizzly, but the rest of the story was true right down to the landscape in the background: the scenic Coburn Buttes.

The dominant color of the picture is blue, but Charlie manages to mute or pop shades of it to represent everything from trees to sky to mountains, to foreground scrub. Yet, the color never becomes monotonous or gimmicky. 

Charlie was also the master of figures in motion.  His horses move. Many of our greatest artists have been able to depict horses of majesty, of size, of monumentality, but Charlie’s horses are seen in dramatic action, twisting or jumping with a febrile life of their own. I can think of no finer painter of American horses than Charlie Russell.
 
Finally, Charlie underscores the tumultuous action of the picture with a rainstorm in the middle-distant horizon. Like all Western landscape pictures, the view-horizon is vast, going on for miles. Thus the far-off rain storm underscores the ‘storm’ of action going on between cowboys, horses and bear. 

Speaking of movement, take a moment to look at the bear. It twists and pivots on unsteady ground … you can almost feel the weight of the animal as it is pulled and slides down the natural incline. The cowboys, too, move as if in motion, alternately pulling or swinging their lariats. And notice the cowboy on the right, looking over his right shoulder, with right leg raised as counter weight to keep in saddle.

This is a really good picture, and something mysteriously akin to the essence of Charlie – not only is his West a world of action, freedom and camaraderie, but it can be a fairly bloodless one, too. Charlie loved the animals he found out West (when visiting cities, he always went to the local zoo, where he said he felt most at home), and it’s not surprising that he would depict his heroes scaring away the threat of a grizzly, rather than killing it. 

Perhaps we should all take a page from Russell’s notebook, and produce work that preserves the best parts of ourselves (or, at least, the myth of the best part of ourselves). The more I look at Charlie’s work, the more convinced I become that we need more artists like him now.

Thursday, March 7, 2024

On This Day in the Old West: March 8

Today we’re talking about something near and dear to most everyone’s heart: money! Specifically coins and how they are made. On March 8, 1838, the New Orleans Mint began operations. They started with an order for dimes, but later produced all sorts of coins. Let’s take a closer look at a mint and how it works.


The New Orleans Mint operated from 1838 to 1861, then from 1879 to 1909 after the Civil War. During that time, it produced over 427 million gold and silver coins of nearly every American denomination, with a total face value of over 307 million US dollars. Some of the coins produced at this mint included silver three-cent pieces (1851 only), half-dimes, dimes, quarters, half dollars, silver dollars, gold dollars, $2.50 quarter-eagles, three-dollar pieces, five-dollar half-eagles, ten dollar eagles, and twenty dollar double eagles.

The first step in the coin-making process is to design the coin. A sculptor (or sculptress) first creates the design with a sketch, then a three-dimensional model in clay. This model is then transferred onto a metal stamp, called a die. The die is what stamps the design onto the coins. Most coins start out as huge rolls of metal, like giant rolls of wrapping paper. Round discs are punched out of these sheets. These are called blanks and are heated to make them softer and easier to work. The blanks are washed, then run through a machine that squeezes them so that the sides push up, making the characteristic coin rims. The coin press then uses the special die to stamp the coin design onto each blank. Mint employees then inspect each coin for flaws before they are counted, weighed, and bagged to be sent all over the country. Each coin will last around thirty years in circulation before it becomes too worn to use further. The coins are then retired and melted down so the metal can be used for other things.


Many interesting characters served at the New Orleans Mint during its early years of operation. One such personage was John Leonard Riddell, who served as melter and refiner at the Mint from 1839 to 1848. Outside of this job, he pursued interests in botany, medicine, chemistry, geology, and physics. Riddell invented the binocular microscope and wrote on numismatics, publishing a book in 1845 titled Monograph of the Silver Dollar, Good and Bad, Illustrated with Facsimile Figures. Two years later, an article by Riddell appeared in DeBow’s Review. This was called “The Mint at New Orleans—Processes Pursued of Working the Precious Metals—Statistics of Coinage, etc.” John Riddell, however, was not held in high esteem by everyone he knew. His conflicts with other Mint employees were well-documented, and at one point he was accused of being unable to properly conduct a gold melt.


Your characters, while probably not familiar with the inner workings of a mint, would certainly have been familiar with the products of that factory, and would have probably preferred the solid clink of coin over the sometimes-unreliable paper bills. It might be interesting to look into some of those more interesting coins in depth, to see if your character might have carried around a three-cent or three-dollar piece, or even a half-dime (and no, this was not just a nickname for a nickel). Looks like a ”mint” condition 1853 half-dime might net you as much as $24,000 today! Too bad your character couldn’t stash one or two away for you.

 

J.E.S. Hays

www.jeshays.com

www.facebook.com/JESHaysBooks

Wednesday, March 6, 2024

Western Movie Taglines Blog Series - March Movies #movietaglines #westernmovies

My 2024 blogging series, Western Movie Taglines, began in January when I explained what a tagline is and gave examples of good non-western movie taglines followed by several disappointing taglines from western movies.

In February, I shared 15 western movie taglines that were clever or witty, real groaners, or just plain silly. March through September, I will share 10 movie taglines each month. October through December will be the Top 40 Countdown of Best Western Movie Taglines.

I've compiled a list of 250 westerns and their taglines. From that 250, I've plucked out the best 125 to share between February and December. These 125 taglines range from good to outstanding as far as doing justice to their corresponding movies.

The Top 40 taglines are the ones that capture and sum up the heart of the movie in such a fabulous way that we're amazed at how a handful of words can be that powerful or theme-descriptive. Also in December, I will 1) share taglines I've written for two western movies and one early-settling of the American frontier movie that deserved better taglines and, 2) offer a downloadable document of the 250 movies and taglines that I compiled.

January Movie Taglines
February Movie Taglines

March Western Movie Taglines

3 Godfathers or Three Godfathers (1948)
Three desperadoes keep a date with destiny…in the strangest drama to roar out of the badlands.

Against a Crooked Sky (1975)
A young woman kidnapped in the West. A brother determined to save her.

California (1963)
Fearless frontiersmen led by a danger-loving soldier of fortune.

Crossfire Trail (2001)
A hero is measured by the enemies he makes.

El Dorado (1967)
At El Dorado there’s no gold in the ground—only lead in the air.

...and...

They were friends. They were enemies. A passerby could not tell which was who. This was the seething sultry Old Southwest where loyalties and labels shifted with the sands, the winking of an eye, the wavering of a gun!


North to Alaska (1960)
These were the adventurers…fighting, laughing, and brawling their way from Seattle to Nome!

...and...

These were the giants who fought and loved their way to the top of the world!

The Shootist (1976)
He’s got to face a gunfight once more to live up to his legend once more to win just one more time.

Stagecoach (1966)
These were the ten who fought Indians, outlaws, and each other as they rode to greatness on the stagecoach to Cheyenne!

Valdez is Coming (1971)
Honor is always worth fighting for.

Winterhawk (1975)
Before the West ever saw the American cowboy… Winterhawk had become a Blackfoot legend
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Kaye Spencer
www.kayespencer.com

Tuesday, February 27, 2024

C. (Chester) H. Dillon, 1st New York Artillery - Civil War

 

Post by Doris McCraw

aka Angela Raines         


Photo (C) Doris McCraw

Next up in this series of Civil War veterans buried in local cemeteries is C. H. Dillon who is buried in Evergreen Cemetery, Colorado Springs, Colorado.

Mr. Dillon was easy to find. He was born in Pennsylvania on May 7, 1828, and died on September 10, 1893. I then moved to his military service. It is in his service records things get interesting. 

At age thirty-five, Chester registered for the draft in 1863 as a class two. Class two was a list of eligible men who would be called up after all class one on the list had been used. This meant that Chester was between thirty-five and forty-five and married at the time.


Photo (C) Doris McCraw

Chester H Dillon was called up in 1864. On September 20 that year, he was assigned to the 144th New York Infantry. By October 27th he was mustered out of the 144th and transferred to Company G of the New York Engineers. He officially mustered out on June 30, 1865. He was also promoted to artificer, a private 1st class. 

Before enlistment, Dillon was a farmer and according to the census he returned to that. When he moved to Colorado he was a carpenter in 1879, the first year of the city directory, then became the janitor at the opera house in Colorado Springs. There was also a brief time in 1883, he was the city marshall. The year of his passing. 1893, he was listed as an expressman. 

It was interesting that while the city marshall, the mayor was a doctor who had been on the other side of the conflict. The city was a mixture of men who had served on both sides and were involved in making the city the best it could be.

The one constant seemed to be his membership in the Masons along with being a husband to Helen and father to his children son John and daughter Elma.

The interesting thing is, that C. H. (Chester) Dillon has two headstones. A regular and a military one.


Photo (C) Doris McCraw


According to the regiment details, the 1st New York engineers engaged in the following during Dillon's enlistment: Siege operations against Petersburg and Richmond from June 1864 to April 1865. The construction of Fort Hell in Sept. and Oct of 1864 and the building of the Dutch Gap Canal from Oct to Dec. The Hatch Expedition up Broad River South Carolina on Nov. 28-30. The Battle of Honey Hill on November 30 and Deveaux's Neck on December 6,1864. The whole regiment mustered out on June 30, 1865. During the whole of the conflict from its formation in 1861 to June 30, 1865, the unit lost two officers and twenty-five enlisted men killed or mortally wounded, and five officers and one hundred and sixteen to disease. 

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As Always,

Stay Safe, Stay Healthy, 

Doris