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A history of the manufacturing sector of San Antonio, paired with the stories of local companies.
On Sept. 27, 1865, the San Antonio Express-News made its debut. And from the beginning, there was plenty to write about. The Civil War had just concluded, and it was only twenty-nine years after the fall of the Alamo. The Chisholm Trail, the high road of the Cattle Kingdom, began in San Antonio, which was the largest and among the most diverse cities in Texas. Spanish, German, and English were commonly spoken. The politics were lively and sometimes divisive, as the city was full of Unionist sympathizers in a state that was an anchor of the Confederacy. Today, 150 years later, San Antonio is America’s fastest-growing big city and still making history. San Antonio is a richly illustrated compilation of more than 150 years of coverage on the history and culture of the city, as told in the pages of the San Antonio Express-News. From local politics to news stories on the military, energy, water use, the border and immigration that reverberate nationally and internationally, to the recent naming of San Antonio’s five Spanish missions as a World Heritage site, the city has always been a place where the American identity is forged. This book tracks the city's past from 1865 until 2015 and is full of evocative pictures and compelling accounts culled from the Express-News archives. The collection celebrates companies that shaped the city, such as Frost Bank, which began extending credit in 1867; the Sisters of Charity of the Incarnate Word, founders in 1869 of what is now the Christus Santa Rosa Health System and subsequently their namesake university; and H-E-B grocery. This is not a standard civic history or a straightforward march through the decades. Loosely organized by theme, the stories in the collection are often quite often surprising, just like San Antonio itself. As anyone who has spent time in the city knows, this is a place with a soul.
"Vignettes From San Antonio is an exhibition primarily focused on my turn to collage as a method to produce a series of drawings. I wanted to include traditional artworks where my hand was largely present in the works. I maintain a practice of constantly sketching on loose sheets of paper throughout my daily life. I am so used to producing artworks minimizing any evidence of my hand, as in my printmaking work, and I'm at a point right now where I am feeling a necessity to exhibit new kinds of work with entirely new subject matter. I knew I wanted to make personal work for my inaugural show at Ruiz Healy that did not focus on the divisions currently facing our country, which meant shifting the focus from objective analysis of current events and moving towards subjective, very personal and uncharted territory for me."- Michael Menchaca
Few American cities enjoy the likes of San Antonio's visual links with its dramatic past. The Alamo and four other Spanish missions, recently marked as a UNESCO World Heritage site, are the most obvious but there are a host of landmarks and folkways that have survived over the course of nearly three centuries that still lend San Antonio an "odd and antiquated foreignness." Adding to the charm of the nation's seventh largest city is the San Antonio River, saved to become a winding linear park through the heart of downtown and beyond and a world model for sensitive urban development. San Antonio's heritage has not been preserved by accident. The wrecking balls and headlong development that accompanied progress in nineteenth-century San Antonio roused an indigenous historic preservation movement—the first west of the Mississippi River to become effective. Its thrust has increased since the mid-1920s with the pioneering work of the San Antonio Conservation Society. In Saving San Antonio, Texas historian Lewis Fisher peels back the myths surrounding more than a century of preservation triumphs and failures to reveal a lively mosaic that portrays the saving of San Antonio's cultural and architectural soul. The process, entertaining in the telling, has reverberated throughout the United States and provided significant lessons for the built environments and economies of cities everywhere.
This is the first general history of San Antonio, Texas, the seventh largest city in the nation. Its past is complex and ranges across 300 years, from the community’s origins as a tiny Spanish frontier town to its contemporary status as a vital American mega-city. Site of some of the most violent struggles between warring empires and people—historians believe San Antonio may be the most fought-over city in U.S. history—it is perhaps most celebrated for the iconic 1836 Battle of the Alamo. The city is also home to four beautifully restored Spanish missions, which in 2015 UNESCO designated a World Heritage Site and have become integral to San Antonio’s robust tourist economy along with the fabled River Walk. This study weaves together a series of environmental, social, political, and cultural pressures that have shaped life in the Alamo City over the last three centuries. Residents have long fought to protect and utilize water and other resources even as they have struggled to achieve equal rights and build a more open and democratic society. Activists from all sectors of this multicultural city have believed deeply in its promise even though they have had to push hard to secure and expand its potential. Their efforts were every bit as intense in the nineteenth and twentieth centuries as they have been in the twenty-first. Written for a general audience, but with a scholarly attention to detail and nuance, San Antonio: A Tricentennial History immerses readers in the city’s fascinating and fraught past.
Includes universities, colleges at the 4-year and 2-year or community and junior college levels, technical institutes, and occupationally-oriented vocational schools in the United States and its outlying areas.
The internationally acclaimed author of The House on Mango Street and winner of the PEN/Nabokov Award for Achievement in International Literature gives us a deeply moving tale of loss, grief, and healing: a lyrically told, richly illustrated fable for grown-ups about a woman’s search for a cat who goes missing in the wake of her mother’s death. The word “orphan” might not seem to apply to a fifty-three-year-old woman. Yet this is exactly how Sandra feels as she finds herself motherless, alone like “a glove left behind at the bus station.” What just might save her is her search for someone else gone missing: Marie, the black-and-white cat of her friend, Roz, who ran off the day they arrived from Tacoma. As Sandra and Roz scour the streets of San Antonio, posting flyers and asking everywhere, “Have you seen Marie?” the pursuit of this one small creature takes on unexpected urgency and meaning. With full-color illustrations that bring this transformative quest to vivid life, Have You Seen Marie? showcases a beloved author’s storytelling magic, in a tale that reminds us how love, even when it goes astray, does not stay lost forever.
In Making the Unknown Known, leading scholars throughout Texas explore the significant role women artists played in developing early Texas art from the nineteenth century through the latter part of the twentieth century. The biographies presented here allow readers to compare these women’s experiences across time as they negotiated the gendered expectations about artists in society at large and the Texas art community itself. Surveying the contributions women made to the visual arts in the Lone Star state, Making the Unknown Known analyzes women’s artistic work with respect to geographic and historical connections. Including surveys of the work of artists such as Louise Wüste, Emma Richardson Cherry, Eleanor Onderdonk, Grace Spaulding John, and others, it offers a groundbreaking assessment of the role women artists have played in interpreting the meaning, history, heritage, and unique character of Texas. It places women artists within the larger social and cultural contexts in which they lived. In that regard, it contains an analysis of their varied styles of art, the media they employed, and the subject matter contained in their art. It thus evaluates the contributions made by women artists to defining the nature of the wider Texas experience as an American region. Beautifully illustrated throughout with rich, full-color reproductions of the works created by the artists, this volume provides an enriched understanding of the important but underappreciated role women artists have played in the development of the fine arts in Texas. At last, the unknown story can be known.
Welfare mothers are popularly viewed as passively dependent on their checks and averse to work. Reformers across the political spectrum advocate moving these women off the welfare rolls and into the labor force as the solution to their problems. Making Ends Meet offers dramatic evidence toward a different conclusion: In the present labor market, unskilled single mothers who hold jobs are frequently worse off than those on welfare, and neither welfare nor low-wage employment alone will support a family at subsistence levels. Kathryn Edin and Laura Lein interviewed nearly four hundred welfare and low-income single mothers from cities in Massachusetts, Texas, Illinois, and South Carolina over a six year period. They learned the reality of these mothers' struggles to provide for their families: where their money comes from, what they spend it on, how they cope with their children's needs, and what hardships they suffer. Edin and Lein's careful budgetary analyses reveal that even a full range of welfare benefits—AFDC payments, food stamps, Medicaid, and housing subsidies—typically meet only three-fifths of a family's needs, and that funds for adequate food, clothing and other necessities are often lacking. Leaving welfare for work offers little hope for improvement, and in many cases threatens even greater hardship. Jobs for unskilled and semi-skilled women provide meager salaries, irregular or uncertain hours, frequent layoffs, and no promise of advancement. Mothers who work not only assume extra child care, medical, and transportation expenses but are also deprived of many of the housing and educational subsidies available to those on welfare. Regardless of whether they are on welfare or employed, virtually all these single mothers need to supplement their income with menial, off-the-books work and intermittent contributions from family, live-in boyfriends, their children's fathers, and local charities. In doing so, they pay a heavy price. Welfare mothers must work covertly to avoid losing benefits, while working mothers are forced to sacrifice even more time with their children. Making Ends Meet demonstrates compellingly why the choice between welfare and work is more complex and risky than is commonly recognized by politicians, the media, or the public. Almost all the welfare-reliant women interviewed by Edin and Lein made repeated efforts to leave welfare for work, only to be forced to return when they lost their jobs, a child became ill, or they could not cover their bills with their wages. Mothers who managed more stable employment usually benefited from a variety of mitigating circumstances such as having a relative willing to watch their children for free, regular child support payments, or very low housing, medical, or commuting costs. With first hand accounts and detailed financial data, Making Ends Meet tells the real story of the challenges, hardships, and survival strategies of America's poorest families. If this country's efforts to improve the self-sufficiency of female-headed families is to succeed, reformers will need to move beyond the myths of welfare dependency and deal with the hard realities of an unrewarding American labor market, the lack of affordable health insurance and child care for single mothers who work, and the true cost of subsistence living. Making Ends Meet is a realistic look at a world that so many would change and so few understand.