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Established in 1873, the San Carlos Indian Agency provided a reservation for the areas Western Apache bands. A U.S. Army post was created nearby to exert military control. Together the original agency and army post are known today as Old San Carlos. From 1874 to 1877, the U.S. governments peace policy directed additional Apache groups and other regional natives to San Carlos. Ensuing turmoil, including renewal of traditional intergroup rivalries and rebellion against civilian and military control, initiated the familiar Apache Wars. These campaigns were fought through the 1870s and 1880s, as Apache rebels intermittently broke from the reserve and returned to former haunts or sought refuge in northern Mexico. By all accountsfrom white civilians, military personnel, and native people alikethe San Carlos Agency and army post was an inhospitable locale, compounded by recurring instability and conflict.
Located in the heart of the San Francisco peninsula, San Carlos is known as the aCity of Good Living.a Originally inhabited by the Costanos Indians, the town was part of the Rancho de las Pulgas land grant during the Spanish mission days. Incorporated in 1925, San Carlos is considered the birthplace of todayas Silicon Valley, having been home to such firms as Varian, Ampex, and Dalmo-Victor. The town has also boasted one of the militaryas largest dog-training facilities, the Morse Seed Company, and a number of great theaters. Community values are strong here, with popular events such as the Home Town Days Parade and Festival, Art and Wine Faire, Hot Harvest Nights, and the biannual Chickenas Ball. Over the years, the city has worked to preserve its history and many of its early structures while also providing citizens with modern civic buildings and other amenities.
On the corner of Central Avenue and Monroe Street, in the center of downtown Phoenix, is the historic Hotel San Carlos. Local Native Americans once worshipped a god of learning in this same area, and so early white settlers chose the site for the city's first school, the Little Adobe School, in 1873. After the Little Adobe School, the location served as a ballpark, a brick schoolhouse, the Central School, and finally the Hotel San Carlos, which opened in March 1928. The first hotel in Phoenix to boast steam heat, elevators, and air-conditioning, Hotel San Carlos has a remarkable story and has even seen its share of movie stars, including Mae West, Gene Autry, and Marilyn Monroe. Clark Gable always stayed in the same corner room on the fourth floor so he could people-watch. Even the friendly ghost of Leone Jensen, who appears regularly at the foot of the guest beds, has added to the unique legacy and continuing popularity of Hotel San Carlos.
Surviving Conquest is a history of the Yavapai Indians, who have lived for centuries in central Arizona. Although primarily concerned with survival in a desert environment, early Yavapais were also involved in a complex network of alliances, rivalries, and trade. In the sixteenth and seventeenth centuries European missionaries and colonizers moved into the region, bringing diseases, livestock, and a desire for Indian labor. Beginning in 1863, U.S. settlers and soldiers invaded Yavapai lands, established farms, towns, and forts, and initiated murderous campaigns against Yavapai families. Historian Timothy Braatz shows how Yavapais responded in a variety of ways to the violations that disrupted their hunting and gathering economies and threatened their survival. In the 1860s, some stole from American settlements and some turned to wage work. Yavapais also asked U.S. officials to establish reservations where they could live, safe from attack, in their homelands. Despite the Yavapais? successful efforts to become sedentary farmers, in 1875 U.S. officials relocated them across Arizona to the San Carlos Apache Reservation. For the next twenty-five years, they remained in exile but were determined to return home. They joined the commercial Arizona economy, repeatedly requested permission to leave San Carlos, and, repeatedly denied, left anyway, a few families at a time. By 1901 nearly all had returned to Yavapai lands, and through persistence and savvy lobbying eventually received three federally recognized reservations. Drawing on in-depth archival research and accounts recorded in the early twentieth century by a Yavapai named Mike Burns, Braatz tells the story of the Yavapais and their changing world.
RECIPIENT OF THE PURA BELPRÉ ILLUSTRATOR HONOR Author-illustrator Carlos Aponte takes readers on a journey to the heart of Puerto Rico in this enchanting picture book set in Old San Juan. "A lively and honest story about filling voids and exploring what defines a family--as well as a love letter to a childhood home."--Horn Book Carlitos lives in a happy home with his mother, his abuela, and Coco the cat. Life in his hometown is cozy as can be, but the call of the capital city pulls Carlitos across the bay in search of his father. Jolly piragüeros, mischievous cats, and costumed musicians color this tale of love, family, and the true meaning of home.
San Carlos was a bedroom community located fifteen miles east of the Pacific Ocean. After WWII and the Korean War, veterans and their families lined up to buy one of the tract homes that made up the new suburbia. The baby boom had begun in San Diego. Directly west of San Carlos, Ocean Beach, a laid-back enclave consisting of seven square miles, was the bohemian jewel of the Point Loma Peninsula. The common thread that tied these two communities together in the seventies was not just beautiful weather. Two outlaw motorcycle clubs immersed in a territorial war, the rampant abuse of illegal drugs, sociopathic serial killers, and suicide stained, for those of us who lived there and then, what should have been an idyllic existence. There Goes the Neighborhood is a tale of two communities forever changed by the dark cloud that blotted the light of day from those who called either community home.
Was the Royal Academy of San Carlos, founded in 1785 by the King of Spain, beneficial or detrimental to the development of a valid, living art in Mexico? The answer lies in the archives of the school, but nobody thought about constructing an aesthetic history from them until Jean Charlot accidentally discovered their extent and interest while searching for other material. In this straightforward, documented account he presents not merely opinions and criticism but evidence, including curricula and contemporary drawings by students and teachers. Since Pre-Conquest art there have been, it is usually assumed, two periods in Mexican art: the Colonial and the Modern. Between these peaks lies the dark Academy-dominated hiatus called Neo-Classicism, an episode that this treatise makes the first attempt to under-stand. The academic canons imported from Europe during this period were undeniably wrong for the indigenous people, and especially wrong at a time when a revolutionary Mexico was struggling for its own identity. But instead of throwing out this strange episode as foreign and imitative, it now becomes possible to see it as a period of acculturation through which the Mexican spirit emerged. Aside from its interest as aesthetic history, this book makes an important contribution to the social history of Mexico. Some provocative ideas emerge: the interrelations between cultural and political attitudes, the historical impact of events and personalities on ideology. In the seesaw of political and financial fortunes, the worst moments of confusion were often the most pregnant artistically, with mexicanidad rising inevitably when official guidance weakened. As social history this account constitutes an interesting parallel to similar cultural experiences in the United States and in other countries of the Americas. Charlot presents this material without special pleading, but not without appraisal. He writes: “... in the periods when the Academy was most strictly run along academic lines, it helped the young, by contrast, to realize the meaning of freedom. When the school was manned by men blind to the Mexican tradition, and sensitive only to European values, their stubborn stand became a most healthy invitation to artistic revolution.”