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Occidental is a picturesque village in West Sonoma County nestled between the Salmon Creek and Dutch Bill Creek watersheds. William "Dutch Bill" Howard is considered the first permanent European settler in 1849, but he was not Dutch, and his name was not Bill--he was actually Danish and had assumed a new identity after deserting a ship to look for gold. Howard and another early settler, logging baron "Boss" Meeker, were instrumental in shaping early Occidental. The North Pacific Coast Railroad arrived in 1876, requiring construction of the country's tallest timber bridge. The railroad allowed much faster communication and transportation of people and goods, including redwood, charcoal, tanbark, and produce. Italians also started arriving in the 1870s, opening authentic Italian restaurants that have now served generations of families. In the 1970s, a culture clash occurred between ranchers and farmers with hippies and artists, but together they fought to maintain the beauty and character of Occidental.
Occidental is a picturesque village in West Sonoma County nestled between the Salmon Creek and Dutch Bill Creek watersheds. William "Dutch Bill" Howard is considered the first permanent European settler in 1849, but he was not Dutch, and his name was not Bill--he was actually Danish and had assumed a new identity after deserting a ship to look for gold. Howard and another early settler, logging baron "Boss" Meeker, were instrumental in shaping early Occidental. The North Pacific Coast Railroad arrived in 1876, requiring construction of the country's tallest timber bridge. The railroad allowed much faster communication and transportation of people and goods, including redwood, charcoal, tanbark, and produce. Italians also started arriving in the 1870s, opening authentic Italian restaurants that have now served generations of families. In the 1970s, a culture clash occurred between ranchers and farmers with hippies and artists, but together they fought to maintain the beauty and character of Occidental.
The Outlook for Earthlings traces an unusual, difficult friendship across a lifetime, between women of stunningly opposite natures. Melanie Taper is timid, compelled to obey and venerate authority. Yet in unguarded moments she demonstrates such deadly insight into human foibles as to suggest a strength that has, for dark reasons, deliberately hidden itself lifelong. Scarlet Rand, by contrast, is rash, willful, and impatient of reverence of any stripe. Scarlet is shocked by Mel's passive reserve; despite her obvious gifts, Mel is--bafflingly--self-erasing. Mel's Billy Budd-like saintliness maddens Scarlet--because finally and most troublingly, Scarlet disbelieves it. Their friendship suggests...
Journalist and historian Gaye LeBaron first learned of Thomas Lake Harris and his Brotherhood in the 1960s when the deserted winery, champagne cellars and empty mansion still stood at the old Fountaingrove. She was to learn that there were stories to be told swirling all around that hilltop, including the adventures of a young Samurai that forged "the Japanese connection" with Santa Rosa.Author Bart Casey stumbled on Thomas Lake Harris on the poetry shelves of the Harvard library when he was a student there. Curiosity led him to the many-layered story of Laurence Oliphant, a Harris disciple, and the other "characters" on this journey to Utopia. His book, The Double Life of Laurence Oliphant, was published in 2015.The two authors' first meeting, at LeBaron's archives in the Schulz Library's Special Collections at Sonoma State University, resulted in a five-year collaboration and their mutual effort to tell "the whole story."
A comedy that focuses on a man who discovers he has a talent for choosing the winning horse in a race as long as he never places a bet himself.
Adapted from the Charpentier "Te Deum in D Major" with an original school-friendly text, this is an accessible and positive way to ease your students into singing timeless choral music. An optional trumpet adds to the classic character. Majestic!
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically chan...
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