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1851_1 | During this time, Waldrep recorded 21 bluegrass tribute albums with CMH Records in Los Angeles for Eric Clapton, The Black Crowes, Widespread Panic, Phish, R.E.M., Tim McGraw, The Allman Brothers, Neil Diamond and others. He was also featured on the CD Masterworks of American Bluegrass also produced by CMH Records. At this point, Waldrep started recording solo records and doing tours & studio sessions with other artists.
September 2009, Zac Brown invited Waldrep to join him on his "Breaking Southern Ground Tour". Waldrep is featured on the Zac Brown Band Pass The Jar CD/DVD, along with Kid Rock and Little Big Town. During this time he met the husband and wife country duo Joey + Rory. He did a tour with them during the Zac Brown Tour, and in some cases, they all toured together. In addition, Waldrep played the Grand Ole' Opry several times and the Ryman Auditorium in Nashville, Tennessee, which was the previous home of the Grand Ole' Opry. |
1851_2 | In January 2013, after landing a record deal with Singular Records in San Francisco, California, Waldrep began the Smoke From the Kitchen sessions, which is a bluegrass banjo/southern rock project. This project includes artists Chuck Leavell (Rolling Stones), Paul T. Riddle (Marshall Tucker Band), Oteil Burbridge (Allman Brothers), Charlie Starr (Blackberry Smoke), Coy Bowles (Zac Brown Band), Benji Shanks and Jazz Grass Mandolin player David "Dawg" Grisman.
In January 2016 Barry teamed up with singer songwriter Kelli Johnson to spend the year touring as a duo. During this year they released one CD "Hey Country (where are you now).
October 2016, Barry announces he will be touring with Country Artist John Berry as a member of his band on Johns 2016 Christmas tour. |
1851_3 | January 2017, Barry Waldrep and friends began performing their fusion of Bluegrass/Southern Rock with special guest vocalists. The band is Barry (Electric and Acoustic Guitar, Mandolin & Banjo), Jason Bailey (Mandolin), Caelan Berry (Drums) & Bryan Hall (Upright Bass). Guest vocalists include Jimmy Hall (Wet Willie, Jeff Beck, Hank Williams Jr), Donna Hall & Joe Debrow.
2018, Barry continues with his own band, and their shows have been called by fans as a "SOUTHERN CULTURE REVIVAL". Waldrep states that this branding is the result of just being who we are. "No matter what we play it's gonna sound southern".
He and his band mates are all natives of Georgia or Alabama and have musical influences from Bluegrass, Jazz, Southern Rock and Gospel. |
1851_4 | Early years
Barry Waldrep (Son of James & Barbara Waldrep) grew up in Randolph County Alabama. James was a professional auto mechanic, and a part-time bluegrass musician. Barbara worked in the manufacturing industry. The family vacations were most every weekend as they performed on the southeastern bluegrass festival circuit. |
1851_5 | Barry graduated from Randolph County High School - Wedowee, Alabama in 1982. After a short term at Jacksonville State University, he moved to Auburn, Alabama to start classes at Auburn University, but started a band instead. With several day jobs in the middle of all the club shows, he decided to make music a full-time job in 1988. His first stint at being a full-time musician started with a 3-month house gig at a beach club in Panama City Beach, Florida. Barry Was used to performing on the bluegrass festival circuit with his fathers band where people attended events to hear the music. The club owner in Panama City, wanted a band to make people dance and drink, so the summer gig only lasted a week. Determined to succeed, Waldrep hit all the clubs and landed another gig. The band quickly revamped the set list, and made it through the summer. |
1851_6 | The next 5 years were filled with road side honky tonks & college bar gigs with various bands until 1993 when he started Rollin' In The Hay.
Personal life
Spouses
Julie Russell (1986 - 1987), Rhona Leavitt (1996 - 2007), Lesia Williams (2014–Present)
Children
Mallorie McGue (Step Daughter), Morgan McGue (Step Daughter)
Banjo.com
In addition to touring, Barry purchased the 12 year old musical instrument company banjo.com in May 2015.
Smoke from the Kitchen lineup
The lineup on Smoke from the Kitchen'' includes: |
1851_7 | Banjo, Mandolin & Acoustic Guitar: Barry Waldrep,
Bass: Oteil Burbridge (Allman Brothers Band),
Drums: Paul Riddle (The Marshall Tucker Band),
Hammond: Coy Bowles (The Zac Brown Band),
Electric Guitar, Acoustic Guitar: Charlie Starr (Blackberry Smoke),
Electric Guitar, Resonator Guitar: Benji Shanks (Captain Soularcat/Last Waltz Ensemble),
Mandolin: David Grisman (Jerry Garcia, Peter Rowan),
Keyboards: Chuck Leavell (Allman Brothers Band and Rolling Stones),
Vocals: Paris Luna, Aaron Trubic (Sean Costello Band) |
1851_8 | Barry Waldrep & Friends Celebrate Tony Rice |
1851_9 | Tony Rice was a master acoustic player who passed away in December 2020. Beginning in February 2021, Barry started assembling what would become a 21 track celebration to honor Tony Rice. Produced by Waldrep who also contributes Acoustic Guitar, Banjo & Mandolin tracks to the project. The intent of this album is to show how far Tony's influence reached as the featured artists are from outside the bluegrass genre in which Tony was mainly known. Artist's include Vince Gill, Radney Foster, Warren Haynes, Rodney Crowell, Mike Farris, Larry Campbell, Teresa Williams, John Berry, Jimmy Hall, Kelli Johnson, Donna Hall, Jacob Bunton, Darrell Scott, Patrick Simmons, John Paul White, Rory Feek, John Cowan, Kim Richey, John Jorgenson, Marty Raybon, Jim Lauderdale, Emmylou Harris, Tammy Rogers, Aubrey Haynie, Oteil Burbridge, Jason Bailey, Bryn Davies, Heidi Feek, Dillon Hodges, James "Hutch" Hutchinson, Spooner Oldham, Scott Vestal, Benji Shanks, Andrea Zonn. |
1851_10 | Toured and/or recorded with
Zac Brown Band -
Randy Travis -
Joey & Rory -
Jimmy Hall -
John Cowan -
John Berry -
Darrell Scott -
Rodney Crowell -
Marty Raybon -
Mike Farris -
Kim Richey -
Warren Haynes -
Oteil Burbridge -
Charlie Starr -
Chuck Leavell -
David Grisman -
Vince Gill -
Radney Foster -
Teresa Williams -
Larry Campbell -
Jim Lauderdale -
Patrick Simmons -
John Paul White -
John Jorgenson -
Rory Feek -
Donna Hall -
Emmylou Harris -
Tammy Rogers -
Spooner Oldham -
Andrea Zonn -
Dillon Hodges -
Kelli Johnson -
Scott Vestal -
Aubrey Haynie -
Caelan Berry -
Bryan Hall -
Jason Bailey -
Bryn Davies -
Benji Shanks,
James "Hutch" Hutchinson -
Heidi Feek -
Jacob Bunton -
Paul T. Riddle -
Coy Bowles -
Paris Luna -
Sol Junky -
Kurt Thomas -
Nic Cowan AKA Nico Moon -
Sonia Leigh -
Levi Lowry -
Sarah Peacock -
Lynam -
Wayne Mills Band -
Caddle -
Rock Killough -
Brandon Perry -
Andrea Frankle |
1851_11 | Concert Promoting
Barry has hosted and promoted many festivals and concerts in the Alabama and Georgia region. Acts include John Berry, Jimmy Hall, The Kentucky Headhunters, Confederate Railroad, Wet Willie, The Marshall Tucker Band, Flatt Lonesome, Sarah Peacock and many others.
Overview
Origin: Randolph County Alabama
Genres: Bluegrass, Jam Band, Americana, Southern Rock
Years Active: 1969 – Present
Labels: CMH Records, Singular Records, Delta Grass Records
Associated Acts: Zac Brown Band, Allman Brothers Band, Marshall Tucker Band, Blackberry Smoke, Joey & Rory, Randy Travis
Discography
Bluegrass Tributes
Widespread Panic / 1998
Phish / 1998
The Allman Brothers Band / 1998
REM / 1998
String Cheese Incident / 1999
Black Crowes / 1998
Eric Clapton / 1999
Neil Diamond / 1999
Tim McGraw / 1998
Travis Tritt / 1999
Alan Jackson / 1999
Jo Dee Messina / 2000
Lee Ann Womack / 2000
Brooks & Dunn / 2000
Master Works of American Bluegrass / 2000
Barry Waldrep Projects |
1851_12 | Barry Waldrep / Steel Rails / 1997
Barry Waldrep / The Muscle Sholes Sessions / 2002
Barry Waldrep / Acoustic Stew / 2007
Barry Waldrep / Band of Brothers & Sisters / 2011
Barry Waldrep & Jacob Bunton / Six Ways Til Sunday / 2005
Barry Waldrep / Smoke From The Kitchen / 2014
Rollin' In The Hay
Rollin' In The Hay / Badass Bluegrass / 1993
Rollin' In The Hay / Live At Oasis / 1994
Rollin' In The Hay / Renegade Bluegrass / 1996
Rollin' In The Hay / Self Titled / 1998
Rollin' In The Hay / Live At Oasis 2 / 1999
Rollin' In The Hay / Live At The Flora-Bama / 2000
Rollin' In The Hay / Live At The War Eagle Supper Club / 2000
Rollin' In The Hay / Tribute to Brother Cane / 2002
Guest Appearances |
1851_13 | Paris Luna / Between The Ditches / 2011
Sol Junky / Dead & Gone / 2011
Kurt Thomas / Front Porch Swing / 2010
Nic Cowan / Cheap Wine / 2010
Sonia Leigh / 1978 December / 2011
Levi Lowery / Self Titled / 2010
Chris Scott / Hard Livin' / 2003
Sarah Peacock / Live / 2011
Sarah Peacock / Albuquerque Sky / 2012
Lynam / Bling Bling / 2001
Wayne Mills Band / Bad Man / 2002
Donna Hall / It's Never Too Late / 2002
Caddle / Raise'em High / 2008
Sol Junky / Dead & Gone / 2011
Rock Killough / Impressions/ 1996
Runaway Coal Train / Self Titled / 2008
Jason Bailey / Southwood / 2003
Andrea Frankle / Self Titled / 1998
Brandon Perry / Shades of Gray / 2010
Zac Brown Band / Pass the Jar / 2009
Randy Travis / 25th Anniversary Celebration / 2011
Joey & Rory / Album #2 / 2010
Breaking Southern Ground / 2010 |
1851_14 | References
Smoke From the Kitchen. Retrieved May 3, 2014.
Telluride. Retrieved May 6, 2014.
Music City Roots Photo Gallery. Retrieved May 6, 2014.
Zac Brown Band Breaking Southern Ground Tour Photo Gallery. Retrieved May 6, 2014.
Smoke From The Kitchen VIP CD Release Concert at Red Clay Theatre. Retrieved May 13, 2014.
External links
Musical groups from Georgia (U.S. state)
Living people
Year of birth missing (living people) |
1852_0 | Albert Finch (16 May 1926 – 23 January 2003) was a British boxer from Croydon in South London, who was active from 1945 to 1958. He fought as both a middleweight and light-heavyweight, becoming British middleweight champion in 1950.
He was one of seven children and learnt to box at the age of eight. He had a successful amateur career, winning 63 out of 68 contests.
Professional career
He had his first professional fight on 14 August 1945 at the Queensbury Club, Soho, London. He fought a draw over six rounds against Eddie Starrs.
He continued to build up a successful domestic record with the odd defeat. In October 1948 he beat Mark Hart for the Southern Area middleweight title, winning on points over 12 rounds.
In April 1948, he fought the promising young middleweight, Randolph Turpin, at the Royal Albert Hall, and inflicted Turpin's first defeat, winning on points over eight rounds. |
1852_1 | In June 1949, he challenged Dick Turpin, elder brother of Randolph, for his British and Commonwealth middleweight titles. The fight was held in Birmingham and Turpin won on points over fifteen rounds.
In April 1950, he had a re-match with Dick Turpin, who in the meantime had lost his Commonwealth title. The fight was held in Nottingham and Finch won on points over fifteen rounds after having been knocked down twice. He was now the British middleweight champion.
Finch held the British title for only six months before losing it to Dick Turpin's brother, Randolph in October 1950. They met at Harringay Arena, and Turpin, who had a powerful punch, knocked Finch out in the fifth round. |
1852_2 | Finch began to find it difficult to make the middleweight weight limit and so moved up to fight as a light-heavyweight. Following the Turpin defeat, he had a run of seven straight victories against light-heavyweights before fighting Don Cockell for his British and European light-heavyweight titles. The fight was in October 1951, at the Harringay Arena, and Cockell won by a knockout in the seventh round.
He continued fighting as a light-heavyweight and in November 1954 he had another attempt at the British light-heavyweight title when he fought the holder, Alex Buxton, in Birmingham. Unfortunately, he suffered another knockout, this time in the eighth round. By fighting at the heavier weight he was meeting heavier punches and so suffered more knockouts than previously. |
1852_3 | In March 1956, he had a third attempt at the British light-heavyweight title when he fought Ron Barton for the vacant title. The fight at Harringay Arena ended with Barton winning by a technical knockout in the eighth round. This was his last title fight.
He continued fighting, with mixed success. One notable victory was a win by disqualification against Jim Cooper, Henry Cooper's twin brother, in Stockholm. He had his last fight in March 1958, losing by a knockout in the third round against Noel Trigg.
Retirement
After his retirement he worked at a meat market in Croydon and was active in assisting youthful boxers. He died in 2003 at the age of 76 years.
Professional boxing record |
1852_4 | |-
|align="centr" colspan=8|72 Wins (21 knockouts, 50 decisions, 1 DQ), 21 Losses (9 knockouts, 11 decisions, 1 DQ), 9 Draws, 1 No Contest
|-
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Result
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Record
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Opponent
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Type
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Round
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Date
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Location
| align="centr" style="border-style: none none solid solid; background: #e3e3e3"|Notes
|-align=center
|Loss
|
|align=left| Noel Trigg
|KO
|3
|17 March 1958
|align=left| Cheltenham Town Hall, Cheltenham, Gloucestershire
|align=left|
|-
|Draw |
1852_5 | |
|align=left| Ron Redrup
|PTS
|8
|3 February 1958
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Draw
|
|align=left| Jack Whittaker
|PTS
|8
|13 January 1958
|align=left| Cheltenham Town Hall, Cheltenham, Gloucestershire
|align=left|
|-
|Win
|
|align=left| Tony Dove
|PTS
|10
|3 October 1957
|align=left| Corn Hall, Norwich, Norfolk
|align=left|
|-
|Loss
|
|align=left| Willie Armstrong
|PTS
|8
|21 August 1957
|align=left| Ice Rink, Paisley
|align=left|
|-
|Loss
|
|align=left| Manuel Burgo
|KO
|2
|29 July 1957
|align=left| Engineer's Club, West Hartlepool, County Durham
|align=left|
|-
|Win
|
|align=left| Jim Cooper
|DQ
|7
|19 May 1957
|align=left| Johanneshovs Isstadion, Stockholm
|align=left|
|-
|Win
|
|align=left| Terrence Murphy
|PTS
|12
|26 March 1957
|align=left| Streatham Ice Arena, Streatham, England
|align=left|
|-
|Loss
|
|align=left| Erich Schoppner
|PTS
|8
|3 February 1957
|align=left| Westfalenhallen, Dortmund, North Rhine-Westphalia
|align=left|
|-
|Win
| |
1852_6 | |align=left| Serge Leveque
|PTS
|8
|28 December 1956
|align=left| Masshallen, Gothenburg
|align=left|
|-
|Win
|
|align=left| Andre Cottyn
|TKO
|10
|8 September 1956
|align=left| Ostend, West Flanders
|align=left|
|-
|Loss
|
|align=left| Ron Barton
|TKO
|8
|13 March 1956
|align=left| Harringay Arena, Harringay, London
|align=left|
|-
|Draw
|
|align=left| Uwe Janssen
|PTS
|8
|22 January 1956
|align=left| Westfalenhallen, Dortmund, North Rhine-Westphalia
|align=left|
|-
|Win
|
|align=left| Charles Colin
|PTS
|10
|30 October 1955
|align=left| St. Nazaire Stadium, Saint-Nazaire, Loire-Atlantique
|align=left|
|-
|Draw
|
|align=left| Fred Powell
|PTS
|8
|4 October 1955
|align=left| Streatham Ice Arena, Streatham, England
|align=left|
|-
|Loss
|
|align=left| Alex Buxton
|KO
|8
|9 November 1954
|align=left| Embassy Sportsdrome, Birmingham, West Midlands
|align=left|
|-
|Win
|
|align=left| Marcel Limage
|TKO
|9
|18 May 1954
|align=left| Royal Albert Hall, Kensington, London
|align=left|
|-
|Win |
1852_7 | |
|align=left| Arthur Howard
|TKO
|8
|23 March 1954
|align=left| Earls Court Arena, Kensington, London
|align=left|
|-
|Win
|
|align=left| Joe Bygraves
|PTS
|8
|23 February 1954
|align=left| Royal Albert Hall, Kensington, London
|align=left|
|-
|Win
|
|align=left| Billy Dean
|TKO
|5
|3 November 1953
|align=left| Harringay Arena, Harringay, London
|align=left|
|-
|Win
|
|align=left| Dave Williams
|TKO
|7
|20 October 1953
|align=left| Streatham Ice Arena, Streatham, England
|align=left|
|-
|Draw
|
|align=left| Arthur Howard
|PTS
|8
|13 October 1953
|align=left| Earls Court Arena, Kensington, London
|align=left|
|-
|Win
|
|align=left| Jimmy Davis
|PTS
|8
|6 October 1953
|align=left| Royal Albert Hall, Kensington, London
|align=left|
|-
|Loss
|
|align=left| Dennis Powell
|PTS
|10
|8 September 1953
|align=left| Park Hall, Oswestry, Shropshire
|align=left|
|-
|Loss
|
|align=left| Wim Snoek
|PTS
|10
|18 May 1953
|align=left| Empress Hall, Earl's Court, Kensington, London
|align=left|
|-
|Win |
1852_8 | |
|align=left| Charles Colin
|PTS
|10
|25 April 1953
|align=left| St. Nazaire Stadium, Saint-Nazaire, Loire-Atlantique
|align=left|
|-
|Loss
|
|align=left| Gerhard Hecht
|TKO
|9
|20 March 1953
|align=left| Funkturm Berlin, Westend, Berlin
|align=left|
|-
|Win
|
|align=left| Johnny Barton
|PTS
|8
|16 February 1953
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Loss
|
|align=left| George Walker
|DQ
|5
|2 December 1952
|align=left| Empress Hall, Earl's Court, Kensington, London
|align=left|
|-
|Loss
|
|align=left| George Walker
|KO
|6
|28 October 1952
|align=left| Empress Hall, Earl's Court, Kensington, London
|align=left|
|-
|Win
|
|align=left| Brian Anders
|PTS
|8
|14 October 1952
|align=left| Streatham Ice Arena, Streatham, England
|align=left|
|-
|Win
|
|align=left| Garnett Denny
|PTS
|10
|23 February 1952
|align=left| Ulster Hall, Belfast
|align=left|
|-
|Win
|
|align=left| Michel Lapourielle
|TKO
|8
|13 February 1952
|align=left| Brighton Dome, Brighton, Sussex |
1852_9 | |align=left|
|-
|Win
|
|align=left| Gene "KO" Fowler
|TKO
|5
|21 January 1952
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Loss
|
|align=left| Don Cockell
|KO
|7
|16 October 1951
|align=left| Harringay Arena, Harringay, London
|align=left|
|-
|Win
|
|align=left| Billy Wood
|TKO
|5
|29 May 1951
|align=left| Selhurst Park, Crystal Palace, London
|align=left|
|-
|Win
|
|align=left| Dave Williams
|TKO
|5
|16 May 1951
|align=left| Maindy Stadium, Cardiff
|align=left|
|-
|Win
|
|align=left| Paddy Slavin
|PTS
|10
|30 April 1951
|align=left| Empress Hall, Earl's Court, Kensington, London
|align=left|
|-
|Win
|
|align=left| Johnny McGowan
|TKO
|9
|19 March 1951
|align=left| Granby Halls, Leicester, Leicestershire
|align=left|
|-
|Win
|
|align=left| Don Mogard
|PTS
|8
|26 February 1951
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Win
|
|align=left| Jackie Harris
|PTS
|8
|12 February 1951
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Win
| |
1852_10 | |align=left| Reg Spring
|PTS
|8
|22 January 1951
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Loss
|
|align=left| Randy Turpin
|KO
|5
|17 October 1950
|align=left| Harringay Arena, Harringay, London
|align=left|
|-
|Win
|
|align=left| Albert Heyen
|PTS
|10
|27 September 1950
|align=left| Ynysangharad Park, Pontypridd
|align=left|
|-
|Draw
|
|align=left| Cyrille Delannoit
|PTS
|10
|21 July 1950
|align=left| Ostend, West Flanders
|align=left|
|-
|Win
|
|align=left| Dick Turpin
|TKO
|8
|3 July 1950
|align=left| Nottingham Ice Stadium, Nottingham, Nottinghamshire
|align=left|
|-
|Win
|
|align=left| Eli Elandon
|PTS
|10
|26 June 1950
|align=left| Town Hall, Northampton, Northamptonshire
|align=left|
|-
|Win
|
|align=left| Juan Torrecillas
|TKO
|3
|12 June 1950
|align=left| Selhurst Park, Crystal Palace, London
|align=left|
|-
|Win
|
|align=left| Dick Turpin
|PTS
|15
|24 April 1950
|align=left| Nottingham Ice Stadium, Nottingham, Nottinghamshire
|align=left|
|-
|Win
| |
1852_11 | |align=left| Joe Beckett
|PTS
|10
|29 March 1950
|align=left| Norwich, Norfolk
|align=left|
|-
|Draw
|
|align=left| Mel Brown
|PTS
|10
|13 March 1950
|align=left| Streatham Ice Arena, Streatham, England
|align=left|
|-
|Draw
|
|align=left| Allan Cooke
|PTS
|8
|21 February 1950
|align=left| West Ham Baths, West Ham, England
|align=left|
|-
|Loss
|
|align=left| Baby Day
|PTS
|10
|7 February 1950
|align=left| Empress Hall, Earl's Court, Kensington, London
|align=left|
|-
|Win
|
|align=left| Jimmy Ingle
|KO
|4
|5 December 1949
|align=left| Leeds Town Hall, Leeds, Yorkshire
|align=left|
|-
|Win
|
|align=left| Albert Heyen
|PTS
|10
|14 November 1949
|align=left| Davis Theatre, Croydon, London
|align=left|
|-
|Loss
|
|align=left| Bert Hyland
|PTS
|8
|24 October 1949
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Win
|
|align=left| George Ross
|PTS
|10
|4 October 1949
|align=left| Empress Hall, Earl's Court, Kensington, London
|align=left|
|-
|Win
|
|align=left| Bert Sanders
|PTS |
1852_12 | |8
|18 August 1949
|align=left| Stadium, Dartford, Kent
|align=left|
|-
|Loss
|
|align=left| Dick Turpin
|PTS
|15
|20 June 1949
|align=left| St Andrew's, Birmingham, West Midlands
|align=left|
|-
|Win
|
|align=left| Bob Cleaver
|KO
|7
|24 May 1949
|align=left| Selhurst Park, Crystal Palace, London
|align=left|
|-
|Win
|
|align=left| Bert Hyland
|PTS
|8
|21 April 1949
|align=left| Manor Place Baths, Walworth, London
|align=left|
|-
|Win
|
|align=left| Des Jones
|PTS
|8
|10 March 1949
|align=left| Caledonian Road Baths, Islington, London
|align=left|
|-
|Loss
|
|align=left| Luc van Dam
|PTS
|10
|24 January 1949
|align=left| Royal Albert Hall, Kensington, London
|align=left|
|-
|Win
|
|align=left| Doug Myers
|TKO
|6
|13 December 1948
|align=left| Manor Place Baths, Walworth, London
|align=left|
|-
|Win
|
|align=left| Mark Hart
|PTS
|12
|11 October 1948
|align=left| Acacia Hall, Croydon, London
|align=left|
|-
|Win
|
|align=left| Bert Sanders
|PTS
|10
|10 August 1948 |
1852_13 | |align=left| Selhurst Park, Crystal Palace, London
|align=left|
|-
|Win
|
|align=left| George Dilkes
|PTS
|8
|11 June 1948
|align=left| Belle Vue Zoological Gardens, Belle Vue, Manchester
|align=left|
|-
|Win
|
|align=left| Frederick Jock Taylor
|TKO
|7
|8 June 1948
|align=left| Selhurst Park, Crystal Palace, London
|align=left|
|-
|Win
|
|align=left| Randy Turpin
|PTS
|8
|26 April 1948
|align=left| Royal Albert Hall, Kensington, London
|align=left|
|-
|Win
|
|align=left| Pat Mulcahy
|TKO
|6
|15 December 1947
|align=left| Leyton Baths, Leyton, England
|align=left|
|-
|Win
|
|align=left| Geoff Heath
|PTS
|8
|10 December 1947
|align=left| Acacia Hall, Croydon, London
|align=left|
|-
|Win
|
|align=left| Al Marson
|PTS
|8
|28 November 1947
|align=left| Plumstead Baths, Plumstead, England
|align=left|
|-
|No Contest
|
|align=left| Jack Johnson
|NC
|4
|1 July 1947
|align=left| London Olympia, Kensington, London
|align=left|
|-
|Win
|
|align=left| Freddie Price
|PTS
|8
|28 April 1947 |
1852_14 | |align=left| Green Pond Road, Walthamstow, England
|align=left|
|-
|Loss
|
|align=left| Mark Hart
|PTS
|12
|16 April 1947
|align=left| Manor Place Baths, Walworth, London
|align=left|
|-
|Win
|
|align=left| Jimmy Ingle
|PTS
|8
|11 March 1947
|align=left| Seymour Hall, Marylebone, England
|align=left|
|-
|Win
|
|align=left| Bert Hyland
|TKO
|6
|11 February 1947
|align=left| Regents Crest Hotel, Marylebone, England
|align=left|
|-
|Win
|
|align=left| Arthur Sadd
|PTS
|8
|21 January 1947
|align=left| Seymour Hall, Marylebone, England
|align=left|
|-
|Win
|
|align=left| Tommy Braddock
|PTS
|8
|17 December 1946
|align=left| Beckenham Baths, Beckenham, England
|align=left|
|-
|Win
|
|align=left| Paddy Roche
|PTS
|8
|3 December 1946
|align=left| Margate, Kent
|align=left|
|-
|Win
|
|align=left| Frank Hayes
|PTS
|8
|28 November 1946
|align=left| Ramsgate, Kent
|align=left|
|-
|Win
|
|align=left| Alby Hollister
|PTS
|8
|19 November 1946
|align=left| Seymour Hall Baths, Marylebone, England |
1852_15 | |align=left|
|-
|Loss
|
|align=left| Mark Hart
|PTS
|12
|23 October 1946
|align=left| Grand Theatre, Clapham, London
|align=left|
|-
|Win
|
|align=left| Paddy Roche
|TKO
|8
|14 October 1946
|align=left| Beckenham Baths, Beckenham, England
|align=left|
|-
|Win
|
|align=left| Harry Groves
|PTS
|10
|9 October 1946
|align=left| Grand Theatre, Clapham, London
|align=left|
|-
|Loss
|
|align=left| Vince Hawkins
|PTS
|8
|17 September 1946
|align=left| Harringay Arena, Harringay, London, England
|align=left|
|-
|Win
|
|align=left| Jim Hockley
|PTS
|8
|9 July 1946
|align=left| Town Hall, Willesden, England
|align=left|
|-
|Win
|
|align=left| Jimmy Stewart
|PTS
|8
|25 June 1946
|align=left| Brighton Dome, Brighton, Sussex
|align=left|
|-
|Win
|
|align=left| Johnny Blake
|PTS
|8
|31 May 1946
|align=left| Agricultural Hall, Maidstone, Kent
|align=left|
|-
|Loss
|
|align=left| Harry Watson
|TKO
|5
|25 March 1946
|align=left| Greenwich Baths, Greenwich, London
|align=left|
|-
|Win
| |
1852_16 | |align=left| Frank Hayes
|PTS
|8
|19 March 1946
|align=left| Beckenham Baths, Beckenham, England
|align=left|
|-
|Win
|
|align=left| Billy Cottrell
|PTS
|8
|25 January 1946
|align=left| Manor Place Baths, Walworth, London
|align=left|
|-
|Win
|
|align=left| Paddy Roche
|PTS
|8
|24 January 1946
|align=left| Assembly Rooms, Royal Tunbridge Wells, Kent
|align=left|
|-
|Win
|
|align=left| Billy Cottrell
|TKO
|5
|16 January 1946
|align=left| Beckenham Baths, Beckenham, England
|align=left|
|-
|Win
|
|align=left| Jim Hockley
|PTS
|8
|7 January 1946
|align=left| Caledonian Road Baths, Islington, London
|align=left|
|-
|Win
|
|align=left| Jim Laverick
|PTS
|8
|18 December 1945
|align=left| Queensbury Club, Soho, London
|align=left|
|-
|Win
|
|align=left| Jack Lewis
|PTS
|6
|3 December 1945
|align=left| Plumstead Baths, Plumstead, England
|align=left|
|-
|Win
|
|align=left| Jack Lewis
|PTS
|8
|13 November 1945
|align=left| Caledonian Road Baths, Islington, London
|align=left|
|-
|Win
| |
1852_17 | |align=left| Cyril Johnson
|KO
|2
|6 November 1945
|align=left| Queensbury Club, Soho, London
|align=left|
|-
|Win
|
|align=left| Jim Hockley
|PTS
|6
|20 October 1945
|align=left| Kingston Baths, Kingston, London
|align=left|
|-
|Win
|
|align=left| Ted Baxter
|PTS
|6
|9 October 1945
|align=left| Caledonian Road Baths, Islington, London
|align=left|
|-
|Win
|
|align=left| Gordon Griffiths
|PTS
|6
|11 September 1945
|align=left| Queensbury Club, Soho, London
|align=left|
|-
|Draw
|
|align=left| Eddie Starrs
|PTS
|6
|14 August 1945
|align=left| Queensbury Club, Soho, London
|align=left|
|} |
1852_18 | See also
List of British middleweight boxing champions
References
External links
1926 births
2003 deaths
People from Croydon
English male boxers
Boxers from Greater London
Light-heavyweight boxers |
1853_0 | Tigerland is a 2000 American war drama film directed by Joel Schumacher and starring Colin Farrell. It takes place in a training camp for soldiers to be sent to the Vietnam War.
Tigerland was the name of a U.S. Army training camp during the mid-1960s to early 1970s, located at Fort Polk, Louisiana as part of the U.S. Army Advanced Infantry Training Center. As often the last stop for new infantrymen on their way to Vietnam, Tigerland was established in humid and muggy Fort Polk in order to closely mimic the environmental conditions of South Vietnam. While the film's setting is loosely based on Fort Polk, the film was actually filmed at Camp Blanding in Florida. The film premiered at the 2000 Toronto International Film Festival. |
1853_1 | Plot
In September 1971, the US is losing the Vietnam War. Roland Bozz, a draftee opposed to the war, is an unruly soldier who disrespects authority. He befriends another Army recruit, Jim Paxton, an aspiring writer who records his experiences in a journal. Unlike Bozz, Paxton volunteered. Upon reaching their post, company commanding officer Captain Saunders explains that every soldier who passes through Fort Polk will be sent to Vietnam, and that any political views on the war are irrelevant.
Having "X-ray vision for loopholes", Bozz finds ways for soldiers to get out of the army — one because he not only has children but also a handicapped wife; another, Miter, had joined to prove his manhood but finds himself overwhelmed. Eventually Bozz's natural leadership and ability earn him the title of squad leader. Another private, Wilson, a racial bigot and instigator, continuously demeans Miter and Bozz. Bozz fights and easily beats Wilson, earning Wilson's hatred. |
1853_2 | Later, during live fire exercises, Wilson threatens Bozz with a pistol. Bozz tries to disarm Wilson, and the two wrestle each other to the ground, with Wilson prevailing and putting the gun to the back of Bozz's head and pulling the trigger. Miraculously, the gun misfires, saving Bozz's life. Saunders lets Bozz choose the punishment: have Wilson court-martialed or "let me deal with him", strongly suggesting the latter. Bozz says he wants Wilson "out of the Army", because he recognizes Wilson has emotionally suffered ever since his inability to command became obvious. |
1853_3 | The platoon is sent to "Tigerland", a forested training area designed as a replica of Vietnam. During an exercise, Bozz's squad acts as villagers in a mock Vietnamese village, with one squad member designated as a Viet Cong sympathizer. They compete with another squad charged with rooting out the sympathizer, led by Wilson, who was ultimately spared. As the exercise ends with Bozz's squad "winning", Wilson tells Bozz he will kill him no matter what it takes. Soon thereafter, Bozz plans to escape to Mexico with the aid of some civilians he has paid. Platoon member Johnson tells him if he runs away, Wilson will kill Paxton instead. Bozz remains. |
1853_4 | During the last training exercise, the two squads are pitted against each other on patrolling missions. As Wilson's squad prepares for an attack, he replaces his blank cartridges with live ammunition and removes his blank-firing adaptor. As Bozz's squad nears, he opens fire. Though he does not hit anyone, he is obviously using live ammunition, and the trainer for the exercise tries to intervene. As he does, Bozz is standing above Paxton and deliberately fires a blank round with his rifle muzzle near Paxton's face, the flash wounding Paxton's eye. The trainer aims a pistol at Wilson's head to get him to hold his weapon up and surrender, telling him he will be court-martialed. |
1853_5 | The platoon prepares to head to Vietnam, except for Paxton, whose eye injury, though temporary, has earned him a medical discharge. Bozz and Paxton exchange farewells. Paxton tells Bozz he is going to write about him, but Bozz says he will not. He has stolen Paxton's journal and rips out pages as the platoon's bus drives off, leaving Paxton scrambling to recover them. Bozz tosses the journal as the bus speeds away.
In the closing narration, Paxton says he never saw Bozz again. Over time, he heard from various sources that Bozz either died in Vietnam or disappeared over there. One acquaintance told Paxton he thought he'd seen Bozz, years after the war, in Mexico with a beautiful woman. |
1853_6 | Cast
Colin Farrell as Private Roland Bozz
Matthew Davis as Private Jim Paxton
Clifton Collins Jr. as Private Miter
Tom Guiry as Private Cantwell
Shea Whigham as Private Wilson
Russell Richardson as Private Johnson
Cole Hauser as Staff Sergeant Cota
Neil Brown Jr. as Private Jamoa Kearns
Tory Kittles as Private Ryan
Nick Searcy as Captain Saunders
Afemo Omilami as Sergeant First Class Ezra Landers
Matt Gerald as Sergeant Eveland
Michael Shannon as Sergeant Filmore
James Macdonald as Staff Sergeant Thomas
Arian Ash as Sheri |
1853_7 | Reception
Tigerland received positive reviews from critics and has a "certified fresh" rating of 77% on Rotten Tomatoes based on 47 reviews with an average score of 6.98 out of 10. The consensus states "A great cast and the gritty feel of the film help elevate Tigerland above the familiarity of the subject matter." The film also has a score of 55 out of 100 on Metacritic based on 14 reviews. Despite the positive critical reception and its US$10 million budget, the film hardly appeared at the box office, making $148,701 worldwide.
References
External links
2000 films
2000s English-language films
2000 drama films
2000s war drama films
20th Century Fox films
American films
American war drama films
Films directed by Joel Schumacher
Films set in Louisiana
Films set in 1971
Films about the United States Army
Films shot in Jacksonville, Florida
American independent films
Vietnam War films
Regency Enterprises films
Films produced by Beau Flynn
Films produced by Steven Haft |
1854_0 | Cueva de las Manos (Spanish for Cave of the Hands or Cave of Hands) is a cave and complex of rock art sites in the province of Santa Cruz, Argentina, south of the town of Perito Moreno. It is named for the hundreds of paintings of hands stenciled, in multiple collages, on the rock walls. The art was created in several waves between 7,300 BC and 700 AD, during the Archaic period of pre-Columbian South America. The age of the paintings was calculated from the remains of bone pipes used for spraying the paint on the wall of the cave to create the artwork, radiocarbon dating of the artwork, and stratigraphic dating. |
1854_1 | The site is considered by some scholars to be the best material evidence of early South American hunter-gatherer groups. Argentine surveyor and archaeologist Carlos J. Gradin and his team conducted the most important research on the site in 1964, when they began excavating sites during a 30-year study of cave art in and around Cueva de las Manos. The site is a National Historic Monument in Argentina and a UNESCO World Heritage Site.
Location
Cueva de las Manos refers to both the main site of the cave and the surrounding complex of rock art sites that includes it. The cave lies at the base of a stepped cliff in the Pinturas River Canyon, in the upper part of the Deseado River basin, in an isolated part of Patagonia. It is about south of Perito Moreno, a town in northwest Santa Cruz Province, Argentina. It is part of both Perito Moreno National Park and Cueva de las Manos Provincial Park. |
1854_2 | Climate
During the time of the Paleoindians, around the late Pleistocene to early Holocene geological periods, the areas between above sea level formed a microclimate in the canyon promoting a grassland ecosystem hospitable to many animals. This ecosystem included the Schinus molle plant, which was used to form resins and adhesives and as a source of firewood. It was also home to edible vegetables and plants that could be used for medicine; tubers, such as the rush root; and numerous fruits, such as that of the Berberis plant. |
1854_3 | The current climate of the cave area can be described as precordilleran steppe (or "grassy foothills"). The climate is cold and dry, with very low humidity. Ian N. M. Wainwright and colleagues state that the area receives a total annual precipitation of less than per year, while Gladys I. Galende and Rocío Vega state that it averages per year. The topography of the canyon blocks the strong westward winds that are common in the region, making winters less severe. The average temperature is , with extreme highs of around and extreme lows of around . The coldest month is July, and the warmest month is February, which average and , respectively. |
1854_4 | Access
In ancient times, people accessed the Pinturas Canyon, and by extension the cave area, through ravines in the east and west, typically from higher elevations around above sea level. Currently, there are three gravel roads that lead to the site: a route from the south, starting near Bajo Caracoles, and two more further north, a route from Ruta 40 (Route 40) and a route that ends with a foot trail.
History
When the site was occupied, the Pinturas and Deseado Rivers drained into the Atlantic Ocean and provided water for herds of guanacos, making the area attractive to Paleoindians. As the glacial ice fields melted, the Baker River captured the drainage of the eastward flowing rivers. The resulting reduction in water levels of the Pinturas and Deseado rivers led to a progressive abandonment of the Cueva de las Manos site. |
1854_5 | Projectile points, a bola stone fragment, side-scrapers, and fire pits have been found alongside the remains of guanaco, puma, fox, birds, and other small animals. Guanacos were the natives' primary food source; hunting methods included bolas, ambushes, and game drives, in which they would drive guanacos into ravines and other confined areas to better collectively hunt them. This technique is recorded in the art of the cave, and shows how the topography of the area influenced the art and how it was created. Dart and spear throwers are also depicted, although there is little archaeological evidence of these types of weapons being used in Patagonia. |
1854_6 | The Pre-Columbian economy of Patagonia depended on hunting-gathering. Archaeologist Francisco Mena states: "[in the] Middle to Late Holocene Adaptations in Patagonia ... neither agriculture nor fully fledged pastoralism ever emerged." Argentine surveyor and archaeologist Carlos J. Gradin remarks in his writings that all the rock art in the area shows the hunter-gatherer lifestyle of the artists who made it. The presence of obsidian near the cave—which is not natural to the region—implies a broad-ranging network of trade between peoples of the cave area and distant tribal groups. |
1854_7 | Beginning around 7,500 BC, the site, along with the Cerro Casa de Piedra-7 site near Lake Burmeister, became important landmarks in a nomadic circuit between Pinturas Canyon and its surrounding areas, the western part of the Central High Plateau, and the steppes and forests of the ecotone bordering the steppes and forests of the mountainous-lake environment of the Andes. These regions existed at various elevations. The migratory patterns of this circuit were seasonal, following the abundance of vegetables in each region and the births of guanacos, which varied based on the altitude. The furs of newborn guanacos were highly sought after by the native peoples, increasing the importance of guanaco birth patterns to the timing of the seasonal migrations. The prime time for newborn guanacos near Cueva de las Manos was around November. The groups who inhabited the area included the Toldense people, who lived in the caves until the third or second millennium BC. When occupying the area, |
1854_8 | temporary camp sites would be made around the cave, where extended families or even large bands of people would gather. The groups that gathered at these camp sites would have enabled the inhabitants to organize group hunting of guanacos. |
1854_9 | The earliest rock art at the site was created around 7,300 BC. Cueva de las Manos is the only site in the region with rock art of this age, categorized as the A1 and A2 styles of the cave, but after 6,800 BC similar art, particularly hunting scenes of styles A3, A4, and A5, was created at other sites in the region. The site was last inhabited around 700 AD, with the final cave dwellers possibly being ancestors of the Tehuelche tribes.
Modern study and protection
Father Alberto Maria de Agostini, an Italian missionary and explorer, first wrote about the site in 1941. It was then investigated by an expedition of the La Plata Museum in 1949. Argentine surveyor and archaeologist Carlos Gradin and his team began the most substantial research on the site in 1964, initiating a 30-year-long study of the caves and their art. Gradin's work has helped to identify the different stylistic sequences of the cave. |
1854_10 | Cueva de las Manos is a National Historic Monument in Argentina, and has been since 1993. In 1995, the site became a major subject in a study of Argentina's rock art initiated by the National Institute of Anthropology and Latin American Thought (INAPL). This study led to Cueva de las Manos being listed as a UNESCO World Heritage Site in 1999. In 2015, the land was bought from a private ranch by Rewilding Argentina, an environmental organization. In 2018, the site received its own provincial park, and as of 2020 the land is controlled directly by the state, after being donated by Rewilding Argentina.
Geology |
1854_11 | The cave is in the walls of the canyon, which are composed of ignimbrite and other volcanic rocks in the Bahía Laura Group. The rocks were formed about 150 million years ago during the Jurassic period as part of the larger Deseado Massif. The cave and surrounding overhangs were carved out of the rock face through differential erosion, a process by which weaker rocks are eroded away, leaving formations composed of the stronger rocks. This erosion was caused by the Pinturas River, fed by glacial runoff, which cut into the Chon Aike Formation to form the Pinturas Canyon. The cave itself is located at a fissure in the rock face that the river eroded more than the surrounding canyon wall. |
1854_12 | The site is composed of the cave itself, which is about deep, two outcroppings, and the walls at either side of the entrance. The entrance faces northeast and is about in height by wide. The paintings on the cave's wall span about . The initial height of the cave is . The ground inside has an upward slope; as a result, the height is eventually reduced to no more than .
Artwork
Cueva de las Manos is named for the hundreds of hand paintings stenciled into multiple collages on the rock walls. The art in the Cueva de las Manos is some of the most important art in the New World, and by far the most famous rock art in the Patagonian region. The art dates to between around 7,300 BC to 700 AD, during the Archaic period of Pre-Columbian South America. Scholars Ralph Crane and Lisa Fletcher assert that the rock art at Cueva de las Manos includes the oldest-known cave paintings in South America. |
1854_13 | The artwork decorates the interior of the cave and the surrounding cliff faces. It can be divided by subject into three basic categories: people, the animals they ate, and the human hand. Inhabitants of the site hunted guanacos for survival, a dependency reflected in their artwork by totemic-like depictions of the creatures. |
1854_14 | Several waves of people occupied the cave over time. The age of the paintings can be calculated from the remains of bone pipes used for spraying the paint on the wall of the cave to create the stenciled artwork of the hand collages, radiocarbon dating of the artwork itself, and stratigraphic dating, including from a piece of the rock wall that had fallen with art on it. Chemical analysis of the pigments used to create the painting, and analysis of the stylistic aspects and superimpositioning (overlap) of the different parts of the art has verified that it is authentic. According to scholar Irene Fanning and colleagues, it is "the best material evidence of early hunter gatherer groups in South America."
Forms
Earlier works in the cave were more naturalistic—they looked close to how the subjects of the art would have looked in real life. Over time, depictions became more abstract and different in form from how the subject would normally look. |
1854_15 | There are over 2,000 handprints in and around the cave. Most of the images are painted as negatives or stenciled, alongside some positive handprints.There are 829 left hands to 31 right hands, suggesting that most painters held the bone spray pipe with their right hand. Some handprints are missing fingers, which could be due to necrosis, amputation, or deformity, but might also indicate the use of sign language or bending fingers to convey meaning.
The varying depth of the rock face alters the "canvas" of the artwork, and the different depths from the viewer alter the way the images are seen, based on where the viewer is standing. There is a large amount of superimpositioning of the handprints in different areas, with some areas containing so many handprints that they form a palimpsest background of layered color. Along with the superimposed masses of images, there are many purposefully placed single hands. |
1854_16 | There are also depictions of human beings, guanacos, rheas, felines, south Andean deer, and other animals, as well as geometric shapes, zigzag patterns, representations of the sun, and hunting scenes. The hunting scenes are naturalistic portrayals of a variety of hunting techniques, including the use of game drives and bolas. Similar paintings, though in smaller numbers, can be found in nearby caves. There are also red dots on the ceilings, probably made by submerging hunting bolas in ink and throwing them upwards.
The wildlife depicted in the artwork is still found in the area today. Most prominent among the animals are the guanacos, upon which the natives depended for survival. There are repeated scenes of guanacos being surrounded by hunters, suggesting that this was the preferred hunting tactic.
Cultural context |
1854_17 | Little is known about the culture of those who made these works aside from the tools they used and what they hunted. Modern research is left to speculate about their culture and what life was like in the societies that created it. However, that so many people contributed to the artwork for thousands of years suggests the cave held great significance for the artists who painted on its walls. The art shows the people of this area had a symbolic element to their culture. |
1854_18 | Regardless of its purpose, the artwork played a key role in the collective social memories of the peoples who inhabited the area, with earlier groups influencing later ones through a narrative spanning millennia. Important aspects of the culture of the hunter-gatherers are shown in the themes of the art, such as the reproductive cycles of guanacos and collective hunting. The site also bore a deep social and personal connection to the artists, as the same groups returned to the location seasonally and created artwork at the cave, which was a kind of ritual. |
1854_19 | Purpose |
1854_20 | The exact function or purpose of this art is unknown, although some research has suggested that it may have had a religious or ceremonial purpose as well as a decorative one. Some scholars, such as Merry Wiesner-Hanks, have suggested that handprints are indicative of the human desire to be remembered, or to record that they were there. However, Jean Clottes has challenged this perspective, stating that that "the likelihood of such behavior is virtually zero." Instead, Clottes asserts that prehistoric shamanism is the most plausible explanation for the purpose of the artwork, as part of "ceremonies about which we will never know anything", although he acknowledges that this hypothesis does not explain everything, and that much work still needs to be done. Another hypothesis posits that the art served as boundary markers between peoples, showing territoriality and ensuring the cooperation of others by functioning as aggregation sites. There are also hypotheses that the works were part |
1854_21 | of hunting magic, with Alan Thorne suggesting that they might have been created as part of efforts to influence the number of animals available to be hunted. Regardless, the fact that many people gathered in one place to contribute to the rock art for such a long period shows a large cultural significance, or at least usefulness, to those who participated. |
1854_22 | Materials
The binder used in the artwork is unknown, but the mineral pigments include iron oxides, producing reds and purples; kaolin, producing white; natrojarosite, producing yellow; manganese oxide (pyrolusite), producing black; and copper oxide, producing green. Haematite, goethite, green earth, quartz, and calcium oxalate have also been detected. Gypsum was used, which allowed the pigments to better adhere to the surface of the rock faces.
Stylistic groups
Specialists have categorized the art into four stylistic groups, as proposed by Carlos Gradin and adapted and modified by others: A, B, B1, and C, also known as Río Pinturas I, II, III, and IV, respectively. The first two groups were partly conceived to differentiate group A's dynamic depiction of guanacos from group B's static depiction of them.
Stylistic group A |
1854_23 | Stylistic group A (also known as Río Pinturas I) is the art of the first hunter-gatherers who lived in the area. It is the oldest style in the cave, and can be traced back to around 7,300 BC. The style is naturalistic and dynamic, and encompasses polychrome, dynamic hunting scenes along with negative human hand motifs. The imagery takes advantage of the grooves and irregularities in the rock face itself to form part of the art. This is especially true in the use of these irregularities to represent the topography of the settings of the images, such as in the depiction of ravines. The hunters depicted in the scenes were likely long distance hunters, and the scenes often depicted ambush or surround tactics being used when hunting guanacos. |
1854_24 | Since 2010, this stylistic group has been further subdivided into five different sub-styles, or series, categorized by color/material. These series are classified as A1 (Ochre series), which is primarily made up of ochre and some red; A2 (Black series), which is predominantly black but also contains some dark purple; A3 (Red series) which primarily incorporates red; A4 (Purplish/Dark Red series), which uses purplish red and dark red; and A5 (White/Yellow series), which predominately uses the color white but also incorporates yellow-ochre. In terms of layering, A2 generally covers A1; A3 goes over A1 and A2; A4 goes over A3 and A2; and A5 is positioned on top of all other layers. The sub-styles of stylistic group A are numbered chronologically; that is, A1 is the oldest and A5 is the youngest. |
1854_25 | The Black series in particular introduced several artistic innovations that were carried forward into subsequent artistic styles. These include the introduction of both aerial and hierarchical perspectives, which would be incorporated into later artwork. It also introduced contrasting colors, in the form of black and dark purple, which were used to differentiate between separate representations, a method that would be used throughout the history of the cave art. Many of these influences would carry on in the styles of hunting scenes as late as 5,400 BC.
Stylistic group A ended during the H1 eruption of the Hudson volcano, which took place around 4,770/4,675 BC and led to the abandonment of the Rio Pinturas Area. It is very likely that this eruption is what caused the end of this stylistic group.
Stylistic groups B and B1 |
1854_26 | A new cultural group, lasting from around 5,000 BC until around 1,300 BC, created the art of what is now considered stylistic groups B (Río Pinturas II) and B1 (Río Pinturas III). Static, isolated groups of guanacos with large bellies, possibly pregnant, replace the lively hunting scenes that marked the previous group. These pregnant guanacos and their style and construction were first introduced as part of the Black series of Stylistic group A. Large groups of superimposed handprints, numbering around 2,000, in many colors, are associated with group B, as are some rarer motifs of human and animal footprints.
In group B1, a subgroup of B, the forms become more and more schematic, and figures, human and animal, become more stylized; the group includes hand stencils, bola marks, and dotted line patterns. |
1854_27 | Stylistic group C
Stylistic group C, Río Pinturas IV, begins around 700 AD and marks the last of the stylistic sequences in the cave. The group focuses around abstract geometric figures, including highly schematic silhouettes of both animal and human figures, alongside circles, zigzag patterns, dots, and more hands superimposed onto larger groups of hands. The primary color is red.
Cultural significance and conservation
Every February the nearby town of Moreno hosts a celebration in honor of the caves called Festival Folklórico Cueva de las Manos. |
1854_28 | Many tourists visit the cave, which is known worldwide. The number of tourists visiting the site has increased by a factor of four since its inclusion on the UNESCO World Heritage list in 1999. As of 2020, Cueva de las Manos was visited by around 8,000 people per year. This has brought new challenges for preserving the site. Currently, the most significant threat is graffiti, followed by other forms of vandalism, such as visitors taking pieces of painted rock from the walls and touching the paintings. |
1854_29 | In response, the site has been closed off with chain-link fencing and a boardwalk has been installed to control the movements of visitors. To access the site, visitors must be accompanied by a tour guide. The site also has sanctioned walking trails, a guide lodge, railings, and a parking lot. A team of professionals from the INAPL and the National Scientific and Technical Research Council (CONICET) supervised the construction of these facilities. An awareness program has been undertaken to educate tourists and visitors to the site, including local guides, and to facilitate greater involvement by local communities. The rock art of the site is being recorded and documented in 360° video to make a virtual reality experience involving the site. |
1854_30 | Despite these measures, the local provincial government, the Argentinian government, and the UNESCO have been criticized for not doing enough to protect the site. The provincial government in particular has been criticized for falling short of the recommendations of the INAPL, including the need for additional staffing and a permanent on-site archaeologist.
See also
Argentine painting
List of Stone Age art
Los Toldos (Santa Cruz) — nearby archaeological site and namesake of the Toldense culture group
Piedra Museo — another archaeological site of the Toldense culture group
Pre-Columbian art
Prehistoric art
Notes
References
Bibliography
Further reading
External links
Cueva de las Manos Website (in Spanish)
Cueva de las Manos, cave 3D model (Skechfab)
Cueva de las Manos, Perito Moreno, images
Cave of Hands, Perito Moreno, images
Cueva de las Manos, images
Nomination file 936 |
1854_31 | 10th-millennium BC establishments
1941 archaeological discoveries
Archaeological sites in Argentina
World Heritage Sites in Argentina
Protected areas of Santa Cruz Province, Argentina
Caves of Argentina
Former populated places in Argentina
Rock art in South America
Indigenous painting of the Americas
Pre-Columbian art
Archaic period in the Americas
Indigenous culture of the Southern Cone
Pre-Clovis archaeological sites in the Americas
National Historic Monuments of Argentina
Tourist attractions in Santa Cruz Province, Argentina |
1855_0 | Swanton Pacific Ranch is a ranch in Santa Cruz County, California, outside the town of Davenport. The ranch is owned and operated by California Polytechnic State University (Cal Poly) for educational and research in sustainable agriculture. The ranch encompasses rangeland, livestock, and forestry operations for the College of Agriculture, Food and Environmental Sciences, comprises a significant part of the community of Swanton, and includes the lower Scott Creek watershed.
History |
1855_1 | The Central California region was occupied by the Ohlone Indian Tribe. The tribe resided near Waddell Creek (which runs from east to west) until sometime in the mid 19th century. In November 1843, the land was granted to Ramon Rodriguez and Francisco Alviso by the Mexican Governor of California Manuel Micheltorena. The land grant, named Rancho Agua Puerca y las Trancas, meaning "Hog Water and the Bars", was confirmed by president Andrew Johnson on March 1, 1867. The same year it was sold to James Archibald. To manage the dairy farm he hired Ambrogio Gianone, a Swiss immigrant who constructed the cheese house in 1867 and the barn in 1880 which are still standing. Eventually, Gianone bought a third of the ranch land on the northern end now known as Gianone Hill. After Archibald died in 1875 his wife sold the remainder of the land to Joseph Bloom who continued to use the land for water and farming. |
1855_2 | The future mayor of Santa Cruz, Fred Swanton, decided that the land could be used to generate renewable energy. In the last decade of the 1800s he built a powerhouse with two dams on Big Creek and Mill Creek, and generated hydro-electric power for the Central Coast Counties Gas and Electric which became part of PG&E. However, after a forest fire broke out the flume was destroyed and the powerhouse was abandoned. To assist with logging on the land the Ocean Shore Railroad was constructed. It ran along the coast from San Francisco to Santa Cruz. The railroad hauled logs out of Swanton to the San Vincente Lumber Company sawmill in Santa Cruz. The redwood from this logging was used to rebuild San Francisco after the 1906 earthquake. In 1922 the railroad was shut down due to a demand for higher wages from its employees. |
1855_3 | In the 1920s residents realized artichokes and Brussels sprouts grew well in the coastal area. A dam was installed on Scott's Creek and water was transported to the upper terraces for irrigation. What is now rangeland has remnants of reservoirs from this time period. The Poletti and Morelli families became the owners in 1938. The ranch was divided into three phases: a Grade B Dairy, a beef cattle operation and an assortment of row crops. Later John and Bob Musitelli took over beef and cattle and developed a cow-calf operation. As the Muistelli's expanded their operation the Grade B dairy left.
By 1978 Albert B. Smith, president of Orchard Supply Hardware, acquired Swanton Pacific Ranch. He first learned about the area in a Boy Scout camp there. When the camp closed, Smith bought the land and then over time bought the rest of Swanton Pacific Ranch. In 1993, he donated the ranch to Cal Poly saying: |
1855_4 | Swanton is an uncrowded, beautiful place. My goal in putting this acreage together is to preserve it as such and to share it now and in the future with people who will appreciate it and profit from the experience. Thanks for listening!" - Albert B. Smith |
1855_5 | Geography |
1855_6 | Swanton Pacific Ranch sits in the coastal mountains north of Santa Cruz. The spread include of forest extending from steep mountain slopes down to grassy meadows. Scott Creek runs through Swanton Ranch. "The landscape is different here than on campus," notes natural resource management Professor Brian Dietterick, a certified hydrologist and the ranch's director. "First are coastal forested mountains- steep mountains that support perennially flowing streams. The streams serve as habitat for sensitive aquatic species and fish like Coho salmon and Steelhead trout." Swanton Pacific is a unique place to teach resource management. "It's similar to a Northern California Forest," he states. Swanton Pacific is a living forest laboratory unlike any other at Cal Poly's campus core or the of university ranches just west of the campus. Swanton Ranch overlooks the Pacific Ocean. It lies north of Santa Cruz. The elevation ranges from sea level to around on the highest ridge north of Little |
1855_7 | Creek. There are four ecological regions on the land: cropland, forest, rangeland and riparian land. Riparian lands are adjacent to water sources. There are riparian corridors along Scotts Creek, Mill Creek, Little Creek, Archibald Creek, Queseria Creek, and some smaller unnamed drainages. The riparian corridors provide a habitat for both the endangered Central California Coast evolutionary significant unit of coho salmon and the threatened Central California Coast distinct population segment of steelhead. |
1855_8 | Almost half of Swanton Pacific Ranch, , is covered with mixed forest. Over 63% of the forest contains Redwood trees. (Todd, 1988). The majority of the remaining land is grassland with about of brush. The major riparian corridor goes straight through the center of the ranch along Scotts Creek. It widens to at the estuary which flows into the ocean. The rest of the riparian corridors are only a few feet wide due to steep slopes. There are of cultivated land. Vegetables dominate the crops grown at Swanton. There is also some oat hay grown on the ranch.
Ranch facilities |
1855_9 | The facilities on Swanton Ranch are used for ranch management and student housing. The Ranch administrative offices are housed in the Green House, which has a kitchen/dining room area for interns studying and staying on the Ranch. The Red House contains two meeting rooms that open into one large room. The Red House has five bedrooms for student interns, two bathrooms and a kitchen. The Al Smith House is located on the east side of Swanton Road, just north of the Cal Fire station. This house was built by Al Smith for his frequent visits. It has two bedrooms, two baths and a magnificent stone fireplace. The living room overlooks the ocean. There is a separate training facility here which can be used as a meeting room. A water monitoring lab is also located in the Al Smith House. The barn at Swanton Ranch was built in 1874. It is enclosed with wood siding that was milled from the Ranch's own timber. It has a corrugated iron roof. Much of the structure was originally constructed with pegs |
1855_10 | rather than nails. Cal Poly SLO has taken over the restoration of the barn and has used the original construction concepts whenever feasible when remodeling it. The Bunk House is another place for interns to stay while studying at the Ranch. It currently can accommodate ten students. It has seven bedrooms and four bathrooms. The Staub House has a living area upstairs for resident graduate students, and a kitchen which serves the yurts on the lower level. It is named for one of the previous settlers on the Ranch. The Yurts, located in front of the Staub House provide accommodations for forty people on field trips to Swanton Ranch. The yurts were installed in 1999. There is also a building called the Cheese House on Swanton Ranch. The Cheese House is listed in the County Register of Historic Buildings. |
1855_11 | Swanton Pacific Railroad |
1855_12 | The gauge Swanton Pacific Railroad was constructed in the 1980s by Albert Smith. This miniature railway is scaled to 1/3 standard size with four miniature steam locomotives built by Louis MacDermot for the Overfair Railway. The Overfair was originally part of the Panama-Pacific International Exposition of 1915 which was an official celebration of the completion of the Panama Canal. However, after the exposition, the Overfair Railway did not have much success. The locomotives were stored on MacDermot's estate and would not run again until the 1980s. Al Smith had previously worked for the Southern Pacific Railroad and decided to purchase the locomotives from an auction because of his love of railroads. In 1979 he began laying the rails along Scotts Creek with the help of volunteers. Today the railroad is maintained and run by the Swanton Pacific Railroad Society which is connected with Cal Poly. It attracts many visitors, especially railfans, who volunteer to support its on-going |
1855_13 | operation. |
1855_14 | Land uses
Swanton Pacific Ranch is a self-sustaining non-profit organization and educational institution that provides hands-on learning about sustainable resource management. The Ranch is run like a commercial ranching operation, with crops, grazing and forestry programs covering 80% of operating expenses. The remaining 20% comes from an endowment through Al Smith, a Cal Poly SLO Alumni that gave the Ranch to Cal Poly SLO. Swanton Pacific Ranch serves the people of California as part of the California Polytechnic State University. The Ranch provides educational opportunities for K-12th grade, college age and above. Agricultural programs provide education while incorporating sensitivity for environmental concerns. Ranch management falls into three divisions; forestry, rangeland and cropland.
Forestry
Management philosophy |
1855_15 | Cal Poly SLO provides students with a quality education program in Forest Management. The university is committed to presenting a full scope of all timber management procedures to their students. Management activities range from prime commercial Redwood/Douglas fir forests to restoring poor quality damaged stands and improving the genetic base of native Monterey pine trees. Cal Poly SLO students are provided the complex experience of maintaining an uneven aged forest. Valencia Creek and Swanton Pacific are very unusual properties. They each have different harvest rotations and timber harvest plans. These properties provide Cal Poly SLO students with an excellent "learn by doing" opportunity that encompasses the full spectrum of forest management. Cal Poly SLO's forest project goals are twofold; to provide a quality educational program and to ensure healthy forests. The forest management practices are guided by The Forest Stewardship Council's principles and criteria for certified |
1855_16 | forests. To accomplish the goals of the program, Cal Poly SLO provides the most up to date and innovative management practices available to minimize environmental damage during the harvest. Concern is giving to wildlife habitat but also to making sure the timber stands remain healthy in the future. Redwood also re-sprouts after harvesting. No replanting is required. Some understocked areas are planted with Redwood to increase the Redwood component. Careful monitoring and thinning of the existing clumps is undertaken. The Redwood harvest in the early 1900s included burning which probably helped the regrowth become stronger. Douglas fir does not re-sprout and so must be planted where desired. |
1855_17 | Management sites
Little Creek |
1855_18 | There are approximately in the Little Creek Forest Management area. The first cutting was done between 1907 and 1911 by clear cut and burn railroad logging. Forty acres of the second growth Redwood were harvested in the 1960s. There was very little timber left to manage. With the exception of the of second growth Redwood that was cut, the logging in Little Creek Forest generated an even-aged stand approximately 80 years old of Douglas fir and Redwood trees. The under story trees consist of mostly Tanoak with a few Madrones mixed in. Piper, Kelly and Anderson in 1989 conducted a continuous forest inventory survey. They established an inventory of for Redwood and for Douglas fir. They did this using CFI plots. The plots were reestablished in 1997 by Larry Bonner. This inventory indicated for Redwood and for Douglas fir. |
1855_19 | Currently the distribution is approximately 76% Redwood and 24% Douglas fir (Bonner 1998). The preferred management of this unit would be an uneven aged stand with a mix of 70% Redwood and 30% Douglas fir. Presently Cal Poly SLO students are converting this unit to an uneven-aged stand. This meets the Santa Cruz timber regulations for selective harvesting. The forestry program has completed two timber harvest plans for the Little Creek Unit that complied with State and Local Timber Regulations. The first harvest was completed in 1990-91 and harvested for a gross return of $200,000. The second was undertaken in 1993-95 and grossed $542,803 for the same amount of timber. The difference in the return was due to the increase in timber prices over the years. Presently, 259 of the remaining have been harvested over the last fifteen years. One more area will be harvested over the next two years. Cutting cycles are planned for ten to fifteen year periods with an evaluation done after five |
1855_20 | years. Little Creek Forest inventory plots were established with permanent markers on a grid. The stands are divided by forest inventory, topography and access. A total of eight stands currently exist in the North and South Fork units. Each stand will have an ongoing evaluation data sheet developed to measure environmental factors such as effects on the trees due to disease, mass land movements and fire. A schedule of work will also be developed for each stand. A non-industrial timber harvest plan has been completed also been approved. |
1855_21 | Scott's Creek |
1855_22 | The Scott's Creek Forest unit is very steep and difficult to manage. There are a few areas, some grasslands that could be suitable for small experimental plantations. A mixture of both natural and planted stands of Monterey pines and a variety of hardwood trees including riparian forest make up this unit. Scott's Creek boasts the world's largest nutmeg tree. Cal Poly is considering building a hauling road across Scott's Creek to provide permanent access for the railroad and vehicles. Santa Cruz County recently changed some of their zoning regulations which have blocked the THP submitted for this unit. A zoning change request for the parcels involved was submitted to Santa Cruz County in 2001. Following a baseline and grid system report done in November 1999, a Continuous Forestry Inventory (CFI) was completed by Steve Auten in January 2000. This Scott's Creek CFI study was based on the Little Creek CFI Bonner method. The study estimated a mixture of of Monterey pine, and of |
1855_23 | redwood/Douglas fir mix. It was based on a sampling of of the using the volume equation method. The confidence for these results was less than 95% because the stand is so variable. Brush is heavy throughout most of the stand which impacts seedling growth. The study suggested the high grade logging in 1955 has negatively affected growth in this unit. It has also determined that 90% of the Monterey pines are infected with pitch canker. This study also determined the Monterey pine seedlings experience a lower infection rate than those over one inch in diameter. Because the stands are so variable the study warned against blanket treatments but instead recommended the first harvest be for cleaning rather than revenue. It also suggested a controlled burn on the upper slopes to remove competing brush. |
1855_24 | Valencia Creek
Valencia Creek Forest was purchased by Albert Smith in 1993 at the same time he purchased Swanton Ranch. It lies close to the town of Aptos along Soquel Creek. The Valencia stand consists mostly of redwoods with some scattered Douglas fir stands. There are some hardwoods like Tan oak, Madrone and Shreve oak in the mix. The whole site was clear cut at the turn of the twentieth century. There were two subsequent harvests in the 1960s and 1970s. These harvests led to a gap in the size trees. The stand is approximately one hundred years old with a few old growth trees still standing. The Valencia Creek Forest presents interesting opportunities for study and evaluation in the areas of uneven-aged forest management of coastal Redwood forests. See the Valencia Creek NTMP.
Satellite units |
1855_25 | The satellite units represent seven smaller and less marketable stands of mostly Douglas fir with some Monterey pines mixed in. There are also small pockets of redwood in the more protected and wetter sites. An estimated are contained in the satellite and Scotts Creek stands. Only approximately were considered harvestable in the Big Creek Lumber report (1991). Only of the will be harvestable in the next twenty years. The harvestable trees are widely scattered. Education is the primary value of the satellite units. There is much remedial work to be done such as sanitation/salvage, timber stand improvement, site preparation and planting operations. Environmental reasons will keep the roads used in earlier harvesting of these units to not be used again. |
1855_26 | Erosion Control
Erosion control is addressed in the THP for each management unit. In general uneven-aged management helps ensure ground cover, which minimizes erosion. Road maintenance is done to decrease erosion. Between October and April ATV's and a Polaris are used for access and forestry work. During this time period no vehicles are permitted to use the roads. Each spring and early fall the roads are maintained. The ranch currently maintains road crossings and culverts by using GIS technology. |
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