14 research outputs found
Oral history interview with Merlin Little Thunder
No full textMerlin Little Thunder is Cheyenne and has been a professional artist for many years. He explains how he became an artist and the experiences that pushed him toward this work. Little Thunder describes his style and his process in creating unique artwork. He mentions some of the people who have helped him with his career and acknowledges how important his heritage is to his life and work.The Oklahoma Native Artists Collection is a series of interviews with Native American artists living in Oklahoma or have Oklahoma ties. The purpose of this project is to highlight the contributions of American Indian artists to the state by examining their lives and careers through the lens of art. This series also contains interviews with collectors, gallery owners and festival organizers
Oral history interview with Merlin Little Thunder, Doris Littrell, and Robert Taylor
No full textMerlin Little Thunder and Robert Taylor are both Indian artists who have worked with Doris Littrell for many years. Merlin, Robert, and Doris all mention some of their memories of each other. They describe their experiences and relationships with one another and how beneficial these have been. Merlin and Robert talk about the role Doris and her gallery have played in their careers and how much they have learned from her. The three of them acknowledge their connection based on art.The Oklahoma Native Artists Collection is a series of interviews with Native American artists living in Oklahoma or have Oklahoma ties. The purpose of this project is to highlight the contributions of American Indian artists to the state by examining their lives and careers through the lens of art. This series also contains interviews with collectors, gallery owners and festival organizers
Spirits Lead White Buffalo Thru the Sun's Ancient Trail
No full textOklahoma-based Southern Cheyenne artist Merlin Little Thunder is known for the meticulous detail of his paintings and the stories they tell. He paints Native Americans in naturalistic landscapes as well as in the more symbolic mode seen here. Usually working in miniature, he frames his paintings with a multi-layered mat on which he surrounds his signature with a bolt of lightning and thunderclouds. Little Thunder became a painter full time in 1981 after having worked as a laborer, musician and assistant museum director. One of the artists who influenced his career was the celebrated painter and printmaker Woody Crumbo, Jr., an Oklahoma Potawatomie artist. Little Thunder says that "this picture represents a segment of the story of two Cheyenne cultural heroes who encounter the Old Woman, who changed the Sun's trails from yellow to red and introduced the buffalo and corn to the Cheyenne." The four rigid spirits behind the buffalo represent the cardinal directions and the sacred colors, red, yellow, black and white, plus the Northern Cheyenne sacred color blue and the Southern Cheyenne sacred color green. Little Thunder says the buffalo spirit is carried by a tornado painted with the colors of the Day, Night, Male and Female. The small triangle in the right corner represents an eagle flying.
Merlin Little Thunder studied at Bacone College, Muskogee, Oklahoma; Eastern Oklahoma State College, Wilberton, Oklahoma; and Southwestern Oklahoma State University, Weatherford, Oklahoma. - Andrea S. Norri
[Photograph 2012.201.B1287.0240]
No full textPhotograph used for a story in the Daily Oklahoman newspaper. Caption: "Merlin Little Thunder works on the egg he is decorating for the White House.
Talk: REA coming in
No full textCollected byMerlin Mitchell
Transcrjbed by Kyle Perrin
REA Coming In
Reel 12
Item 3
Harvey Vaught
Miller's Chapel, Ark.
January 15, 1950
Mrs. v •• Boy, I'll tell you, that little blaze on that machine over there's
j ust like it'se a-burning.
Vaught •• You can see right now, we love light better than darkness over
here. You've heard about these old people that'se raised back
in these sticks. Way back here. Now, we've got people here
that used to go to mill over at ••• and they had a big rock.
Mrs . v •• That must a been you.
Vaught •• Yawl never had one up here. And he carried th at rock in one
end of the sack and the corn in the other end. And he went
over there and old Rawson (? told him, said, Here, son • Let me
show you something. Divided that corn up. Just leave that rock
here. You don't need to be a-carrying that. Just put the corn
in one end of the sack-each end of the sack--divide it up, put
it on the mule, it'll be all right. So, he came an back and the
old man just kicked the thunder out of him . Said, I've been
living here forty years--been gittin 1 along party good, and he
said, here you air trying to sprang something new a-ready on me.
Sent him back after that rock.
Mrs . V •• That must have been you.
M ••••••• Mrs . Vaught doesn't believe in that electricity yet , does she?
Vaugbt •• Naw, sir . She's like the little gi r l with her rag doll . She
had a rag doll and there 1 se a lot of her rich folks come in
and their quaintances come visiting . They had these store dolls
and everthing--China dolls and dolls that could cry and hair, you
know , on their heads--and she-uh--they got ready to go--why, they
wanted to try, some of 'em, just give her one of them party dolls,
you know--and tried to trade it to her for her rag doll. Oh,
no , you won't git my dolly. She wouldn't give up the little
rag doll a-tall, you know, for them party dolls . Liz(?) ain't
gonna give up that light there fer--
Mrs . v •• You'se the very one that said, Burn the lamp part of the time .
Don ••••• I think it looks very homelike to have the coal oil lamp burning.
Now, see there , you caused it to go out .
Vaught •• Yeah, I'm liable to be put out When you're all gone--over that deal.
M ••••••• Ho longhave you had your electricity, Mr. Vaught?
Vaught •• Oh , j ust about a month.
Mrs . v •• Abouta month.
M •••••• Well, it takes a little time to get u sed to it .
Don ••••• Well , you're probably havjng to use up some coal oil that ycu
had on hand .
Vaught •• Well, sometimes we just like one of them . If we thought the
bills would run llp when we washed and ironed and one thing another ,
too much, and we didn't need no light to amount to anything a-tall--
When you don't need no light, why, coal oil light's all right.
Don ••••• I know a man Who bought him a hot plate just so he would be
certain to use the minimum.
Vaught •• Well, we're going to have to use mor'n We 're usjn g. we ain't using
enough .
REA Coming In (Cont.)
M ••••••• What's it costing you now?
Vaught •• Well, it's costing us $1.79 here whether we use any or not.
But, if we use over twenty-five killowatts, why, we have to pay
a nickle each one of 'em.. They'se(?) got a box out there on
the outside. You have to turn it all in yourself and send in
your card by mail and send in yourmoney by mail and everything,
so it '11 cut down on all expenses on it. Dan 't cost 'em nothing
for their collecting.
Dave •••• They're almost giving it to us.
Vaught •• Yes, ain 't it a sight. Why, we can burnthe iron, the washing
machine-it don't take but very little to wash. We had a 150
bulb up here--we've got one here--took it out and put that little
one in there. Boy, it sure does make things bright in here. You
put up that--
Don ••••• Too bright.
Vaugbt •• This is a 60. That thing's just revolving right on around there
when you got that 150 on there, but it's just--
(end of tape)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Utah Carroll's last ride
No full textvoice;Merlin Mitchell, Collector Reel 45
Transcribed by Irene Carlisle
Bill Wm.Vaughn
Henderson Mountain
(near Wayton, Arkansas)
June 15, 1950
UTAH CARL
Why, you ask me, little fried,| am I so sad and still?
Why my brow is always darkened |like the cloud upon the hill?
Rein in your pony closter;| I'll tell to you a tale
Of Utah Carl, my pardner, on the last ride on the trail,
Down by old Cascalsiscal (?) Old Mexico, fair land,
Where the cattle roam by thousands in a many a herd and brand,
You'll pass a little headstone, without a date nor name;
There silent sleeps ray pardner, in the land from which I came.
We were riding up one morning, our work was almost done,
When out the cattle started on a wild and maddened run;
But the boss's little daughter was holding on the Side (?),
Rushed in to turn those cattle on the place my pardner died.
In the saddle of the pony where the boss's daughter set,
Utah Carl that very morning had threw her a blanket,
So the saddle might be easy to Nora, his little friend;
And the blanket he placed there brought ray pardner's life to an end.
When little Nora rushed in her pony to the cattle on the right,
The blanket slipped beneath her, caught her foot and held on tight.
There was nothing on the range that'd make the cattle fight,
Till soon was some red object displayed within their sight.
When the cattle saw the blanket dragging almost on the ground
They were mad within a moment, and charged her with (a bound?)
Soon little Nora saw threatening cattle, she turned the pony's
And a-leaning from her saddle got the blanket in her place;
By leaning lost her balance, fell before the wilding tide;
"Lie still, Little Nory, I'm coming," was the words my pardner
'Bout fifty yards behind her, Utah come riding past;
Ah, little he thought that moment, that ride'd be his last.
a-leaning from his saddle he caught the trailing rope;
And to save little Nora from falling, it was his only hope.
When the horse throwed the maiden, she was on foot, steady, sound,
And a-leaning from his saddle he caught her from the ground;
A-swinging swift as he passed her, he caught her in his arms,
And I thought my pardner called, "Cisco, little Nora is safe from harm!"
Said
Lord, such weight upon the cinches had never been felt before,
Till the front gear snapped like thunder, he fell beside little Nora;
As Nora fell from the saddle she drug the blanket down,
And it lie there close beside her as she lie upon the ground.
as "little Nore.
(unbend?)
face,
cried.
Utah Carl (cont.) Reel
Utah Carl picked up the blanket, and he said;
As he run across the prairie, he waved it o'er his head;
As he run across the prairie, ever' cowboy give a cry,
"He has saved the boss' daughter, but I know he has to die."
He has turned those maddened cattle from-a Nora, his little friend;
And now they've turned upon him, he's bound to meet his end.
And quickly out of his scabbard Utah his pistol drew;
He is bound to fight while dying, as a cowboy brave and true.
His pistol flashed like lightning; reports come loud and clear;
As the cattle rushed in on him, he dropped the leading steer;
But down they rushed upon him, the cowboy had to fall,
No more to cinch a broncho, or to give those cattle a call.
Well, he died upon the range, and it seemed most awful hard
I could not make the distance in time to save my pard;
I broke in on the circle; on the ground my pardner lie,
And among the dust and the bruises his young life passed away.
When we took the general roundup, will, it was a sad command,
And the tears rolled down in silent as I clasped my pardner's hand;
For we'd rode those ranches over, we'd rode them side by side,
And I loved him as a brother, and I wept when Utah died.
It was on one Sunday morning I heared the preacher say,
"I don't think your young pardner'll be lost in that Great Day;
For he was the unknown cowboy; he was ready there to die;
And I think that Utah Carl has a home beyond the sky."
(as "revised" by Joe Vaughn)
(3)
...We • • • •w •er e rounding up one morning, our work was almost done...
...But the boss's little daughter was riding on that side,
And rushed in to turn the cattle on the place my pardner died.
(5)
When Lenora rushed in her pony, etc.
Her blanket slipped beneath her, and caught on the stirrup tight;
There was nothing on the ranch that would cause the cattle to fight
But the scene of some red object displayed within their sight.
(6) When Lenora saw the threatening cattle, she turned the pony's face,
And leaning from her saddle tied the blanket in its place, etc.
(8) When his horse approached the maiden, she was on foot steady bound, etc
(other minor variations)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Black violence and the politics of representation: selected readings in the twentieth century American novel
No full textPhDThis thesis argues that the representation of black violence in the twentieth
century American novel is shaped by two principal rhetorical strategies, which I term
denial and demonisation. Denial refers to modes of literary discourse which seek to refute
the possibility of black violence, or to circumscribe it as an exclusively intraracial
phenomenon. Demonisation denotes textual strategies which figure a racially determined
form of violence as a natural element of black character. These strategies may appear
antithetical, but they are rarely deployed in isolation. Rather, they appear in complex
combinations in most representations of black violence in American literature, as I
demonstrate using a range of novels by black and white authors which span the twentieth
century. These strategies have their roots in racist ideologies which seek to obliterate any
connection between the impact of racism upon African Americans and black violence.
Hence they are most noticeable in literary texts which reflect and contribute to racist
ideology. However, texts which seek to expose social and cultural causes of black
violence are also unavoidably influenced by these modes of literary discourse, and this
includes the work of African American authors. They have to negotiate the racist tropes
and assumptions encoded within the language and literary forms of hegemonic American
culture, because they have no alternative, completely separate resources for cultural
production. External pressures experienced by any author representing black violence
compound these difficulties. These include the demands of black community leaders and
white liberals not to represent African Americans in ways which may hinder the cause of
racial equality, and the demands of publishers to represent black violence in ways with
proven commercial potential. Furthermore, despite the retreat of racism in modern
America, certain images and fantasies of blackness retain a hold over the American
cultural imaginary, and continue to influence literary discourse. As my thesis
demonstrates, this ensures that denial and demonisation can still be detected in
contemporary American novels
The Communist Party of Great Britain and its struggle against fascism 1933-1939
No full textThe sectarian tactics of the Comintern's Third Period
prevented the Communist Party of Great Britain from
articulating an effective response to the rise of fascism
during 1933. The CPGB leadership saw the main threat of
fascism in Britain coming from the National Government,
whose measures were portrayed as leading to the gradual
'fascisation' of British society. This led to the Party
leadership ignoring the BUF as politically irrelevant.
However, sections of the CPGB rank and file felt
differently, linking up with their Labour movement
counterparts; organising activity on a mass scale to
prevent BUF activity on the streets of Britain.
In mid 1934, reflecting pressure from below and the
change in Comintern anti-fascist strategy as advocated by
Dimitrov, the CPGB leadership changed tack and sanctioned
counter-demonstrations to BUF meetings. In October 1934 it
offered a united front electoral pact to the Labour Party.
In 1935 the CPGB embraced the popular front policy
adopted by the Comintern at its Seventh World Congress. The
popular front movement was designed to change the 'profascist'
foreign policy of the National Government and
replace it with a people's government favourable to a
military pact with the USSR. This guiding principle lay
behind the popular front activity of the CPGB during 1935-
39.
By 1939 after six years of hard work the CPGB had little
to show for its struggle against fascism. Despite a small
increase in membership, and a slight growth in influence
amongst the trade unions and intelligentsia, it had failed
to bring about a change in British foreign policy favourable
to an alliance with the Soviet Union or to emerge as a
significant force within the British Labour movement. This
failure can be largely ascribed to its pursuit of an antifascist
strategy determined mainly by the requirements of
Soviet foreign policy and not by the concerns of British
workers
