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Bringing You the Wonder of Yesterday – Today
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Extraordinary courage stepped up to bigotry in America during the summer of 1961. The acts of bravery came not from soldiers in battle or politicians taking a stand. No, in this case, the valor came from everyday Americans – civilians concerned about the state of their country. Eventually, there would be hundreds of them, acting over a five month period. They came from all over the U.S. They were black and white; liberal and conservative; Catholic, Protestant, and Jew. Many were college students; some from the seminary. They came to lend their presence and put their bodies on the line. Their actions were innocent and non-violent. All they set out to do was ride on a bus – or rather, insure that a person of any color could ride on a bus from one state to another. They were called “Freedom Riders.”
Before it was all over more than 60 “Freedom Rides” would criss-cross the South between May and November of 1961. At least 436 individuals would ride buses and trains to make their point. However, a number of the “freedom riders” were physically assaulted, chased, and/or threatened by white mobs, some beaten with pipes, chains and baseball bats. Many of the riders were also arrested and jailed, especially in Mississippi. Yet these arrests became part of the protest – and in this case, a badge of honor.
For those arrested were not criminals. Far from it. They were among America’s finest heroes. Yes, America has a long line of heroes, and none more honorable than those who fought and died in military conflicts – from the Revolutionary War through WWII, Korea, Vietnam, Iraq and Afghanistan. Those heroes occupy a special and honored place. Yet few heroes stand taller on the domestic front than those who came from the civilian population during the 1961 civil rights “freedom rides.”
Below are some of the mugshots of the “Freedom Riders” after being arrested for protesting in Jackson, Mississippi in 1961. Most of them were sent to the brutal Parchman Prison in Mississippi.




















Between 250,000 and 420,000 males under 18 were involved in the American Civil War, for the Union and the Confederacy combined. It is estimated that 100,000 Union soldiers were 15 years or younger.
Given the large number of boys and young men in the American Civil War, compared to the number of older men, one author stated that it “might have been called The Boys’ War.”
When the surrender of Fort Sumter was announced, men and boys of all ages on both sides of the conflict were eager to enlist. Abraham Lincoln initially only called for 90-day enlistments. However, after the Union army was driven out of Richmond in the disastrous Peninsula campaign, and the Rebel Army began to march on to Washington, Lincoln issued a call for three hundred thousand three-year volunteers.
Boys had many of the same motives for joining the military as their adult counterparts did. In the North, boys felt a desire to set the South straight. In the South, boys wanted to repel the North, whom they viewed as a hostile invader.
A key difference between boys and adults was their attitude towards slavery: in general, boys on both sides had neutral feelings towards slavery. Thus, few were motivated to fight for it or against it.
By and large, the most popular reason boys joined the military was to escape what they viewed as a dull life on the farm. (In 1860 the population of the United States was more than 80% rural.) Nearly all dreamed of coming home as heroes. Almost none imagined the conflict would drag on as long as it did.
Boys were not spared from the horrors of war that their adult counterparts faced, including violent deaths, injuries (and poor medical treatment), and appalling living conditions when captured.
Young soldiers’ romantic illusions about military glory evaporated under the harsh realities of combat. They suffered hunger, fatigue, and discomfort, and gradually lost their innocence in combat. Every aspect of soldiering comes alive in their letters and diaries: the stench of spoiled meat, the deafening sound of cannons, the sight of maimed bodies, and the randomness and anonymity of death.
The accounts of young Union prisoners at Confederate prison camps are especially harrowing. Sixteen-year-old Michael Dougherty was shocked by the sight of “different instruments of torture: stocks, thumb screws, barbed iron collars, shackles, ball and chain. Our prison keepers seemed to handle them with familiarity.” William Smith, a fifteen-year-old soldier in the 14th Illinois Infantry, was shaken by the physical appearance of prisoners at Andersonville in Georgia, a “great mass of gaunt, unnatural-looking beings, soot-begrimes, and clad in filthy trousers.”
Michael Dougherty was the only member of his company to survive imprisonment at Andersonville Prison in Georgia.
“No one, except he was there in the prison can form anything like a correct idea of our appearance about this time. We had been in prison nearly five months and our clothing was worn out. A number were entire naked; some would have a ragged shirt and no pants; some had pants and no shirt; another would have shoes and a cap and nothing else. Their flesh was wasted away, leaving the chaffy, weather beaten skin drawn tight over the bones, the hip bones and shoulders standing out. Their faces and exposed parts of their bodies were covered with smoky black soot, from the dense smoke of pitch pine we had hovered over, and our long matted hair was stiff and black with the same substance, which water would have no effect on, and soap was not to be had. I would not attempt to describe the sick and dying, who could now be seen on every side.”













































































































































































































(Photos by John Vachon, via Chicago magazine)
Carole Lombard (born Jane Alice Peters; October 6, 1908 – January 16, 1942) was an American actress, particularly noted for her energetic, often off-beat roles in screwball comedies. In 1999, the American Film Institute ranked Lombard 23rd on its list of the greatest female stars of Classic Hollywood Cinema.
Lombard was born into a wealthy family in Fort Wayne, Indiana, but was raised in Los Angeles by her single mother. At 12, she was recruited by director Allan Dwan and made her screen debut in A Perfect Crime (1921). Eager to become an actress, she signed a contract with the Fox Film Corporation at age 16, but mainly played bit parts. She was dropped by Fox just before her 18th birthday after a shattered windshield from a car accident left a scar on her face. Lombard appeared in fifteen short comedies for Mack Sennett between 1927 and 1929, and then began appearing in feature films such as High Voltage (1929) and The Racketeer (1929). After a successful appearance in The Arizona Kid (1930), she was signed to a contract with Paramount Pictures.
Paramount quickly began casting Lombard as a leading lady, primarily in drama films. Her profile increased when she married William Powell in 1931, but the couple divorced amicably after two years. A turning point in Lombard’s career came when she starred in Howard Hawks’s pioneering screwball comedy Twentieth Century (1934). The actress found her niche in this genre, and continued to appear in films such as Hands Across the Table (1935) (forming a popular partnership with Fred MacMurray), My Man Godfrey (1936), for which she was nominated for the Academy Award for Best Actress, and Nothing Sacred (1937). At this time, Lombard married “The King of Hollywood”, Clark Gable, and the supercouple gained much attention from the media. Keen to win an Oscar, Lombard began to move towards more serious roles at the end of the decade. Unsuccessful in this aim, she returned to comedy in Alfred Hitchcock’s Mr. & Mrs. Smith (1941) and Ernst Lubitsch’s To Be or Not to Be (1942), her final film role.
Lombard’s career was cut short when she died at the age of 33 aboard TWA Flight 3, which crashed on Mount Potosi, Nevada, while returning from a war bond tour. Today, she is remembered as one of the definitive actresses of the screwball comedy genre and American comedy, and as an icon of American cinema.








































































































Captain & Tennille were American recording artists whose primary success occurred in the 1970s. The husband-and-wife team were “Captain” Daryl Dragon (August 27, 1942 – January 2, 2019) and Toni Tennille (born May 8, 1940). They have five albums certified gold or platinum and scored numerous hits on the US singles charts, the most enduring of which included “Love Will Keep Us Together”, “Do That to Me One More Time”, and “Muskrat Love”. They hosted their own television variety series on ABC in 1976–77.





























