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DTSTART;TZID=UTC:20230301T173000
DTEND;TZID=UTC:20230301T183000
DTSTAMP:20230221T201535Z
CREATED:20230221T195912Z
LAST-MODIFIED:20230221T201535Z
UID:9726-1677691800-1677695400@upcountryhistory.org
SUMMARY:Symphony Insight with Caroline Ulrich
DESCRIPTION:Mark your calendars for our upcoming Symphony Insight with Caroline Ulrich on March 1 from 5:30 PM to 6:30 PM at the Upcountry History Museum. Caroline has crafted a guided tour to introduce Concerto for Flute by C.P.E BACH with demonstrations from the flute. \nJoin us on Friday\, March 10 at 7:30 PM\, Saturday\, March 11 at 7:30 PM\, and Sunday\, March 12 at 3:00 PM at Gunter Theater to hear Caroline Ulrich play with the Greenville Symphony Orchestra. The program includes C.P.E BACH: Concerto for Flute and SHCHEDRIN: Carmen Suite. \n\n  \n\nCaroline Ulrich Biography \nPrincipal flutist of the Greenville Symphony\, Caroline Ulrich enjoys an extensive orchestral performing career in North and South Carolina. Previously\, Maestro Edvard Tchivzhel selected her to perform Mozart’s Flute Concerto in G Major\, Lukas Foss’s Renaissance Concerto\, the Ibert Concerto\, JS Bach’s Suite in b minor\, and Mozart’s Concerto for Flute and Harp\, with John Wickey. \nCaroline also performs with the Spartanburg Philharmonic\, South Carolina Philharmonic\, Asheville Symphony Orchestra\, and Rock Hill Philharmonic. Previous appointments include the Springfield Symphony (IL)\, Waterloo-Cedar Falls Symphony\, and Augusta (GA) Opera. Dr. Ulrich is on the faculty of Furman University. Previously she was the flute instructor at SC Governor’s School for the Arts and Humanities\, Luther College\, and Clemson University. \nAlong with Carla Copeland Burns\, Erinn Frechette\, and Amy Orsinger Whitehouse\, Caroline Ulrich is a founding member of FLUTE4. The group champions new works for the flute quartet and performs throughout the Southeast and Midwest. She is also active with Lillian Buss Pearson\, piano\, as a collaborative recitalist. \nWhen not performing\, Caroline enjoys hiking\, gardening\, reading\, cooking\, eating(!)\, and visiting art museums.
URL:https://upcountryhistory.org/event/symphony-insight-with-caroline-ulrich/
CATEGORIES:Exhibitions,Highlight
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230218T100000
DTEND;TZID=UTC:20230813T170000
DTSTAMP:20230511T183047Z
CREATED:20230124T152240Z
LAST-MODIFIED:20230511T183047Z
UID:8361-1676714400-1691946000@upcountryhistory.org
SUMMARY:Celebrating 75 Years…Greenville Symphony – Concerts and Community
DESCRIPTION:February 18 – August 13\, 2023 \n  \nLike individual instruments that form an orchestra and create a beautifully blended sound\, cultural arts organizations weave together an atmosphere of creativity\, collective collaboration\, and cohesiveness that produce a harmony of entertainment and appreciation. \nFollowing a post-war surge of growth in this Textile Capital of the World\, forward-thinking community leaders began to recognize that cultural arts organizations could not only complement\, but also strengthen Greenville’s booming economic development. \nSo\, in the summer of 1948\, a few dedicated musicians added their names to a handwritten signup sheet taped to a storefront window and turned their volunteer talents into days\, weeks\, and months of practice in preparation for the first concert. On December 6\, the sounds of Wagner and Schubert filled the Women’s College Auditorium on the old Furman University campus\, and a captivated audience enthusiastically responded to the prospect of more concerts to come. The Greenville Symphony was born. \nOver the next 75 years\, the Greenville Symphony grew into a respected segment of the larger fabric of a community coming of age. Throughout these more than seven decades\, what began as a volunteer-driven group of musicians evolved into a professional orchestra that has offered performances of classical masterworks\, hosted world-class musicians such as jazz great Duke Ellington and renowned cellist Yo-Yo Ma\, established a strong music education component for children\, developed innovative Pops programming\, made national headlines for its role in helping music director and conductor Edvard Tchivzhel defect from the then USSR to the United States\, introduced a Virtual Concert Hall in response to COVID-19 so music could still be shared\, initiated a series of “pop-up performances” with small ensembles performing in unexpected places\, and maintained a commitment to performing with passion and distinction. \nThis exhibition celebrates the remarkable history of one of Greenville’s cultural anchors; an organization that has embraced its love of music and created a composition of community engagement\, enrichment\, and enthusiasm season after season. \nThe Greenville Symphony Association is dedicated to providing educational and cultural opportunities for the citizens of Greenville and surrounding communities through the presentation of live orchestral music.
URL:https://upcountryhistory.org/event/celebrating-75-yearsgreenville-symphony-concerts-and-community/
CATEGORIES:Exhibitions,Highlight
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230204T100000
DTEND;TZID=UTC:20230507T170000
DTSTAMP:20230222T172223Z
CREATED:20220607T195746Z
LAST-MODIFIED:20230222T172223Z
UID:7980-1675504800-1683478800@upcountryhistory.org
SUMMARY:Works by Warhol
DESCRIPTION:  \nOne of the 20th century’s best-known artists\, Andy Warhol (1928-1987) made his name in the early 1960s with paintings and prints of brands\, celebrities\, and foods ranging from Marilyn Monroe and Elizabeth Taylor to Coca-Cola and Campbell’s Soup.  These brash\, innovative works are considered icons of Pop Art\, a movement that both critiqued and celebrated postwar American consumer culture.  By the end of the decade\, Warhol had become a celebrity in his own right\, equally famous for his platinum wig and the star-studded parties he threw in his studio\, the Factory\, as he was for his paintings\, drawings\, sculpture\, and films. \nBefore spearheading the Pop Art movement\, in the 1950s Warhol achieved success on Madison Avenue as one of New York’s most popular advertising artists.  A skilled and inventive illustrator\, Warhol won several Art Director’s Club awards for his work on Columbia records LP cover designs\, I. Miller shoe drawings\, and additional advertising work for Martini & Rossi\, Glamour\, Harper’s Bazaar and Vogue magazines. \nOnce his Pop art career exploded in 1962\, Warhol focused on silkscreen painting and filmmaking.  He based his paintings on imagery he found in the American mass media: news photos\, celebrity head shots\, film stills\, comics\, logos\, and advertisements. To convert his source images into paintings\, Warhol made them into photo silkscreens and printed them on canvas.  Smudges\, misalignments\, and inconsistencies were accepted\, giving the paintings a handmade appearance.  Sometimes the paintings included a single image\, as in John Wayne (1986) and the Endangered Species series (1983).  These became larger-than-life iconic portraits\, while those printed in grids\, suggested the way that repetition can simultaneously embed an image in one’s memory and deaden its effect. \nWorks by Warhol\, at the Upcountry History Museum\, on loan from The Cochran Collection\, LaGrange\, GA\, will feature 36 iconic masterworks by Warhol\, dating from 1968 through his last series done in 1986. This once-in-a- lifetime exhibition includes a broad cross-section of examples from Warhol’s storied career. \nThe exhibit explores Warhol’s responses to major moments in U.S. history\, including the assassination of John F. Kennedy\, Neil Armstrong’s moon landing\, and the perception of Native Americans in the aftermath of the bicentennial of the United States. Also included is Warhol’s entire series of “Myths”.  This body of work was completed in 1981 and showcases Warhol’s lifetime fascination with Hollywood imagery.  “Myths” marks a return to Warhol’s formative encounters with figures such as Howdy Doody\, the Wicked Witch of the West\, Superman\, Mickey Mouse and many more. \nSupport provided by \nBecky and Bobby Hartness \n                         
URL:https://upcountryhistory.org/event/works-by-warhol/
CATEGORIES:Exhibitions,Highlight
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230204T100000
DTEND;TZID=UTC:20230430T170000
DTSTAMP:20230222T172136Z
CREATED:20220927T194653Z
LAST-MODIFIED:20230222T172136Z
UID:8359-1675504800-1682874000@upcountryhistory.org
SUMMARY:Andy Warhol: Endangered Species
DESCRIPTION:Andy Warhol: Endangered Species\nFebruary 4 – April 30\, 2023\nAndy Warhol was one of the most influential artists of the 20th century\, creating some of the most recognizable images ever produced.  A founding member of the Pop art movement\, his work was across several media including painting\, printmaking\, photography\, drawing\, and sculpture.  Challenging former concepts of modern art and veering away from abstraction\, he embraced popular culture and commercial processes to produce work that appealed to the masses. \nEnvironmental activism and Andy Warhol are rarely associated\, but Endangered Species was one of Warhol’s most influential artworks. He created the entire project in 1983\, ten years after the passage of the Endangered Species Act of 1973\, which defined endangered species as a humanitarian matter\, banned trade involving the endangered animals\, and made steps to protect the animal’s original habitats. \nWarhol’s Endangered Species series consists of ten oversized silkscreen prints of the nearly extinct animals identified in 1973. Each animal was given Warhol’s artistic star treatment in the same style as his iconic celebrity portraits.  Warhol fondly referred to this series as his “animals in makeup\,” given the bold pop colors he used to portray the animals as larger than life. \nWarhol’s elevation of the series to pop culture status played a huge role in raising awareness of these endangered species and generated funds for their preservation.  Likewise\, Warhol propelled the efforts of conservation forward.  As of 2021\, six of the ten animals are still threatened with possible extinction. \nThe Upcountry History Museum is one of only three museums selected by Art Bridges Foundation/Crystal Bridges Museum\, Bentonville\, AR\, to host the Andy Warhol: Endangered Species exhibition project.  In addition to the ten Endangered Species prints by Andy Warhol\, the exhibition examines the works through four engaging and multi-disciplinary themes: Activism\, Animals\, History and Art. \nThe bilingual exhibition (English and Spanish) also features experiential components specifically designed for individuals who are blind or have low vision. \nSupport provided by \n                    
URL:https://upcountryhistory.org/event/andy-warhol-endangered-species/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/png:https://upcountryhistory.org/wp-content/uploads/2022/09/warhol-es.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221119T100000
DTEND;TZID=UTC:20230219T170000
DTSTAMP:20221114T180039Z
CREATED:20221102T155510Z
LAST-MODIFIED:20221114T180039Z
UID:7982-1668852000-1676826000@upcountryhistory.org
SUMMARY:Nutcracker: The Exhibition
DESCRIPTION:The nutcracker sits under the holiday tree\, a guardian of childhood stories. Feed him walnuts and he will crack open a tale… \nIn the Christmas season of merry making\, the ways of celebrating are as many and as varied as possible\, but familiar traditions and stories connect all of us during this time\, influencing our celebrations and holding a special place in our hearts. One such story and tradition is The Nutcracker. \nWhether it’s a tradition to see the ballet or if you only know the songs from hearing them played on Christmas playlists\, we are all familiar with the story of The Nutcracker. Or are we truly? \nThe Upcountry History Museum in partnership with Walt Disney Archives\, The Walt Disney Family Museum\, Charles M. Schulz Museum\, artists James Ransome and Maurice Sendak\, private collectors\, and the Carolina Ballet Theatre will invite visitors to explore the history of the surprisingly dark story behind the ballet and its evolution into a holiday classic. \nFrom its origins as a short story written by Prussian author\, E.T.A. Hoffman in 1816\, to its premiere as a fairy tale ballet in two acts that opened a week before Christmas in 1892\, The Nutcracker has become the most popular ballet to be performed around the world at Christmas time. \nNutcracker: The Exhibition\, a 1\,200 square foot exhibition\, organized by the Upcountry History Museum\, will explore the kaleidoscope of artistic re-imaginings of The Nutcracker\, from the 1820’s to the present. The immersive experience will take visitors on a journey from The Nutcracker’s beginnings as a short story\, to its artistic interpretations in literature\, ballet\, theater\, and film. Original illustrations\, drawings\, film and ballet costumes\, props\, and ephemera will examine multiple perspectives of one of literature’s greatest paradoxes that continues to inspire imagination\, creativity\, and discussion. \nRich with visual interpretation\, the exhibition takes visitors on a journey through the cultural\, technological\, and societal shifts that have compelled artists\, filmmakers\, and fans to return to the tale of The Nutcracker time and time again. \n  \n  \n           
URL:https://upcountryhistory.org/event/nutcracker-the-exhibition/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/jpeg:https://upcountryhistory.org/wp-content/uploads/2022/11/Nutcracker-web-event-02-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221022T100000
DTEND;TZID=UTC:20230108T170000
DTSTAMP:20221216T164616Z
CREATED:20221026T153855Z
LAST-MODIFIED:20221216T164616Z
UID:8886-1666432800-1673197200@upcountryhistory.org
SUMMARY:Wild Things: The Art of Maurice Sendak
DESCRIPTION:“Let the wild rumpus start!”\nOctober 22\, 2022 – January 8\, 2023 \nThere’s room to run\, stories to explore\, and Wild Things to become at the Upcountry History Museum. \nHe was one of the greatest creators of children’s books in the 20th century – though he didn’t like the term “children’s books” and preferred “books that children like.” Author and artist Maurice Sendak upended expectations by depicting menace\, anxiety and “wild” behavior in picture books devoured by readers of all ages. \nThe Upcountry History Museum will serve as the only South Carolina stop on the Where the Wild Things Are national exhibition tour. Visitors of all ages will experience the fantastical imagination of Maurice Sendak as they explore over 50 pieces of original artwork and step into the pages of his beloved books. \nThe immersive exhibition celebrates Sendak’s life and work by showcasing his most famous pieces through preliminary sketches\, finished artwork\, and interactive experiences. All of this is told through the words of Sendak himself\, intimately connecting the artist to his art and stories. \nSendak created a visual language that has captivated generations of children. Although he sometimes indulged in lighthearted plots\, his picture books often had menacing elements: fanged\nmonsters\, baby stealing goblins and young protagonists placed in dangerous situations. Sendak intentionally gave children the opportunity to engage with ethical dilemmas\, to feel afraid as well as joyful\, and to take part in imaginative play. \nDuring his long career Sendak illustrated over one hundred books\, which continue to thrill and fascinate life-long learners all over the world. The fifty works of art in the exhibition will be accompanied by quotes from fellow illustrators\, friends\, and celebrities\, sharing their thoughts on Sendak and the ways in which he inspired them. As comedian Stephen Colbert stated\, “His art gave us a fantastical but un-romanticized reminder of what childhood truly felt like.” \n                                 \n  \n  \nJeff and Mary Lawson
URL:https://upcountryhistory.org/event/wild-things-the-art-of-maurice-sendak-2/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/png:https://upcountryhistory.org/wp-content/uploads/2022/08/Wild-Things-rectangle.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221001T100000
DTEND;TZID=UTC:20230205T170000
DTSTAMP:20220928T154401Z
CREATED:20220927T193810Z
LAST-MODIFIED:20220928T154401Z
UID:7987-1664618400-1675616400@upcountryhistory.org
SUMMARY:Doing the Most Good: The Salvation Army in Greenville
DESCRIPTION:Doing The Most Good: The Salvation Army in Greenville\nOctober 1\, 2022 – February 5\, 2023 \nWhat started as a mission effort in 1904 under a tent at the corner of Brown and Washington Streets when The Salvation Army of Greenville began offering a religious message and good music to anyone willing to listen has evolved into 118 years of service to the community. \nSince its humble beginnings\, the organization continued to expand with a variety of services being offered\, many of which have adapted through the years and are still meeting needs today. This exhibition offers a look at the non-profit’s storied timeline through artifacts\, photos\, and materials from the local archives\, as well as The Salvation Army’s national archives. \nIn his book\, Way Down Beside the Reedy River – A Centennial History\, lifelong Salvation Army member Major Raymond W. Kitchen noted\, “Each succeeding year and change of command brought other and more varied programs to the Citadel on Broad Street and later\, to the other locations as the Army marched through time and the neighborhood. The Salvation Army is still at work today using modern methods and more sophisticated avenues of service to perform the same acts of loving service to humanity.” \nIndeed\, since marching into Greenville more than a century ago\, The Salvation Army in Greenville has remained true to doing the most good. \n  \n  \nPhotos courtesy of The Salvation Army Southern Historical Center\, Evangeline Booth College\, Atlanta Georgia
URL:https://upcountryhistory.org/event/doing-the-most-good-the-salvation-army-in-greenville/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/jpeg:https://upcountryhistory.org/wp-content/uploads/2022/09/Broad-Street-Citadel.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220730T100000
DTEND;TZID=UTC:20220918T170000
DTSTAMP:20220823T162938Z
CREATED:20220608T194600Z
LAST-MODIFIED:20220823T162938Z
UID:7940-1659175200-1663520400@upcountryhistory.org
SUMMARY:AMECO: Upstate Roots\, Global Reach
DESCRIPTION:July 30 – September 18\, 2022 \n  \nAMECO: Upstate Roots\, Global Reach…75 Years Delivering Construction Site Services \nInside the Fence. Outside the Box. AMECO’s Changing the Game. \nFor more than seven decades\, one company has been steadily going about its day-to-day operations – operations that are critical to construction projects\, certainly seen and heard\, but often unsung heroes. \nManaging indirect products and services\, including equipment\, scaffolding\, tools\, consumable supplies and fleet management for capital construction\, facility operations and maintenance projects on a global scale\, this one-time equipment storage division has evolved over the years into an all-purpose site services company focused on expanding the core business to support clients. \nAs a leading construction and maintenance field services planning and management company\, AMECO has been delivering responsiveness\, reliability\, innovation\, safety\, and expertise through integrated and collaborative approaches to project management with world-class expertise. \nWhether in the fields of manufacturing\, infrastructure\, power\, mining and metals\, energy and chemicals\, heavy industry\, or government\, AMECO brings reliable onsite solutions to construction and maintenance industry challenges. \nThis exhibition celebrates the remarkable history of a company grounded in the work ethic and progressive attitude associated with its founding in Upstate Greenville while steadily advancing to its position as a single trusted source to keep workers working safely\, projects moving forward\, and jobsites work-ready across North America.
URL:https://upcountryhistory.org/event/ameco/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/png:https://upcountryhistory.org/wp-content/uploads/2022/07/AMECO-web-event-01.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220611T100000
DTEND;TZID=UTC:20230122T170000
DTSTAMP:20220823T163002Z
CREATED:20220606T131505Z
LAST-MODIFIED:20220823T163002Z
UID:8142-1654941600-1674406800@upcountryhistory.org
SUMMARY:Dinosaurs: Land of Fire and Ice
DESCRIPTION:June 11\, 2022 – January 22\, 2023\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDinosaurs will roar into the Upstate South Carolina\, when the Upcountry History Museum presents Dinosaurs: Land of Fire and Ice. Crossing the threshold of this interactive exhibition means traveling back in time to explore the Age of the Dinosaurs.\n  \n\nDinosaurs: Land of Fire and Ice is the first child-centered exhibit in the country dedicated to expanding the understanding of dinosaurs and their habitats. Designed for young explorers\, ages 3-10\, the bilingual (Spanish and English) exhibit features three distinct sections that build on a child’s innate curiosity about dinosaurs: Land of Fire (a warm dinosaur habitat)\, Land of Ice (a cold dinosaur habitat)\, and a Field Research Station (complete with a Big Dig experience).\n  \nThe steamy Land of Fire\, present day Montana\, introduces visitors to the Triceratops\, T-Rex and the dinosaurs who called this environment home. Children can circle the land in insect costumes\, buzz through a volcano with oozing lava\, work through a swampy bog and identify an ecosystem of animals and plants.\n  \nNo coats are needed for a trip across the Land of Ice where visitors meet the dinosaurs who made their homes in the cold climate of Alaska. Activities include: climbing rocky steps\, breezing down an icy slide\, and hopping across stepping stones in an icy river.\n  \nIn the hands-on Field Research Station children and their caregivers don goggles and research vests\, as they uncover dinosaur bones in a dig station and examine fossils to identify dinosaurs.\n  \nThe exhibit builds on the popular fascination with dinosaurs and includes science\, history\, and literacy based activities to challenge all ages. Sculpted\, touchable dinosaurs\, featuring the most recent scientific findings about dinosaur colors\, textures and structural form create opportunities for young\nexplorers to investigate clues that the dinosaurs left behind.\n  \n\n\nBook a Field Trip!\n\n  \nSponsored By: \n \n                               \n\n\n 
URL:https://upcountryhistory.org/event/dinosaurs-land-of-fire-and-ice-2/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/jpeg:https://upcountryhistory.org/wp-content/uploads/2022/03/020914mcm205-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220528T100000
DTEND;TZID=America/New_York:20220821T170000
DTSTAMP:20220725T134202Z
CREATED:20220601T195238Z
LAST-MODIFIED:20220725T134202Z
UID:7969-1653732000-1661101200@upcountryhistory.org
SUMMARY:Vietnam: The Real War Photographs from the Associated Press
DESCRIPTION:May 28\, 2022 – August 20\, 2022\nThe Vietnam War (1954-1975) was a long\, costly and divisive conflict that pitted the communist government of North Vietnam against South Vietnam and its principal ally\, the United States.  The conflict was intensified by the ongoing Cold War between the United States and the Soviet Union.  More than 3 million people (including over 58\,000 Americans) were killed in the Vietnam War\, and more than half of the dead were Vietnamese civilians.\n\n\nU.S. Marines move through a landing zone\, December 1969. (AP Photo) \n\n  \nThe war left a deep and lasting impression in American life\, from its impact on the men and women who fought in it\, to the journalists and photographers who covered it\, to the millions of Americans who protested against it or supported it. Due to an uncensored press\, the world knew and saw more of this war than any in history before or since.\n  \nTo cover the War\, The Associated Press (AP) gathered an extraordinary group of superb photojournalists in its Saigon bureau\, creating one of the greatest photographic legacies of the 20th century.  The AP won six Pulitzer Prizes for its coverage\, four of them for photography.\n  \nNow\, drawn from AP’s photo history of the conflict\, Vietnam: The Real War\, featuring a selection of 50 large-format images curated by the Associated Press\, will be presented at the Upcountry History Museum.  The exhibition tells the human story of the War\, from the American presence starting as a trickle of military advisers in the late 1950s\, through dramatic operations involving thousands of soldiers in the 1960s\, to the fall of Saigon in 1975. These are pictures that both recorded and made history\, taken by courageous photojournalists.\n  \nAs we begin to look back from the vantage point of half a century\, Vietnam: The Real War serves as a photographic record of the drama and tragedy of the Vietnam War.\n  \nThe Upcountry History Museum will include objects\, archival materials and oral histories from its permanent collection to support and further illustrate the impact of the Vietnam War.  The Museum will partner with Upstate veterans and military organizations to insure the preservation and presentation of our community’s history and stories.\n  \nThe Associated Press (AP) is a not-for-profit global news agency headquartered in New York.  Founded in 1846\, the AP today is the essential global news network\, delivering fast\, unbiased news and information from every corner of the world to media platforms and formats.\nSponsored by:\n                      \n\n\n\n 
URL:https://upcountryhistory.org/event/vietnam-the-real-war-photography-from-the-associated-press/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/jpeg:https://upcountryhistory.org/wp-content/uploads/2021/08/AP-Vietnam_206_van-es-chopper-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220312T100000
DTEND;TZID=America/New_York:20220717T170000
DTSTAMP:20220316T183859Z
CREATED:20220316T183517Z
LAST-MODIFIED:20220316T183859Z
UID:7663-1647079200-1658077200@upcountryhistory.org
SUMMARY:Pointes\, Pirouettes and Plies: Carolina Ballet Theatre Turns 50
DESCRIPTION:March 12 – July 17\, 2022\nCarolina Ballet Theatre – Raising the Barre in Greenville\nFor more than six centuries\, ballet has graced royal courts and stages across the globe\, and for 50 years\, Greenville’s own Carolina Ballet Theatre has been bringing this timeless performance art to the Upstate.\nFrom that first day in 1972 until now\, CBT has been guided by the prospect of what could be. Its evolutionary\, enlightened and engaging approach has ensured that this powerful performance art remains true to its origins while continuing to push the boundaries of this dynamic dance medium.\nAn artistic vision with hundreds of dancers\, hundreds of hours of training and practicing\, and countless performances have all culminated into a legacy of bringing world-class productions to the Greenville stage.\nThis exhibition celebrates an incredible 50-year journey that has encountered notable high points\, as well as unimaginable setbacks\, but still managing to raise the barre on entertainment excellence\, engaged outreach\, and unity through performance arts.\n  \n  \n 
URL:https://upcountryhistory.org/event/pointes-pirouettes-and-plies-carolina-ballet-theatre-turns-50/
CATEGORIES:Exhibitions,Highlight
ATTACH;FMTTYPE=image/png:https://upcountryhistory.org/wp-content/uploads/2022/02/UHM_JFP07758.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220212T100000
DTEND;TZID=America/New_York:20220529T170000
DTSTAMP:20220215T213159Z
CREATED:20220204T214349Z
LAST-MODIFIED:20220215T213159Z
UID:7507-1644660000-1653843600@upcountryhistory.org
SUMMARY:The Art of Warner Bros. Cartoons
DESCRIPTION:For more than 90 years\, Warner Bros. animation has been bringing joy to all ages. Looney Tunes and Merrie Melodies produced some to the most iconic animated characters – Bugs Bunny\, Porky Pig\, Daffy Duck\, Tweety Bird\, Wile E. Coyote\, Road Runner\, Elmer Fudd\, and more.\nThe classic Warner Bros. short animations were different from any other in that they were made with an adult audience in mind. The funny\, exuberant stories with a breath-taking pace were peppered with sharp satire and references to topical matters and real-life phenomena as well as endless verbal fireworks. Six to seven minutes long\, the cartoons were originally screened in film theatres before the feature film.\nTHE ART OF WARNER BROS. CARTOONS\, an international traveling exhibition\, includes 160 objects and film clips that invite visitors of all ages to explore the history of the legendary Warner animation studio. The exhibition includes production artwork\, including drawings\, paintings\, and transparent celluloids used to create some of Warner Studios’ classic cartoon shorts from their 1930 debut through the early 1960s.\nVisitors explore the elaborate process that went into the making of the classic Warner Bros. cartoons\, considered to be among the finest\, funniest\, and most inventive animated shorts ever made. Vivacious\, colorful and highly animated\, the exhibition traces the development of all of Warner’s cartoon stars and gives a step-by-step breakdown of how animated films are made.\n  \n  \n\n\n\n\n\n\nSponsored  by:\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n  \nPurchase Tickets Here
URL:https://upcountryhistory.org/event/opening-day-the-art-of-warner-bros-cartoons/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211113
DTEND;VALUE=DATE:20220214
DTSTAMP:20211110T184612Z
CREATED:20211110T181549Z
LAST-MODIFIED:20211110T184612Z
UID:7257-1636761600-1644796799@upcountryhistory.org
SUMMARY:Home for the Holidays
DESCRIPTION:Norman Rockwell’s Home for the Holidays\n\n\n\n\n\n\n\n\nFor many Americans\, Rockwell’s icons of living culture were first experienced in the most unassuming of places\, in the comfort of home\, or on the train ride at the end of a long day.  Created for the covers and pages of our nation’s periodicals rather than for the walls of galleries and museums\, Rockwell’s images were intimately understood by a vast and eager audience who saw the best in themselves reflected in his art and in the stories that he chose to tell.\n  \nRockwell’s hopeful and admiring attitude toward humanity was the hallmark of his work. He loved to paint pictures that conveyed stories about people\, their attitude toward each other\, and his feelings about them.\n  \nDuring his forty-seven year affiliation with The Saturday Evening Post\, Norman Rockwell was celebrated for his special holiday cover illustrations\, which were commissioned to mark a full spectrum of annual events for an enthusiastic public\, from Thanksgiving\, Christmas\, and The New Year to Valentine’s Day and April Fools’ Day.  Whether it was the presentation of mouth-watering turkey at the Thanksgiving table or a rosy-cheeked Santa checking his list to see who’s naughty or nice\, the illustrations simply conveyed Americana. In a rapidly changing world\, Norman Rockwell’s art has been a reassuring guide for over six decades\, and it continues to resonate today.\n  \nThe Upcountry History Museum – Furman University in partnership with the Norman Rockwell Museum in Stockbridge\, Massachusetts will host the traveling exhibition Norman Rockwell’s Home for the Holidays.  This beloved exhibition\, featuring over 40 of Norman Rockwell’s most memorable and enduring holiday images\, will make its South Carolina debut at the Upcountry History Museum.\n  \nIn addition\, we are excited to display original artifacts and four full-size original Norman Rockwell holiday themed oil paintings. We want to offer a sincere thank you to the following for their generous support of these iconic artifacts and paintings;\n  \nChristmas Homecoming is made possible through the generosity of Janis Bandelin and Bill Fitzpatrick\nChristmas Trio is made possible through the generosity of Beverley K. Whitten\nMerrie Christmas is made possible through the generosity of Ben and “Sunshine” Norwood\nUneasy Christmas in the Birthplace of Christ is made possible through the generosity of RFW Consulting Services/Rebekah F. West .\nPresentation of original artifacts is made possible through the generosity of Kate and A. V. Huff\n\n  \n\n  \n\n  \n\n 
URL:https://upcountryhistory.org/event/home-for-the-holidays/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211030T100000
DTEND;TZID=America/New_York:20220227T170000
DTSTAMP:20211118T203823Z
CREATED:20211028T144136Z
LAST-MODIFIED:20211118T203823Z
UID:7216-1635588000-1645981200@upcountryhistory.org
SUMMARY:War Dogs: Never Above You\, Never Below You\, Always Beside You
DESCRIPTION:October 30\, 2021 – February 27\, 2022\nSince the American Revolutionary War\, military working dogs have served with all branches of the United States Armed Forces. First used as pack animals\, working dogs have expanded their military roles to include scouting\, policing\, detection\, and combat.\n\nU.S. military dogs officially began serving in WWII\, following the formation of the Dogs for Defense\, Inc. coalition. Today\, hundreds of dogs serve with U.S. military forces around the globe assisting with dangerous missions on today’s modern battlefields.\nThe exhibition combines life-size sculptures designed by Ohio master craftsman James Mellick with combat art and objects on loan from the collections of the National Museum of the Marine Corps\, the United States Coast Guard\, and the United States Navy.\nThe project features eight Wounded Warrior and two Canine War Dog sculptures\, bringing attention to the history\, service and heroism of military working dogs. The collection represents Doberman Pinchers\, German Shepherds\, Labrador Retrievers and Belgian Malinois who served in WWII\, Vietnam\, Iraq and Afghanistan military campaigns.\nOne of James Mellick’s sculptures represents Lucca\, a Marine Corps war dog.  She conducted more than 400 missions during two deployments to Iraq and one to Afghanistan.  One of those missions cost Lucca her leg and severe burns but there were no human casualties under her watch.  When she retired\, her handler was able to adopt her.\nTwenty pieces of art paint a more complete picture of dogs at work\, detailing the most menacing war dogs to goggled high-flying dogs to sleeping warriors and keen detectives. Artifacts include items used by war dogs and their handlers. Dog uniforms\, medical kits and Purple Hearts share poignant stories of perseverance and bravery.\nMilitary working dogs have served and protected countless lives in war\, this inspiring exhibition tells their amazing story.
URL:https://upcountryhistory.org/event/war-dogs-never-above-you-never-below-you-always-beside-you/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211015T133000
DTEND;TZID=America/New_York:20211015T150000
DTSTAMP:20210927T164205Z
CREATED:20210927T163644Z
LAST-MODIFIED:20210927T164205Z
UID:7098-1634304600-1634310000@upcountryhistory.org
SUMMARY:Homeschool Day - Manzanar
DESCRIPTION:Manzanar: The Wartime Photographs of Ansel Adams\nOn February 19\, 1942\, following the December 7\, 1941 attack on Pearl Harbor\, President Franklin D. Roosevelt signed Executive Order 9066\, a mandate that required all Americans of Japanese ancestry to enter internment camps.\nLearn about daily life inside the Manzanar internment camp with special guest\, Dr. Stephanie Hinnershitz\, historian for The National WWII Museum | New Orleans.\n  \n\nWHAT: UHM Homeschool Day\n  \nWHEN: Friday\, October 15 | 1:3o p.m.\n  \nWHERE: Upcountry History Museum\n  \nHOW: October 15 is open to children in 5th-12th grades.\n  \nWHY: Get hands-on with history and art while incorporating state standards\n  \nCOST: $9 per student & $10 per adult\n  \nUHM MEMBERS COST: $5 per student & Adults are FREE\n  \n\n 
URL:https://upcountryhistory.org/event/homeschool-day-manzanar/
CATEGORIES:Exhibitions,Highlight
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211009T100000
DTEND;TZID=America/New_York:20220130T170000
DTSTAMP:20211017T180615Z
CREATED:20211017T180609Z
LAST-MODIFIED:20211017T180615Z
UID:7167-1633773600-1643562000@upcountryhistory.org
SUMMARY:Uncovered: The Ken Burns Collection
DESCRIPTION:Credit Line: www.pbs.org/craft-in-america/tv-series/quilts/ \n\nQuilts are of course not the first thing that comes to mind when you are talking about Ken Burns. The acclaimed filmmaker is known for making dozens of documentary series\, including “The Civil War\,” “Baseball” and\, most recently his 10-part “The Vietnam War.” His style is a blend of American history and personal anecdote\, threaded with iconic imagery and music\, coming together in patterns you might call quiltlike.\n  \nBurns began collecting American quilts in the mid-1970s\, today his collection of 75 quilts is displayed among his home\, office\, barn and lake house in New Hampshire.  The quilts\, dating from the 1850s to the 1940s\, reflect Burns’ consummate taste\, his thoughtfulness\, and his palpable love and respect of the American quilt as both an art object and as a storyteller.\n  \nUncovered: The Ken Burns Collection exhibition will feature 26 historic quilts\, research and quotes from Mr. Burns’ private collection.\n  \nIn partnership with the International Quilt Study Center & Museum at the University of Nebraska-Lincoln\, Mr. Burns personally approved the Upcountry History Museum’s request to host this prolific exhibition.  In true Ken Burns storytelling style\, the exhibition uses stories to connect visitors to the history\, beauty and science behind the art of quilting.\n  \nDisplayed alongside eloquent\, anecdotal thoughts about quilts\, collecting\, art and authenticity\, Burns’ quilts function as his films do: they spark dialogue and remind us – he hopes – of our shared humanity.\n\n\n\n\n\n\n\n\n\n\n\n\n\nANONYMOUS DONOR
URL:https://upcountryhistory.org/event/uncovered-the-ken-burns-collection/
CATEGORIES:Exhibitions,Highlight
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210918T100000
DTEND;TZID=America/New_York:20220227T170000
DTSTAMP:20220203T220105Z
CREATED:20210923T133919Z
LAST-MODIFIED:20220203T220105Z
UID:7088-1631959200-1645981200@upcountryhistory.org
SUMMARY:The Soldier Bishop: Ellison Capers
DESCRIPTION:The Soldier Bishop: Ellison Capers\, a special exhibit created by Faith Memorial Chapel\, Cedar Mountain\, NC\, now on display at the Upcountry History Museum\, presents the unshakable faith of Rt. Reverend Ellison Capers and how his fortitude created a lasting legacy. \nThough he lost loved ones and survived many of his own near-death experiences in some of the most horrific engagements of the American Civil War (1861-1865)\, Capers’ trust in God and the path before him never faltered. In 1865\, at the age of 28\, he was promoted in the military to Brigadier General receiving recognition for his leadership and distinguished service. After the war Capers was elected Secretary of State for South Carolina. Even so\, his calling to Christ was overpowering. The Governor told him\, “You can be a Governor\, Senator\, or anything you like. You will be a fool to give all this to become a preacher.” \nIn 1866\, Capers accepted a call to Christ Church Episcopal in Greenville\, South Carolina\, where he served for 20 years. He was consecrated as bishop of the State of South Carolina in 1893 and moved to Charleston. To escape the summer heat\, he purchased a plot of land in Cedar Mountain\, NC\, and erected a cottage. This inspired in Mrs. Capers a dream to erect an Episcopal chapel for the local population. In 1894\, this dream became a reality\, and “Faith Chapel” was built. \n“Faith Chapel” fell into disrepair following Capers death in 1908. In honor of his enduring influence and guidance\, a disciple of Capers\, the Reverend Dr. Alexander Mitchell from Greenville\, began a movement to rebuild the chapel and dedicated the new church\, “Faith Memorial Chapel\,” in Capers’ memory in 1941. \nThe exhibit shares the story of Ellison Capers and the history of Faith Memorial Chapel. Historical artifacts\, including Capers’ original military sword\, the musket balls that nearly killed him\, his war diaries and handwritten letters to his wife from the battlefield\, and the preserved renderings for rebuilding the Chapel dedicated to his memory\, highlight key moments of Capers life’s journey through war\, faith\, and salvation. \n 
URL:https://upcountryhistory.org/event/the-soldier-bishop-ellison-capers/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210821T100000
DTEND;TZID=America/New_York:20211031T170000
DTSTAMP:20210823T152634Z
CREATED:20210810T200144Z
LAST-MODIFIED:20210823T152634Z
UID:6834-1629540000-1635699600@upcountryhistory.org
SUMMARY:Manzanar: The Wartime Photographs of Ansel Adams
DESCRIPTION:On February 19\, 1942\, following the December 7\, 1941 attack on Pearl Harbor\, President Franklin D. Roosevelt signed Executive Order 9066\, a mandate that required all Americans of Japanese ancestry to enter internment camps. The majority of Japanese detained were native-born Americans or legal U.S. citizens. \nThe Manzanar Relocation Center\, located 220 miles northeast of Los Angeles\, was the first of ten camps established to detain 120\,000 individuals of Japanese descent. Located on the eastern shoulder of California’s Sierra Nevada range\, the camp at Manzanar opened in March 1942 and operated through November 1945 as a confinement site for more than 11\,070 Japanese Americans. \n    \n  \n  \n  \n  \n  \n  \nDuring the camp’s operation\, four leading American photographers – Ansel Adams\, Clem Albers\, Dorothea Lange\, and Toyo Miyatake – documented the physical\, cultural\, and psychological conditions of camp life. Crafted from different angles\, their combined work reveals the complex human responses to internment and its obvious social injustices. \nManzanar: The Wartime Photographs of Ansel Adams consists of fifty photographs taken by famed Western landscape photographer Ansel Adams of the Manzanar Relocation Center between 1943 and 1944. The controversial period in American history is depicted in authentic black and white photographs by the skilled Adams and presents a moment in time when Japanese American citizens were denied their freedom and rights due to their Japanese ancestry. \nAdams presents an intimate look at daily life in Manzanar through portraits and images of daily life. This series is a departure from his usual landscape photography. Concentrating on the internees and their activities\, Adams photographed family life in the barracks; people at work – internees as welders\, farmers\, and garment makers; and recreational activities\, including baseball and volleyball games. \nIn addition to Adams’s work\, the exhibition features photographs by Dorothea Lange and Toyo Miyatake. Miyatake\, a Los Angeles portrait photographer and internee at Manzanar\, fashioned a camera from parts he brought with him in his luggage. Both Adams’s and Miyatake’s photographs present a positive view of those interned at Manzanar. In contrast Lange’s photographs reflect the upheaval of evacuation and the bleak conditions at the camp.
URL:https://upcountryhistory.org/event/6834/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210606
DTEND;VALUE=DATE:20210920
DTSTAMP:20210525T181416Z
CREATED:20180430T235246Z
LAST-MODIFIED:20210525T181416Z
UID:1047-1622937600-1632095999@upcountryhistory.org
SUMMARY:Once Upon A Time: Exploring the World of Fairy Tales
DESCRIPTION:June 5 – September 19\, 2021\nThe bilingual exhibition (English and Spanish) is a unique and educational experience that emphasizes the importance of reading and the significance of fairy tales throughout history. From an African jungle to a giant’s castle\, visitors explore larger-than-life pages of six of the world’s most famous fairy tales: Anansi and the Talking Melon (Ghana)\, Beauty and the Beast (France)\, Jack and the Beanstalk (England)\, Cinderella (France\, China)\, The Elves and the Shoemaker (Germany)\, and Lon Po Po (aka: Little Red Riding Hood\, China).\nEntering the exhibit via a magical portal\, visitors will be surrounded by an enchanting storybook kingdom. Each tale is brought to life through its own large-scale environment\, interactive components\, and costumes.\nWith seven storybook settings designed for children ages 3-10 years old and their caregivers\, Once Upon A Time will take traditional story time to a new interactive level. The result is a three-dimensional\, fully developed world that resonates with young visitors\, while still appealing to the grown-ups in their lives who are just as fond of the beloved stories that were a major part of their own childhood.
URL:https://upcountryhistory.org/event/once-upon-a-time/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210501T100000
DTEND;TZID=America/New_York:20210808T170000
DTSTAMP:20210429T194352Z
CREATED:20210429T192553Z
LAST-MODIFIED:20210429T194352Z
UID:6470-1619863200-1628442000@upcountryhistory.org
SUMMARY:Masters of American Photography
DESCRIPTION:May 1 – August 8\, 2021\nA picture is worth a thousand words\, or so the saying goes\, and the 24 images on display in Masters of American Photography\, takes visitors on a pictorial journey that traces the history of photography from the mid-19th century to the 20th century. \n\nFrom Ansel Adams\, Dorothea Lange and Walker Evans to Alfred Stieglitz\, Paul Strand and Margaret Bourke-White\, the range of these notable photographers underscores the influence each had on the Pictorialism movement which sought to elevate the status of photography to a fine art. Themes such as portraiture\, landscape\, cityscape\, still life\, motion capture\, and cultural history are explored in an impressive array of works by these most important artists in the chronicles of photography. \nExamining the advent of photography from the 1880s through the 1980s\, Masters focuses on the extraordinary fervor that surrounded the innovation of this newest medium of visual representation. Emphasizing the experimental nature and evolution of photographic techniques through this time period\, this unique exhibition showcases some of the photographs made during the Great Depression to call attention to the challenges of rural poverty\, as well as the impact on the people whose lives were now documented as part of the collective record of the artform and its noted accounts of those moments. \nOn display through August 8\, 2021\, Masters of American Photography is filled with opportunities for visitors to explore an extraordinary time in the early history of what has not only become a profession and hobby\, but a passion and art form for so many. \nThis definitive collection\, comprised of many vintage prints\, was organized by the Reading Public Museum in Reading\, Pennsylvania. \n  \n 
URL:https://upcountryhistory.org/event/masters-of-american-photography/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210117
DTEND;VALUE=DATE:20210419
DTSTAMP:20210119T215155Z
CREATED:20210119T214912Z
LAST-MODIFIED:20210119T215155Z
UID:5886-1610841600-1618790399@upcountryhistory.org
SUMMARY:Pigskin Peanuts
DESCRIPTION:January 16 – April 17\, 2021\nLucy first pulled the football away from Charlie Brown on November 16\, 1952. Known as “The Fall Classic” it became a rite of autumn in American pop culture. The annual “pulling away of the football” was shown nearly every year through the run of the Peanuts comic strip. Artist Charles M. Schulz created nearly 50 years of unique endings to the famous football gag.\nThe Upcountry History Museum in partnership with the Charles M. Schulz Museum and Research Center will host Pigskin Peanuts\, a retrospective exhibition that examines Schulz’s love of the game. Greenville\, South Carolina will be the final stop on the Pigskin Peanuts international tour.\nThe 3000 square foot exhibit showcases Peanuts football-themed comic strips\, artifacts and ephemera to illustrate how sports\, specifically football\, evolved and played a role in the Peanuts comics.\nCharlie Brown’s missed kick wasn’t the only Peanuts football story. The exhibition\, divided into five sections\, examines the evolution of football in the Peanuts stories including Vintage Pigskin\, The Fall Classic\, Snoopy’s Gridiron Tales\, Woodstock Plays Football\, and Girls Rule (Sally\, Peppermint Patty and Marcie).
URL:https://upcountryhistory.org/event/pigskin-peanuts/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201114T100000
DTEND;TZID=America/New_York:20210213T170000
DTSTAMP:20210126T182003Z
CREATED:20201116T160900Z
LAST-MODIFIED:20210126T182003Z
UID:5678-1605348000-1613235600@upcountryhistory.org
SUMMARY:White Christmas: The Exhibition
DESCRIPTION:Extended – Now Closing February 13\, 2021\nIn December of 1941\, seventeen days after the Japanese attack on Pearl Harbor\, Bing Crosby made the first live radio performance of a new song called “White Christmas.” Crosby’s unforgettable voice\, singing what would become one of the most iconic Christmas songs ever written\, went almost unnoticed in the flurry of activity around the United States entry into World War II. \nThe song had been created by songwriter Irving Berlin\, a Jewish Russian immigrant. Its nostalgic view of an ideal snowy northeastern Christmas had to wait until the August 1942 release of the movie Holiday Inn before its popularity would take off. Within a month of the film’s premiere\, sheet music and record sales propelled “White Christmas” to the top of the Hit Parade music chart for 10 weeks beginning in November 1942. From that point on\, “White Christmas” became an instant classic and one of the most patriotic songs of World War II. \nThe song won the Academy Award for Best Original Song in 1942 and was such a hit\, that Berlin decided to write an entire movie around it. \nPrior to the film’s release in the fall of 1954\, Variety wrote that “White Christmas should be a natural at the box office…with a hot ensemble including Bing Crosby\, Danny Kaye\, Rosemary Clooney\, Vera-Ellen\, and an Irving Berlin score.” Variety was right; White Christmas became the highest grossing film of 1954 and the highest grossing musical film of all-time. \nThe Upcountry History Museum in partnership with the Rosemary Clooney House\, Augusta\, Kentucky and a private collector\, will host White Christmas – The Exhibition in the Fall of 2020. Greenville\, South Carolina will be the second U.S. city to host the 2000 square foot exhibit. \nOriginal White Christmas film costumes created by legendary designer Edith Head\, props\, sheet music\, cast member’s personal memorabilia\, archival materials\, replica backdrops and more will invite visitors to experience first-hand the musical genius of Irving Berlin and the making of this beloved holiday film about two WWII veterans who team up with a singing sister duo to save a faltering Vermont lodge owned by the veteran’s former commanding officer.
URL:https://upcountryhistory.org/event/white-christmas-the-exhibition/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200822T100000
DTEND;TZID=America/New_York:20210103T170000
DTSTAMP:20200831T135828Z
CREATED:20200821T131724Z
LAST-MODIFIED:20200831T135828Z
UID:5323-1598090400-1609693200@upcountryhistory.org
SUMMARY:Ghost Trail: U.S. Marines and the Battle of Tarawa in the Pacific\, 1943
DESCRIPTION:August 22\, 2020 – January 3\, 2021\nThe November 1943 invasion of the Gilbert Islands was the beginning of the U.S. “island hopping” campaign in the central Pacific during World War II. U.S. commanders determined that amphibious attacks on Japanese-occupied islands was the key to victory. The island of Tarawa was the first target in the Allied campaign. \nAbout 80 nautical miles north of the equator\, Tarawa is the largest atoll of the Gilberts\, a 16-island chain roughly halfway between Hawaii and Papua New Guinea. The Japanese seized the then-British-occupied isle just days after Japan’s December 7\, 1941 attack at Pearl Harbor. Tarawa’s main island Betio\, was the target of the Navy and Marine Corps in November of 1943. \nThe Battle of Tarawa\, November 20-23\, 1943\, was the first major American offensive in the central Pacific. Until then\, Americans hadn’t faced much opposition during amphibious assaults. But Tarawa was different. The initial landings by the 2nd Marine Division met a heavily fortified Japanese force. \nJapanese Rear Admiral Meichi Shibasaki\, said “a million Americans” wouldn’t be able to take Tarawa in “100 years.” Americans took Tarawa in 76 hours. \nFew military battles have matched the concentrated ferocity of the three-day fight between U.S. and Japanese forces in November 1943 for a sandy sliver of land halfway between Pearl Harbor and the Philippines. The U.S. delivery of coordinated land\, sea and air power brought a U.S. force of over 30\,000 men\, a 10-1 advantage over the Japanese. \nTarawa was an essential WWII stepping-stone across the Pacific. In what one combat correspondent called “the toughest battle in Marine Corps history\,” U.S. Marines wrestled it away at a cost of more than 1\,009 men. All but 17 of the 3\,500 dug-in Japanese defenders were killed\, along with 1\,100 Korean slave laborers. The search for the missing bodies of more than 100 U.S. Marines buried on the island continues today. \nThe Upcountry History Museum in partnership with the U.S. Navy History and Heritage Command will commemorate the service and sacrifice of the U.S. Marines at the Battle of Tarawa through a special exhibition featuring original combat art by Kerr Eby who traveled with the Marines in the South Pacific and landed with the invasion force at Tarawa\, photography\, rare film footage and artifacts.
URL:https://upcountryhistory.org/event/ghost-trail-u-s-marines-and-the-battle-of-tarawa-in-the-pacific-1943/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200609T100000
DTEND;TZID=America/New_York:20201024T170000
DTSTAMP:20200804T130853Z
CREATED:20200527T160710Z
LAST-MODIFIED:20200804T130853Z
UID:4971-1591696800-1603558800@upcountryhistory.org
SUMMARY:Adventures with Clifford the Big Red Dog
DESCRIPTION:The Upcountry History Museum and America’s beloved big red dog with a heart to match will invite visitors to board the Birdwell Island ferry and journey to the world of Clifford The Big Red Dog. \n\n\n\n\n\n\n\nAdventures with Clifford The Big Red Dog\, an interactive\, bi-lingual (English and Spanish)\, exhibition featuring Clifford\, Emily Elizabeth and all the residents of Birdwell Island will delight Upstate fans when it makes a stop at the Upcountry History Museum in the summer of 2020. \nInspired by Scholastic Entertainment’s top-rated TV show Clifford The Big Red Dog on PBS Kids\, the 2000 square foot multi-sensory experience offers numerous “paws-on” adventures that reinforce “Clifford’s 10 Big Ideas.” These simple tangible life lessons are designed to help young children navigate their world: Share\, Play Fair\, Have Respect\, Work Together\, Be Responsible\, Be Truthful\, Be Kind\, Believe in Yourself\, Be a Good Friend\, and Help Others. \nAs visitors explore Adventures with Clifford The Big Red Dog\, they encounter the people and places that make-up Clifford’s world. From boarding the Birdwell Island ferry to greeting the nine-foot tall Clifford The Big Red Dog in his own backyard\, visitors playfully explore the exhibition’s themed areas and discover “Clifford’s Big Ideas”. \nDesigned for children ages 2 to 8 and their caregivers\, the exhibition’s content and themed environments are drawn from the places found on Birdwell Island. Each of the ten exhibit areas emphasize the importance of literacy and social-emotional development. Activities are designed to offer safe and inviting experiences for the youngest visitors while offering challenges for older children. Adult caregivers are addressed specifically through text and graphics\, which highlight the exhibit’s educational messages and “Clifford’s Big Ideas”. \nVisitors will also meet Norman Bridwell\, creator of Clifford The Big Red Dog at the Birdwell Island Library. Bridwell created the first Clifford The Big Red Dog book in 1962\, based on the dog he dreamed of riding and sharing adventures with as a little boy. Today\, the best-selling\nbook series includes more than 160 Clifford titles\, 100 million books in print and an award-winning PBS Kids television show. \nThe exhibit’s timeless lessons\, bolstered by the series’ enduring popularity and multi-generation appeal\, support adult-child engagement and a child’s growth in 21st century skills laying a foundation for success in life\, school and work. \n\n\n\n\n\n\nSponsored by: PRISMA\, Quality Business Solutions\, Publix Super Markets\, C&S Wholesale Grocers\, and WSPA News Channel 7
URL:https://upcountryhistory.org/event/adventures-with-clifford-the-big-red-dog/
CATEGORIES:Exhibitions,Highlight
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DTSTART;TZID=America/New_York:20200520T220000
DTEND;TZID=America/New_York:20200520T233000
DTSTAMP:20200519T145156Z
CREATED:20200430T005552Z
LAST-MODIFIED:20200519T145156Z
UID:4799-1590012000-1590017400@upcountryhistory.org
SUMMARY:UHM Virtual Tour - Dueling Pistols
DESCRIPTION:While school is out and outside interaction is limited\, virtual field trips can provide a great adventure! Follow the link below to take a virtual tour through the Museum’s permanent galleries.\n  \n\n  \nEach week we will focus on one particular artifact\, event in history\, gallery or exhibit. So\, check back regularly to continue learning about Upcountry history. \n  \n\n  \nWEEK THREE: DUELING PISTOLS \nPistols like this would have been used in the duel between Benjamin Perry and Turner Bynum. According to The Code of Honor\, the rule book for dueling Southerners\, “the arms used should be smooth-bore pistols\, not exceeding nine inches in length.” Directly beside the dueling pistols (generously donated by Charles Blakely)\, you will find a copy of The Code of Honor. This book set the standards for southern dueling. It was published in 1858 by former South Carolina Governor\, John L. Wilson. The state outlawed the practice of dueling in 1880. \n\n  \nTo find our dueling pistols\, click on the image above. Once directed to the Virtual Tour\, press the play button\, making sure to give the app a few seconds to load fully before it brings you back to the main lobby area\, in front of the courthouse steps. Once at the courthouse steps\,  simply click to the left side of the screen. Travel behind the drover and his pigs. Pass through the Upcountry Frontier gallery and take a right past the elevator doors. Here you will find the display of the dueling pistols and The Code of Honor. \nWant to learn more on dueling? Click HERE! \n  \n\n  \nWEEK TWO: MAC ARNOLD’S GAS CAN GUITAR \nArnold’s first gas can guitar was something he and his older brother Leroy created out of necessity. Leroy wanted a guitar\, but his father wouldn’t allow it\, so they made their own. The two collected scrap materials around the family’s Pelzer farm\, such as strips of screen from a screen door for the strings. Arnold learned how to play the gas can guitar by age 10. Eventually\, he got a six string guitar and later switched to the electric bass. By the time he was 24\, he was in the center of the electric blues movement in Chicago. While in LA\, he worked with some of the country’s most talented and well-known recording artists. \nWhen he returned to South Carolina\, he remembered the gas can guitar he made with his brother and set out to make a new one. It took him 18 months to track down the proper materials and six to re-learn playing the homemade guitar. He has since returned to his Upcountry roots\, playing with his band\, “Mac Arnold and Plate Full O’ Blues.” \n  \n\n  \nTo find Mac Arnold’s gas can guitar\, affectionately named “Maggie Mae\,” click on the image above. Once directed to the Virtual Tour\, press the play button\, making sure to give the app a few seconds to load fully before it brings you back to the main lobby area\, in front of the courthouse steps. Once at the courthouse steps\,  simply click in the middle of the screen 4x until you are at the Vardry McBee statue (pictured below). Then scan to the right until you are facing the white chapel. Walk in the chapel and “Maggie Mae” will be immediately to your right. \n  \n\n  \nWEEK ONE: THE GREENVILLE & COLUMBIA RAILROAD \nIn 1832\, Vardry McBee and his contemporaries supported the construction of a railroad from Charleston to Cincinnati. They hoped it would help the economy and symbolize a political union of North and South understanding. There was a lot of debate locally over the construction of the railroad\, but McBee’s vision ultimately prevailed. At the time of his investment of $50\,000 in the Upcountry portion of rail (the Greenville and Columbia Railroad)\, it was the largest investment in a U.S. railroad. The segment was completed in 1853 and increased the value of good in Greenville by 45 percent. \n  \n\n  \nTo find this particular display\, click on the image above. Once directed to the Virtual Tour\, press the play button\, making sure to give the app a few seconds to load fully before it brings you back to the main lobby area\, in front of the courthouse steps. Once at the courthouse steps\,  simply click in the middle of the screen 4x and you will find yourself in front of the Vardry McBee and Railroad display. \n  \n  \n  \nThank you to South Carolina ETV for creating and sharing this virtual museum tour. \n 
URL:https://upcountryhistory.org/event/uhm-virtual-tour/
CATEGORIES:Exhibitions,Highlight
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DTSTART;TZID=America/New_York:20200520T080000
DTEND;TZID=America/New_York:20200526T233000
DTSTAMP:20200519T145130Z
CREATED:20200512T223824Z
LAST-MODIFIED:20200519T145130Z
UID:4924-1589961600-1590535800@upcountryhistory.org
SUMMARY:Read of the Week - Nathanael Greene
DESCRIPTION:Eulogy on Nathanael Greene\n\n\n\n\n\n\nNew York\, July 4\, 1789 \n\n\nEulogium on the late Major General Greene by Alexander Hamilton \nThere is no duty that could have been assigned to me by this Society\, which I should execute with greater alacrity than the one I am now called upon to perform. All the motives capable of interesting an ingenuous and feeling mind conspire to prompt me to its execution. To commemorate the talents virtues and exploits of great and good men is at all times a pleasing task to those\, who know how to esteem them. But when such men to the title of superior merit join that of having been the defenders and guardians of our country—when they have been connected with us as companions in the same dangers\, sufferings\, misfortunes and triumphs—when they have been allied to us in the still more endearing character of friends—we recal the ideas of their worth with sensations\, that affect us yet more nearly\, and feel an involuntary propensity to consider their fame as our own. We seem to appropriate to ourselves the good they have acquired\, and to share in the very praise we bestow. \nIn entering upon a subject in which Your feelings as well as my own are so deeply concerned—however it might become me to follow examples of humility—I shall refrain from a practice perhaps not less laudable\, than it is common—I cannot prevail upon myself to check the current of your sensibility by the cold formalities of an apology for the defects of the Speaker. These can neither be concealed nor extenuated by the affectation of diffidence: Nor even by the genuine concessions of conscious inability. Tis your command\, and the reverence we all bear to the memory of him of whom I am to speak\, that must constitute my excuse and my claim to your indulgence. Did I even possess the powers of Oratory\, I should with reluctance attempt to employ them upon the present occasion. The native brilliancy of the diamond needs not the polish of art: The conspicuous features of preeminent merit need not the coloring pencil of imagination nor the florid decorations of Rhetoric. \nFrom you who knew and loved him\, I fear not the imputation of flattery or enthusiasm when I indulge an expectation that the name of Greene will at once awaken in your minds the images of whatever is noble and estimable in human nature. The fidelity of the portrait I shall draw will therefore have nothing to apprehend from your sentence. But I dare not hope that it will meet with equal justice from all others or that it will intirely escape the cavils of ignorance and the shafts of envy. For high as this great man stood in the estimation of his Country\, the whole extent of his worth was little known. The situations in which he has appeared though such as would have measured the faculties and exhausted the resources of men who might justly challenge the epithet of great\, were yet incompetent to the full display of those various rare and exalted endowments\, with which nature only now and then decorates a favorite as if with intention to astonish mankind. \nAs a man the virtues of Greene are admitted; as a patriot he holds a place in the foremost rank; as a statesman he is praised; as a soldier he is admired. But in the two last characters especially in the last but one his reputation falls far below his desert. It required a longer life and still greater opportunities to have enabled him to exhibit in full day the vast\, I had almost said the enormous powers of his mind. The termination of the American war not too soon for his wishes nor for the welfare of his country\, but too soon for his glory\, put an end to his military carreer. The sudden termination of his life cut him off from those scenes\, which the progress of a new immense and unsettled empire could not fail to open to the complete exertion of that universal and pervading genius\, which qualified him not less for the senate\, than for the field. \nIn forming our estimate\, nevertheless of his character\, we are not left to supposition and conjecture. We are not left to vague indications or uncertain appearances which partiality might varnish or prejudice discolour. We have a succession of deeds as glorious as they are unequivocal to attest his greatness and perpetuate the honors of his name. \nIt is an observation as just as it is common that in those great revolutions which occasionally convulse society human nature never fails to be brought forward in its brighest as well as in its blackest colors: And it has very properly been ranked not among the least of the advantages which compensate for the evils they produce\, that they serve to bring to light talents and virtues which might otherwise have languished in obscurity or only shot forth a few scattered and wandering rays. Nathaniel Greene descended from reputable parents\, but not placed by birth in that elevated rank\, which under a monarchy is the only sure road to those employments\, that give activity and scope to abilities\, must in all probability have contented himself with the humble lot of a private citizen\, or at most with the contracted sphere of an elective office\, in a colonial and dependent government\, scarcely conscious of the resources of his own mind\, had not the violated rights of his country called him to act a part on a more splendid and a more ample theatre. Happily for America he hesitated not to obey the call. The vigor of his genius corresponding with the importance of the prize to be contended for\, overcame the natural moderation of his temper; and though not hurried on by enthusiasm\, but animated by an enlightened sense of the value of free government\, he chearfully resolved to stake his fortune his hopes his life and his honor upon an enterprise of the danger of which he knew the whole magnitude in a cause which was worthy of the toils and of the blood of heroes. \nThe sword having been appealed to at Lexington as the Arbiter of the controversy between Great Britain & America\, Greene shortly after marched at the head of a Regiment to join the American forces at Cambrige; determined to abide the awful decision. \nHe was not long there before the discerning eye of the American Fabius marked him out as the object of his confidence. His abilities intitled him to a preeminent share in the Councils of his Chief. He gained it and he preserved it amidst all the chequered varieties of military vicissitude\, and in defiance of all the intrigues of jealous and aspiring rivals. \nAs long as the measures which conducted us safely through the first most critical stages of the war shall be remembered with approbation— As long as the enterprises of Trenton and Princeton shall be regarded as the dawnings of that bright day\, which afterwards broke forth with such resplendent lustre—As long as the almost magic operations of the remainder of that memorable Winter distinguished not more by these events than by the extraordinary spectacle of a powerful army straitened within narrow limits by the phantom of a military force\, and never permitted to transgress those limits with impunity\, in which skill supplied the plan & means and disposition was the substitute for an army—As long I say as these operations shall continue to be the objects of curiosity and wonder—So long ought the name of Greene to be revered by a Grateful Country. To attribute to him a portion of the praise which is due as well to the formation as to the execution of the plans that affected these important ends\, can be no derogation from that wisdom and magnanimity which knew how to select and embrace councils worthy of being pursued. The Counsels of a Henry were never tarnished by the obligations he acknowleged to a Sully. \nIt would be an unpleasing task and therefore I forbear to lift the veil from off those impotent Councils\, which by a formal vote had decreed an undisturbed passage to an enemy retiring from the fairest fruits of his victories to seek an asylum from impending danger\, disheartened by retreat\, dispirited by desertion\, broken by fatigue\, retiring through woods defiles and morasses in which his discipline was useless\, in the face of an army superior in numbers\, elated by pursuit and ardent to signalise their courage. Tis enough for the honor of Greene to say that he left nothing unessayed to avert and to frustrate so degrading a resolution. And it was happy for America that the man\, whose reputation could not be wounded without wounding the cause of his Country\, had the noble fortitude to rescue himself and the army he commanded from the disgrace with which they were both menaced by the characteristic imbecility of a Council of War. \nUnwilling to do more than merely to glance at a scene in which the meritorious might be involved with the guilty in promiscuous censure here let me drop the Curtain and invite You to accompany me to the Heights of Monmouth. There let me recall to your indignant view the flower of the American infantry flying before an enemy that scarcely dared to pursue—vanquished without a blow—vanquished by their obedience to the command of a leader who meditated their disgrace. Let me contrast with this the conduct of your Greene—the calm intrepidity and unshaken presence of mind with which he seconded the dispositions of his General to arrest the progress of the disorder and retrieve the fortune of the day. Let me recall to your recollection that well timed and happy movement on the left of the enemy by which he so materially contributed to deciding the dubious event of the conflict and turning the hesitating scale of victory. \nFrom the heights of Monmouth I might lead you to the plains of Springfield there to behold the Veteran Knyphaussen at the head of a veteran army baffled and almost beaten by a general without an army—aided or rather embarrassed by small fugitive bodies of volunteer militia\, the mimicry of soldiership! \nBut it would ill become me to detain you in the contemplation of objects diminutive in comparison with those that are to succeed. Hitherto we have seen the illustrious Greene acting in a subordinate capacity the faint glimmerings of his fame absorbed and lost in the superior rays of a Washington. Happy was it for him to have been called to a more explicit station. Had this never been the case\, the future historian perplexed between the panygeric of friends and the satire of enemies might have doubted in what colors to draw his true character. Accident alone saved a Greene from so equivocal a fate; a reflection which might damp the noble ardor of emulation and check the towering flight of conscious merit. \nThe defeat of Campden and the misfortune of Gates opened the carreer of victory and of Glory to Greene. Congress having resolved upon a successor to the former the choice was left to the Commander in Chief and fell upon the latter. In this destination\, honorable in proportion as it was critical\, he acquiesced with the mingled emotions of a great mind—impelled by a sense of duty—allured by the hope or fame—apprised of the danger and precariousness of the situation\, yet confident of its own strength and animated by the magnitude of the object for which it was to be exerted. \nHence forth we are to view him on a more exalted eminence. He is no longer to figure in an ambiguous or secondary light—He is to shine forth the artificer of his own glory—the leader of armies and the deliverer of states! \nTo estimate properly the value of his services it is necessary to recur to the situation of the Southern extremity of the Union at the time he entered upon the command in that Quarter—Georgia and South Carolina subdued and overrun\, the spirit of their people dejected and intimidated\, the flame of resistance scarcely kept alive by the transient gleams of a few expiring embers: North Caroliana distracted by the still recent effects of internal commotion\, dreading the hostility of a considerable part of its own citizens\, the depending for its exertions on the tried valour and patriotism of the rest more than on the energy of a feeble and ill organised government: Virginia debilitated by the excessive efforts of its early zeal and by the dissipation of its revenues and forces in domestic projects incumbered by a numerous body of slaves bound by all the laws of injured humanity to hate their Masters—deficient in order and vigour in its administration—and relying wholly for immediate defence against threatened invasion on the resources of a Country extensive populous and fertile to be put in motion by the same ardent and magnanimous spirit which first lighted up the opposition to Great Britain and set the glorious example of resistance to America. \nIn such a situation what was to be hoped? What was to be hoped from a General without troops without magazines\, without money? A man of less depth of penetration or force of soul than Greene would have recoiled at the prospect; but he far from desponding undertook the arduous task with firmness—with a firmness which was the result of a well informed estimate of a situation perilous but not desperate. He knew how much was to be expected from the efforts of men contending for the rights of man. He knew how much was to be performed by capacity courage and perseverance. \nNot to be disconcerted by the most complicated embarrassments nor the most discouraging prospects\, he began before he entered upon the duties of the field by adjusting the outlines of the plan which was to regulate his future conduct; a plan conceived with so much wisdom and so perfect a judgment of circumstances\, that he never had occasion to depart from it in the progress of his subsequent operations. This alone might suffice to form the eulogium of his genius and to demonstrate that he was an accomplished master in the science of military command! \nHis next care was to endeavour to impress the neighbouring states with a proper sense of their situation in order to induce them with system and effect to furnish the succors of which he stood in need. To urge the collection and accelerate the arrival of these as well as to repel any invasion to which the state might be exposed\, he stationed in Virginia the Baron De Steuben an officer who merited and possessed7 his confidence; and having made these preliminary arrangements he hastened to put himself at the head of the inconsiderable remains of the Southern army\, which he joined at Charlotte on the borders of North Carolina destitute of every thing but courage and an unconquerable attachment to the cause they had espoused. \nTo enter into a particular detail of the operations by which the Southern states were rescued from conquest and desolation\, and the last project of Britain for the subjugation of America frustrated would be to assume the Province of the historian. This neither the occasion\, nor any reasonable claim to your indulgence would justify. A general sketch is all that can with propriety be attempted & shall lim⟨it⟩ my endeavours. \nTo supply a necessitous army by coertion and yet maintain the confidence and good will of the coerced\, this was among the first and not the least of the difficulties to be surmounted. But delicate and difficult as was the task it was neverthess accomplished. Conducted with system moderation and Equity\, even military exactions lost their rigor and Freemen venerated the hand that reluctantly stripped them of their property for their preservation. \nHaving concerted the arrangements requisite to this end\, Greene\, without further delay\, entered upon that busy complicated and extraordinary scene\, which may truly be said to form a phœnomenon in war—a sience which almost continually presents us on the one hand with victories ruinous to the Victors\, on the other with retreats beneficial to the vanquished—which exhibits to our admiration a commander almost constantly obliged to relinquish the field to his adversary\, yet as constantly making acquisitions upon him\, beaten today tomorrow without a blow compelling the conqueror to renounce the very object for which he had conquered and in a manner to fly from the very foe he had subdued. \nToo weak with his collected strength to dispute the field with an enemy superior both in numbers and discipline and urged by the necessity of giving activity to the natural force of the Country by rousing the inhabitants from the state of despondency into which they had sunk with the prospect of succour and protection: Greene divided his little army into two parts one of which he sent under Morgan into the Western extremities of North Carolina & with the other marched to Hicks Creek in. \nThis movement had the desired effect. The appearance of aid magnified by advantages opportunely gained (though unimportant in themselves) rekindled the ardor of patriotic hope in the breasts of many\, who had begun to despair\, and emboldened them to resume their arms and again to repair to the standard of liberty. \nSensible of the importance of counteracting this policy of the American General\, The British Commander hesitated not about the part he should act. Directing his first attention towards the detachment under Morgan and meditating a decisive blow against that corps he committed the execution of the enterprise to Lieutenant Colonel Tarleton at the head of a thousand veterans. Tarleton hitherto not less the favourite of fortune\, than of his chief\, hastened to perform the welcome duty—anticipating an easy triumph over foes inferior both in numbers and discipline—and dreaming not of the reverse which was destined to confound his hopes and even to sully the lustre of his former fame. In the very grasp of victory\, when not to combat but to slaughter\, seemed all that remained to be done\, the forward intrepidity of a Washington seconded by the cool determined bravery of a Howard snatched the trophy from his too eager and too exulting hand—He was discomfited and routed. The greater part of his followers were either killed or taken\, and the remaining few with himself were glad to find safety in flight. Here first the bright dawn of prosperity began to dispel that gloomy cloud which had for some time lowered over the Southern Horison! \nThunderstruck at so unexpected a disaster and ill able to spare so considerable a part of his force\, Cornwallis resolved at every sacrifice to attempt the recovery of his captive troops. The trial of skilful exertion between the generals and of patient fortitude between the troops to which that attempt gave occasion was such as to render it difficult to pronounce to whom the palm of merit ought to be decreed. Abandoning whatever might impede the celerity of his motions Cornwallis began and urged the pursuit of the detachment under Morgan with a rapidity seldom equalled never surpassed. While on the other hand the provident and active Greene spared no exertion to disappoint his enterprising adversary. Anxious for the security of that detachment with their prisoners and desirous of effecting a reunion of his forces\, now rendered necessary by a change of circumstances\, he gave instant orders for the march of the body under his immediate command to Guilford Court House and hastened in person through the country a hundred and fifty miles to join General Morgan whom he came up with on the banks of the Catawba. Thus placed in front of the enemy he was the better able to counteract their immediate design and to direct the cooperation necessary to the intended junction. So well were his measures taken that he succeeded in both objects. The prisoners were carried off in safety and Guilford Court House the destined place of rendezvous received and reunited the two divisions of the American army. \nStill however too weak to keep the field in the face of his enemy; a further retreat became inevitable. A resolution was accordingly taken to retire beyond the Dan. Here a new and not less arduous trial of skill ensued. To get between the American army and Virginia—intercept their supplies and reinforcements—and oblige them to fight on disadvantageous terms: This now became the object of Cornwallis. With this view he directed his march into the upper Country\, where the Rivers were fordable with facility\, flattering himself that the depth of the waters below and the want of boats would oppose insuperable obstacles to the expeditious passage of the American troops. To retard the progress of the British army was of course an indispensable policy on the part of Greene. For this purpose he practiced every expedient\, which a mind full of resource could devise. And so efficacious were the expedients he adopted that surmounting all the impediments in his way he completed his retreat across the Dan without loss of men baggage or stores. \nSuch nevertheless was the energy of the pursuit that in crossing the three principal Rivers the Catawba the Yadken and the Dan the British troops in a manner trod upon the Heels of the American. In the passage of the last of the three\, the van of the enemy’s army reached one shore almost at the very moment that the rear of ours landed on the opposite. Cornwallis upon this occasion\, imitating Charles the 12th of Sweden\, when the celebrated Schulenburgh made good his retreat across the Oder in spite of the utmost efforts of that vigorous and enterprising monarch\, might with propriety have exclaimed—This day at least Greene has conquered me! The art of retreating is perhaps the most difficult in the art of war. To have effected a retreat in the face of so ardent a pursuit\, through so great an extent of country\, through a country offering every obstacle\, affording scarcely any resource\, with troops destitute of every thing who a great part of the way left the vestiges of their march in their own blood\, to have done all this (I say) without loss of any kind may without exaggeration be denominated a master piece of military skill and exertion. \nDisappointed in his first aim Cornwallis now retired from the Dan to Guilford Court House. Having driven the American army out of North Carolina\, he flattered himself that his efforts would at least be productive of the advantage of an accession of force by encouraging the numerous royalists of that state to repair to his standard. Greene not without apprehensions that the hopes of his Competitor in this respect might be realized lost not a moment\, after receiving a small reinforcement from Virginia\, in recrossing the Dan to take post in the vicinity of the British army and interrupt their communication with the Country. Three weeks passed in a constant scene of military manoevre: Cornwallis eagrally striving to bring his antagonist to a action; and Greene adroitly endeavouring to elude it\, yet without renouncing such a position as would enable him to prevent both supplies and reinforcements. On this occasion he played the part of a Turenne and he played it with complete success. The relative position which he took and maintained and the tragical fate of a body of royalists intercepted in their way to the British army distroyed every prospect of that aid which they not without reason had promised themselves from their adherents in North Carolina. \nVirginia in the mean time awakened by the presence of danger exerted herself to reinforce the American army. Greene speedily finding himself in a condition to outnumber his adversary resolved to offer that battle which he had hitherto declined. He considered that in the existing circumstances a defeat must be to the enemy absolute ruin; while to him from his superiority in Cavalry united with other advantages it could be nothing more than a partial misfortune and must be compensated at a price which the enemy could not afford to pay for it. \nThe two armies now equally willing to try the fortune of a battle met and engaged near Guilford Court house. All that could be expected from able disposition towards ensuring success promised a favourable issue to the American arms. But superior discipline carried it against superior numbers and superior skill. Victory decreed the glory of the combat to the Britains; but Heaven confirming the hopes of Greene decreed the advantage of it to the Americans. Greene retired: Cornwallis kept the field. But Greene retired only three miles and Cornwallis in three days abandonning the place where the laurels he had gained were a slender compensation for the loss he had suffered\, withdrew to Wilmington on the sea Coast. This Victory cost him a large proportion of the flower of his army; and it cost him a Webster. \nHere occured the problem on the right solution of which depended the fame of Greene and the fate of the Southern states. There was every probability that the next movement of Cornwallis would be toward a junction with Arnold for the invasion of Virginia. Was the American General to keep pac[e] with his adversary in his Northern Carrier in order to resist his future enterprises? Or was he to return into the field he had lately left to endeavour to regain what had been there lost? The first as the most obvious and in a personal light the least perilous course would have been thought most eligible by an ordinary mind. But the last as the wisest though to his own reputation the most hazard appeared preferable to the comprehensive eye and enterprising spirit of a Greene. \nOn the one hand he concluded justly that Virginia might safely be trusted to her own strength and resources\, and to the aid which if necessary she might derive from the North against all the force which the enemy were then able to employ in that quarter. On the other hand he foresaw that if South Carolina & Georgia should be abandonn[e]d to the situation in which they then were they would quickly have abandonned themselves to dispair would have lost even the spirit of opposition and might have been rendered in several respects subservient to the future progress of their Conqueror. Under these impressions he determined to return into South Carolina to attempt the recovery of that and its neighbouring state. \nThis was one of those strokes that denote superior Genius and constitute the sublime of war. ’Twas Scipio leaving Hannibal in Italy to overcome him at Carthage! \nThe success was answerable to the judicious boldness of the design. The enemy were divested of their acquisitons in South Carolina and Georgia with a rapidity which if not ascertained\, would scarcely be credible. In the short space of two months all their posts in the interior of the Country were reduced. The perseverance courage enterprise and resource displayed by the American General in the course of these events commanded the admiration even of his enemies. In vain was he defeated in one mode of obtaining his object; another was instantly substituted that answered the end. In vain was he repulsed from before a besieged fortress; he immediately found other means of compelling its defenders to relinquish their stronghold. Where force failed\, address and stratagem still won the prize. \nHaving deprived the enemy of all their posts in the interior of the Country and having wasted their forces in a variety of ways\, Greene now thought himself in a condition to aim a decisive blow at the mutilatd remains of the British army and at least to oblige them to take refuge within the lines of charles Town. With this view he collected his forces into one body and marched to give battle to the enemy then stationed at the Springs of Eutaw. A general action took place. Animated obstinate and bloody was the contest. The front line of the American army\, consisting of Militia\, after beginning a brisk attack began to give way. At this critical and inauspicious juncture Greene with that collected intrepidity which never forsook him gave orders to the second line composed of Continentals to advance to the charge with trailed arms. This order enforced by example and executed with matchless composure and constancy could not fail of success. The British Veterans shrunk from the American Bayonet. They were routed and pursued a considerable distance. Numbers of them fell into the hands of their pursuers and the remainder were threatened with a similar fate. When arriving at a Position which with peculiar advantages invited to a fresh stand; they rallied and renewed the action. In vain did the intrepid Washington at the head of the pursuing detachment redouble the efforts of his valour to dislodge them from this new station. He was himself wounded and made a prisoner and his followers in their turn compelled to retire. \nBut though the enemy by an exertion of bravery\, which demands our esteem\, saved themselves from the total ruin which was ready to overwhelm them; they had nevertheless received too severe a blow\, to attempt any longer to maintain a footing in the open country. They accordingly the day following retreated towards Charles town; leaving behind them their wounded and a considerable quantity of arms. Here ended all serious offensive operations in the South! The predatory excursions which intervened between the battle of the Eutaw and the evacuation of Charles Town & Savannah deserve not a place in the catalogue of military achievements. \nBut before we take leave of a scene as honorable as it was advantageous to the American arms it behoves us to stop for a moment to pay the tribute of merited applause to the memory of that Gallant officer who at the head of the Virginia line fell in this memorable conflict. More anxious to the last about his Country than himself\, in the very agonies of departing life he eagerly inquired which of the contending parties prevailed and having learnt that his countrymen were victorious—He like another Epaminondas yielded up his last breath in this noble exclamation. Then do I die contented. Heroic Campbell how enviable was such a death! \nThe evacuation of the two capitals of South Carolina and Georgia intirely restored those states to their own governments and laws. They now hailed the Illustrious Greene as their defender and deliverer. Their gratitude was proportioned to the extent of the benefits resulting from his services nor did it shew itself in words only but was manifested by acts that did honor to their generosity. Consecrated in the affections of their citizens to the remotest posterity\, the fame of Greene will ever find in them a more durable as well as a more flattering Memorial than in the proudest monuments of marble or brass. \nBut where alas is now this consumate General\, this brave soldier\, this discerning statesman\, this steady patriot\, this virtuous citizen\, this amiable man? Why could not so many talents\, so many virtues\, so many bright and useful qualities shield him from a premature grave? Why was he not longer spared to a country which he so dearly loved\, which he was so well able to serve\, which still seems so much to stand in need of his services? Why was he only allowed to assist in laying the foundation and not permitted to aid in rearing the superstructure of American greatness? Such are the inquiries\, which our friendly\, yet short sighted regrets would naturally suggest. But inquiries like these are to be discarded as presumptuous. Tis not for us to scan but to submit to the dispensations of heaven. Let us content ourselves with revering the memory\, imitating the virtues\, and as far as we dare emulating the glory of the man\, whom neither our warmest admiration nor our fondest predilection could protect from the fatal shaft. And as often as we indulge our sorrow in his loss let us ⟨not⟩ fail to mingle the reflection that he has left behind him offspring who are the heirs to the friendship which we bore to the father and who have a claim from many\, if not from all of us to cares not less than parental. \n\n\n“Eulogy on Nathanael Greene\, [4 July 1789]\,” Founders Online\, National Archives\, https://founders.archives.gov/documents/Hamilton/01-05-02-0141. [Original source: The Papers of Alexander Hamilton\, vol. 5\, June 1788 – November 1789\, ed. Harold C. Syrett. New York: Columbia University Press\, 1962\, pp. 345–359.]
URL:https://upcountryhistory.org/event/read-of-the-week-nathanael-greene/
CATEGORIES:Exhibitions,Highlight
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DTSTART;TZID=America/New_York:20200520T080000
DTEND;TZID=America/New_York:20200520T170000
DTSTAMP:20200909T152348Z
CREATED:20200513T173007Z
LAST-MODIFIED:20200909T152348Z
UID:4938-1589961600-1589994000@upcountryhistory.org
SUMMARY:History of the Week - Greenville's Civil Rights Movement
DESCRIPTION:  \nThis brief\, yet powerful video highlights some of the student activists who led protests here in Greenville County\, as they discuss the hardships they overcame in their stand against inequality. The history of Greenville’s Civil Rights Movement certainly made an impact on our community\, but also effected change across the state and even the nation.  \n\n  \nProtests\, Prayers & Progress: Greenville’s Civil Rights Movement was a 2014 temporary exhibition. It is now a permanent gallery on our second floor and houses several oral histories from local activists. \n  \n  \n\n  \nParents and children\, learn more about local activist Leola Clement Robinson-Simpson at the linked image below. \n  \n\n  \n 
URL:https://upcountryhistory.org/event/history-of-the-week-greenvilles-civil-rights-movement/
CATEGORIES:Exhibitions,Highlight
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DTSTART;TZID=America/New_York:20200514T080000
DTEND;TZID=America/New_York:20200514T235900
DTSTAMP:20200512T210013Z
CREATED:20200512T205402Z
LAST-MODIFIED:20200512T210013Z
UID:4909-1589443200-1589500740@upcountryhistory.org
SUMMARY:Best of the Upstate Nominations
DESCRIPTION:Nominate the Upcountry History Museum and Down the Rabbit Hole: Imagining Alice’s Wonderland NOW through May 14\, 2020.\nOne nomination per email address.\n\nBest Exhibit of Past Year\n\n 
URL:https://upcountryhistory.org/event/best-of-the-upstate-nominations/
CATEGORIES:Exhibitions,Highlight
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DTSTART;TZID=America/New_York:20200513T220000
DTEND;TZID=America/New_York:20200513T233000
DTSTAMP:20200506T191809Z
CREATED:20200506T181324Z
LAST-MODIFIED:20200506T191809Z
UID:4886-1589407200-1589412600@upcountryhistory.org
SUMMARY:History of the Week - The MIS
DESCRIPTION:This film breaks open the hidden history of the US Army’s Military Intelligence Service (MIS) during World War II — a story made possible because of a few aging Japanese American veterans with a little Internet savvy and a lot of determination.\n  \n\n  \nWhen WWII started\, the U.S. Army needed soldiers to who could read and speak Japanese to help fight in the Pacific. An obvious choice: The Nisei. The Nisei were U.S. citizens born in America. The problem? They were locked away in internment camps because they looked like the enemy. But the Army recruited some of them to join the Military Intelligence Service: The MIS. The MIS was kept secret long after the war ended. Now a registry lists those who served in this all but forgotten unit.
URL:https://upcountryhistory.org/event/history-of-the-week-the-mis/
CATEGORIES:Exhibitions,Highlight
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DTSTART;TZID=America/New_York:20200513T220000
DTEND;TZID=America/New_York:20200513T233000
DTSTAMP:20200506T181845Z
CREATED:20200506T175103Z
LAST-MODIFIED:20200506T181845Z
UID:4881-1589407200-1589412600@upcountryhistory.org
SUMMARY:Read of the Week - WWII
DESCRIPTION:The Battle of Tarawa\nIn the Battle of Tarawa (November 20-23\, 1943) during World War II (1939-45)\, the U.S. began its Central Pacific Campaign against Japan by seizing the heavily fortified\, Japanese-held island of Betio in the Tarawa Atoll in the Gilbert Islands. The 18\,000 U.S. Marines sent to tiny Betio were expected to easily secure it; however\, problems quickly arose. Low tides prevented some U.S. landing crafts from clearing the coral reefs that ringed the island. Japanese coastal guns pounded the snagged vessels and desperate Marines gave up on freeing the boats and instead waded toward shore–hundreds of yards away– through chest-deep water amidst enemy fire. Despite heavy resistance from the 4\,500 Japanese troops dug in on Betio\, the Marines finally took the island after a bloody\, 76-hour battle in which both sides suffered heavy casualties. \nU.S. Pacific Strategy: 1943\nAfter entering World War II in December 1941 following the Japanese attack on Pearl Harbor\, Hawaii\, the U.S. began to halt Japan’s aggressive expansion in the Pacific with important battle victories at Midway Island (June 1942) and Guadalcanal (August 1942-February 1943) in the South Pacific. American commanders next set their sights on an island-hopping campaign across the central Pacific. They intended to take the Marshall Islands followed by the Mariana Islands\, then advance on Japan. \nDid you know? In the 76-hour Battle of Tarawa\, U.S. Marines suffered almost as many killed-in-action casualties as U.S. troops suffered in the six-month campaign at Guadalcanal Island.\nThe Gilbert Islands\, a group of 16 atolls near the equator\, were viewed by the U.S. as a stepping stone to the Marshalls and became the first target of the Central Pacific Campaign. In November 1943\, the U.S. launched an offensive code-named Operation Galvanic\, in which the prime target was the tiny island of Betio in the Tarawa Atoll in the Gilbert Islands. (As part of Operation Galvanic\, the U.S. would also send a smaller force to the Gilberts’ Makin Atoll\, some 100 miles north of Tarawa. Compared with the taking of Tarawa\, the U.S. faced far less Japanese resistance at Makin and the Americans secured the atoll by November 23\, 1943.) In late December 1941\, Tarawa\, a coral atoll located some 2\,500 miles southwest of Hawaii\, had been seized by the Japanese\, who heavily fortified Betio\, Tarawa’s largest island. \nBy November 19\, 1943\, American warships had arrived near Tarawa. Naval and air bombardments were planned for the next morning with the goal of weakening Japan’s defenses and clearing the way for 18\,000 U.S. Marines to seize the island. However\, the taking of Tarawa would prove to be more difficult than the Americans had anticipated. \nHeavily Fortified Tarawa\nTarawa was the most fortified atoll America would invade during the Pacific Campaign. Japanese Admiral Keiji Shibasaki (1894-1943)\, confident in his command\, reportedly bragged that the U.S. couldn’t take Tarawa with a million men in 100 years. Measuring around two miles long and a half-mile wide\, the island of Betio was crisscrossed with defenses: 100 pillboxes (dug-in concrete bunkers)\, seawalls\, an extensive trench system for defensive movements and an airstrip were supported by coastal guns\, antiaircraft guns\, heavy and light machine guns and light tanks. Betio’s beaches were naturally ringed with shallow reefs\, which were covered with barbed wire and mines. The Japanese garrison at Betio was defended by at least 4\,500 troops. \nThe U.S. fleet of warships that arrived at the Tarawa Atoll on November 19\, 1943\, included battleships\, aircraft carriers\, cruisers\, destroyers and a huge supply fleet\, all supporting 18\,000 Marines. The attack would be a monumental effort of combined arms coordination in a new war tactic\, dubbed “Atoll War\,” which relied upon heavy pre-invasion bombardment by battleships and carrier planes. Marines were to approach the shore in new amphibious tractor vehicles dubbed amphtracs. These landing crafts\, armed with machine guns and carrying 20 troops each\, were able to crawl over shallow reefs and other barriers. \nFirst Day of Battle: November 20\, 1943\nThe highly coordinated U.S. battle plan at Betio relied on the precise timing of several key elements to succeed\, but almost from the beginning there were problems. Heavy sea turbulence slowed transfer operations of the U.S. Marines to the ship-side landing crafts. A pre-invasion air raid was delayed\, upsetting the timetable for other parts of the assault. Holding for the air raids\, support ships ready to launch massive pre-invasion bombardments lingered in position longer than expected. They were forced to dodge increasingly accurate fire from the island where Japanese defenders were dug in. \nCompounding these problems was a lower-than-anticipated tide level around the island that morning. Most amphtracs in the first assault wave were able to reach the beach as planned\, but nearly all the larger\, heavier landing crafts behind them jammed into coral reefs exposed by the shallow tide. Marines were forced to abandon their landing crafts and wade through chest-deep water amidst enemy fire. Precious gear\, especially radios\, became soaked and useless. Many Marines were hit in the open water\, and those who made it to shore arrived exhausted or wounded\, ill-equipped and unable to communicate with supporting forces. \nMaking matters worse\, the assault path through the lagoon to the shore became congested with disabled landing crafts and bloodied bodies\, which hindered the dispatching of reinforcements. Marines on the beach crawled forward\, inch by inch\, knowing that to stand or even rise slightly made them easy targets. By the end of the first day\, 5\,000 Marines had landed at Betio while at least another 1\,500 had perished in the process. \nThe Battle Rages On: November 21-23\, 1943\nOn the morning of November 21\, the second day of fighting\, unexpectedly low tides continued to plague the U.S. assault. Again\, assault troops had to leave their crafts short of the shore and wade in through enemy fire. In addition to being fired upon from shore\, Marines were also assaulted from their sides and rear by enemy snipers who had entered the lagoon under the cover of night to position themselves on crafts that had been wrecked and abandoned the day before. \nBy noon\, however\, the tide finally began to rise\, and U.S. destroyers were able to maneuver closer to shore to lend accurate supporting fire. Reserve combat teams and support craft transporting tanks and weapons raced to shore\, and the ground assault finally took orderly form. The Marines moved inland\, blasting surviving enemy emplacements with grenades\, demolition packs and flamethrowers. \nOn day three of the battle\, November 22\, the Marines fought on\, destroying several Japanese pillboxes and fortifications. That night\, the last Japanese defenders of Betio launched a furious but futile banzai charge\, or all-out\, suicidal attack. Most Japanese soldiers fought to their death rather than surrender. At morning light on November 23\, the defenders lay in tangled heaps: All but 17 Japanese soldiers had died defending Betio. Seventy-six hours after the invasion began\, Betio was finally declared secure. \nAftermath of Tarawa\nMore than 1\,000 U.S. troops were killed in action and some 2\,000 were wounded in only three days of fighting at Tarawa. Word of the heavy casualties soon reached the U.S. and the public was stunned by the number of American lives lost in taking the tiny island. \nHowever\, according to “The Pacific War” by John Costello\, U.S. commanders learned important lessons from the Battle of Tarawa that would be applied to future atoll wars\, including the need for better reconnaissance\, more precise and sustained pre-landing bombardment\, additional amphibious landing vehicles and improved equipment: Among other advancements\, better-waterproofed radios would be developed. \n  \n\n\n\n  \n  \nBattle of Tarawa\, History.com Editors \n\n\nhttps://www.history.com/topics/world-war-ii/battle-of-tarawa \n\n\n\nNovember 17\, 200
URL:https://upcountryhistory.org/event/read-of-the-week-wwii/
CATEGORIES:Exhibitions,Highlight
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