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Home »	Musicians » Hristo Vitchev
Hristo Vitchev
Hristo Vitchev is an impressionistic modern jazz guitarist and composer from Sofia, Bulgaria. Now residing in the San Francisco Bay Area, Hristo leads a variety of modern jazz formations, ranging from duets to quintets. Hristo has toured nationally and internationally, appearing at some of the most prestigious jazz clubs and festivals, and has also performed guitar clinics in Europe and Japan. He has written more than 270 original compositions, many articles on jazz improvisation, and a book on chordal theory and construction entitled Between the Voicings: A New Approach to Chord Building for Guitarists. The Hristo Vitchev Quartet's 2009 debut album, Song for Messambria (First Orbit Sounds Music) quickly received outstanding reviews by the international jazz community and was selected as one of the six best jazz albums of 2009 by E-JAZZ NEWS.
"Vitchev's sophisticated and adventurous work is imbued with shimmering harmonies and lyrical improvisations." – JAZZTIMES MAGAZINE
"Vitchev's multihued compositions are like impressionistic sound paintings." – JAZZIZ
"Bulgaria-born, Bay Area-based guitarist Hristo Vitchev, having firmly established himself as a gentle giant in the contemporary jazz scene, seems always willing and able to reinvent himself while holding true to the integrity of his artistry." – ECM REVIEWS
"You just won't find a jazz guitarist (on the planet) these days who has such essential communication skills through his fingers." – Improvijazzation Nation Magazine
"Hristo Vitchev may be one of the best kept secrets in jazz today. He is the epitome of sonic gold." – DIGITAL JAZZ NEWS
"Hristo Vitchev plays as the cultural end result of his life experiences. Simply put, Vitchev plays more so from the heart than he does the head." – Critical Jazz "A richly textured album full of strong melodic and rhythmic ideas and with some superb playing throughout." – THE JAZZ MANN (England)
"Hristo is now looked upon as one today's finest jazz guitarists around the world. He's a creative artist with a strong passion and endless originality. His music has magic powers since he can bring listeners' emotions to a far deeper place that few people ever reach." - Andrea Nardini (The Noodle Chronicle - Shanghai, China)
As jazz critic Edward Blanco describes: "Vitchev is the newest guitarist to enter the national jazz scene and does so with a stunner of a recording in Song for Messambria, one of the finest debut albums I've had the pleasure of appraising this year."
The record presents a unique blend of ECM-style modern jazz, classical, and Brazilian tone textures, and showcases the completely unique and masterful interpretation of the jazz idiom by each one of its members. In late 2009, Hristo Vitchev released his second studio album featuring Latin Grammy-nominated pianist Weber Iago. The Secrets of an Angel is an impressionistic landscape painted by the delightful and graceful conversation between the two instruments (guitar/piano).
As jazz critic Brad Walseth describes: "On the heels of his impressive debut recording, Song for Messambria, guitarist Hristo Vitchev returns along with pianist Weber Iago for a wonderful guitar/piano duet recording - The Secrets of an Angel...while the gentle title track shimmers like a glistening iceberg on a cold sea. The delightful two-part 'The Last Pirate" is a highlight - brilliantly showcasing the exciting romantic bend inherent in Vitchev's music, while the nostalgic lullaby "Leka Nosht (Good Night)" recalls a faraway youth and rounds out this fine release."
In 2010 Hristo Vitchev wrote a large scale jazz work (The Perperikon Suite) especially to be premiered at the 53rd Monterey Jazz Festival. This 7 movements jazz suite is inspired by the ancient Thracian city of Perperikon (located on the territory of Bulgaria), and combines orchestral, classical, jazz, and fusion elements depicting the history and mystery of this enchanting place. The work marks Hristo Vitchev's third album and one of his most adventurous and sophisticated works up to date. For the recording of this project the Hristo Vitchev Quartet was joined by virtuoso vibraphonist and multi-instrumentalist Christian Tamburr.
As jazz critic Dan Bilawsky describes: "Shimmering harmonies resonate throughout these modern jazz marvels, and the soloists work their way around and through this accessible and exciting music with equal measures of taste, technique and spirit. Vitchev's pieces are peppered with signpost sonorities and ideas that often reappear throughout a given song, creating a sense of continuity and thematic steadiness that develops around individual soloists. While this group ably establishes its own aural identity, which threads its way through the whole album, each movement of the suite has different strengths and a unique sonic footprint. Brought to life as a tale of two cities, The Perperikon Suite ultimately occupies its own wondrous world within the confines of its jazz borders."
As jazz critic Brent Black describes: "There is an incredible warmth to Vitchev's playing, a fluidity of movement and direction held firmly in place by a stellar quintet that provides ample support for the lyrical imagery created on this release. Aside from the superior sound which almost smacks of a live in the studio recording, there is a true working band feel that Vitchev has been able to obtain. Vitchev displays an unparalleled versatility moving from the flash of "The Acropolis" to the more introspective "The Southern City" allowing for a wonderfully paced recording. The drumming of Joe DeRose creates a special dynamic tension on the tune "The Great Hall." A release that ends far too soon. Wonderfully crafted, well paced and a sonic tapestry that stands up as well as any release for this past year."
As jazz critic Bruce Lindsay describes: "The music, performed by a terrific quintet, is beautiful: it captures images not of a city in ruins but of a city full of life, of vibrant activity. The Perperikon Suite is an impressive creation. Each individual tune is beautifully crafted, but so, too, is the Suite as a whole. Vitchev's response to the ancient city is remarkable in both its conception and its performance."
As jazz critic Michael Bailey describes: "Many time motifs are used throughout this suite. Tick-tock ascending and descending figures pass as a thread through cloth, to hold this musical garment—a coat of many colors—together. Vitchev achieves this effect with no apparent effort or change in guitar tone or approach. Merely by affecting the time signatures, Vitchev makes his magic. The Perperikon Suite is soft-spoken and brainy music that exists out of the ordinary."
As jazz critic Brad Walseth describes: "The new songs are the strongest Vitchev has written yet, and the addition of Tamburr serves to take the music to an even higher level. Vitchev, meanwhile, continues to impress the listener with his addictive blend of jazz with touches of classical, Brazilian and Eastern European influences in both his playing and songwriting. In lieu of visiting the legendary site yourself, listeners are urged to take a musical journey to the ancient location as seen through the senses of Hristo Vitchev and shared with you through his highly satisfying musical presentation."
As jazz critic Ed Blanco describes: "Hristo Vitchev and his inspirational quintet provide an all-new experience on The Perperikon Suite, a concept album that is accessible, creative and a pleasure to spin often."
In 2012 Hristo embarked on yet another musical chapter of his life. Heartmony is the long awaited and highly anticipated follow up to the first duet recording by the guitarist and pianist Weber Iago (The Secrets of an Angel). As the title of the record will suggest, Heartmony explores a truly intimate, honest, and emotional conversation between the two instruments. The music, which transports you from impressionistic landscapes to folkloric tales and from melancholic memories to meditative trances, is simply the purest harmonious sounds Vitchev has put on tape up to date. Straight from the heart, healing energy that will embrace you long after you listen to it.
"An absolutely wonderful recording." – JAZZTIMES
"If ever there were a marriage between classical music and jazz then this Heartmony is it. Hristo Vitchev and Weber Iago have created a very special experience." – Grady Harp (Amazon.com)
"Both on and off the bandstand, Vitchev is an artist who wears his emotions on his sleeve. His new "Heartmony," a duo session with his frequent collaborator, Brazilian pianist Weber Iago, provides a master class in the way a chord or harmonic progression can evoke a flood of sensations." – Andrew Gilbert (San Jose Mercury News)
"Guitarist Hristo Vitchev and longtime collaborator, pianist Weber Iago, have created a work of sublime musicality with Heartmony. Exquisitely lyrical, although a bit too sweet, this opus brings together multiple musical influences into a coherent and cohesive, multilayered narrative, the momentum of which does not slack from the first few notes to the very last. Vitchev and Iago interweave long musical threads into a shimmering soundscape of serene beauty." – Hrayr Attarian (All About Jazz)
As jazz critic Brent Black describes: "Heartmony is a sonic mosaic pieced together from heartfelt feelings and emotions carried through time and communicated in an incredibly heartwarming and emotional presentation that exemplifies the zen concept of less is more perhaps as well as any recording of the last decade. The musical sound of one hand clapping. Vitchev and Weber's music transcends the more traditional jazz idiom in much the same fashion that their recorded work here is that of a more cohesive unified voice with subtle shadings, lyrical swells and the textured nuances that creates music that is to be experienced. An incredibly beautiful artistic statement of personal experience."
"Guitarist Hristo Vitchev and pianist Weber Iago sounds like a perfect match in a musical heaven, if such things exist. What I'm saying here is that this is a duet album that sounds perfect, music made from the heart and soul. There's warmth, there's care, and there's a human quality to this that no machine can replicate, and it is that Heartmony that makes this a powerful album worth listening to repeatedly." – John Books
As jazz critic Dan Bilawsky describes: "The eleven originals are all musical offerings from the heart and soul, but this isn't a one-dimensional recital. Some songs are full of life and positive energy, while others have a sense of regret and nostalgia sewn into their being, but they're all painted in sharp, vivid colors, thanks to the skills of both artistic practitioners at play."
"This set of guitar-piano duets is quietly emotional, always intriguing and quite original. Vitchev's clear toned guitar blends in perfectly with Iago's powerful piano and the two musicians often seem to think as one. Heartmony is quite thought provoking and well worthy of many close listens. Highly recommended." – Scott Yanow
"Vitchev and Iago play together with the assurance born of long and fruitful collaboration. They know each other well, and it shows in the skillful way they complement each other. They take a beautiful melody and run with it. They wring every bit of emotion out of it. There are passages in a composition like "Memories in Black and White," nocturnal moments in "The Last Leaves which Fell in Fall," that sound like they could have been written by a nineteenth century Polish Romantic. Then there are moments in the same songs where there are glints of French Impressionists." – Jack Goodstein (blogcritics.com) "Hristo Vitchev is a gifted composer and master guitarist whose stylish approach to the music makes him a hidden wonder of the jazz world. Heartmony is an intelligent musical statement and gentle follow up to his previous works, a relaxing soulful musical experience sure to touch a piece of your heart." – Ed Blanco (E-JAZZ NEWS)
In January 2013, Hristo Vitchev released "Familiar Fields" – his 5th record as a leader (and his 2nd quartet recording). The music presented in this session clearly displays the multidimensional tonal evolution of the band and each one of its individual members. The addition of drummer extraordinaire Mike Shannon to the quartet establishes a portal to new sonic landscapes and emotions to be explored in this collection of 9 original pieces by the guitarist. The music, which takes the listener through the realms of impressionistic, classical, jazz, experimental, and new age, always retains the unique sonic footprint that has brought critical acclaim to the quartet all over the world.
"Vitchev paints a vivid pastoral landscape with epic sweep, often recalling the big-sky sound of Pat Metheny. Obviously, these musicians are more than comfortable with one another, as one delicate solo seamlessly segues into another." – JAZZIZ
"Once again Vitchev has produced an immaculately crafted, often supremely beautiful album." – The Jazz Mann (England)
"If Pat Metheny and Larry Carlton are considered the kings of impressionistic jazz guitar, then certainly Hristo Vitchev is a crown prince and ready to lead a palace coup. In fact, "Familiar Fields" easily stands equal to even their greatest albums. Part of the reason for that has to be credited to Hristo's choice of musicians in the quartet. The musical affinity and effortless grace shines forth on this album like few recordings I have ever heard. They share a single heart and mind that bursts forth in illumination on every track. There is no weak moment or weak player on this album." – Travis Rogers (JAZZTIMES)
"Over the past few years, Bulgarian-born, Bay Area-based guitarist and composer Hristo Vitchev has consistently crafted music of great lyrical beauty. With his self-named quartet or quintet, or in duet with pianist and frequent collaborator Weber Iago, Vitchev has advanced a sound that manages to sound intimate and epic at the same time. He does so again on Familiar Fields (First Orbit Sounds), his latest recording with his quartet, which welcomes new member Mike Shannon on drums. As he has on previous recordings, Vitchev makes use of classical imagery and narratives in song titles such as "The Prophet's Daughter," "The Mask of Agamemnon" and "Wounded by a Poisoned Arrow," the last of which is our selection. Vitchev's instrumental voice bears echoes of the tonal warmth and big-sky sweep of Pat Metheny, as he and Iago, his beyond-simpatico musical compatriot, switch off on leads, riding the rolling hillocks of rhythm provided by Shannon and acoustic bassist Dan Robbins. Shannon proves an exceptional addition to the group, responding to and driving his companions in equal measure." – JAZZIZ
As jazz critic Hrayr Attarian describes: "Bulgaria-born and San Francisco-based Vitchev has established himself as a modern day troubadour. His enchanting and fantastical tunes have the feel of medieval ballads abundantly peppered with futuristic sounds. His sixth release, Familiar Fields, presents nine impressionistic originals that showcase his maturing compositional skills as well as the superlative, improvisational talents of his working quartet. With each album Vitchev's oeuvre ripens and becomes more sophisticated without losing its delightfully spirited edge. Familiar Fields not only stands on its own merit as sublime music but also whets the appetite for what is yet to come." "Familiar Fields is a highly intelligent, thought-provoking Impressionistic escapade." – Nicholas Mondello (All About Jazz)
"This release is a clear statement from an artist comfortable with who he is and where he is going. There are no absolute truths in music but instead there are shades of gray which Vitchev and his quartet fill in with the precision of a surgeon and the soul of a true artist. Never caught up in the academics of his works, Vitchev instead conducts a sonic exploration with the end result being a release that gives up something new with each subsequent spin. An ebb and flow unmatched, or perhaps unlike Vitchev, an ebb and flow that other artists simply can not match. As close to perfect as it gets!" – Brent Black (CriticalJazz.com)
"The Hristo Vitchev Quartet, ladies and gentlemen, is in peak form. They have no competition: no other music in the jazz idiom is quite as satisfying." – Grady Harp (Amazon.com)
"The musical bond between guitarist Hristo Vitchev and pianist Weber Iago is as strong as that of Chick Corea and Gary Burton, with proof being their two sublime duet recordings, The Secrets of an Angel and Heartmony, as well as three small group sessions under Vitchev's name. For the Familiar Fields quartet date with regular bassist Dan Robbins and new drummer Mike Shannon, Vitchev chose nine gems to play from his vault of more than 270 original compositions. As usual, as one listens to Vitchev's music, the words lyrical, impressionistic, spiritual, and passionate come to mind, and also Vitchev's term "heartmony," which he defines as the simultaneous combination of feelings and emotions, especially when produced by experiences, memories, and stimulations pleasing to the heart, body, and soul." – Scott Albin (JAZZTIMES)
"The emotional essence of any Hristo Vitchev recording can be seen before it's heard via the distinctive oil paintings the guitarist creates for his CD jackets. Vitchev's artwork for Familiar Fields is impressionistic, haunting and autumnal, the same qualities that characterize his latest collection of tunes. The foursome's interplay is highly intricate, resulting in emotive tunes that wax and wane in intensity. Whether you call it post-bop or post-fusion, Vitchev's brand of jazz is passionate and ethereal. He has developed into a formidable guitarist and intelligent composer, and since he's only 32 years old, his best work may be yet to come." – Ed Kopp (Jazziz)
"Within Vitchev's tone and technique, it's not difficult to hear the influences of Wes Montgomery, Pat Metheny and Lee Ritenour. He is adept at the full range of extended techniques but is most often described - justifiably - as an impressionist." – Karl Ackermann (All About Jazz)
"Of the many attributes that Bulgarian (San Francisco based) guitarist Hristo Vitchev possesses - refined technical abilities, warm tonality, and expressive soulfulness - his gift to convey beautiful stories through intricate composition is always at the heart of his appeal." – Mark F. Turner
In October 2013, Hristo Vitchev released his 6th album as a leader. "Rhodopa" is a beautifully crafted sonic pairing of the extremely emotional and lyrical Bulgarian folklore and the multidimensional and deeply textured world of modern jazz harmony. On his new music journey, the guitarist is joined by virtuoso Bulgarian clarinetist Liubomir Krastev.
As jazz critic Dan Bilawsky describes: "Hristo Vitchev and Liubomir Krastev cover everything from the mystical to the mournful and the grim to the gleeful on this absorbing duo date."
"Hristo Vitchev takes improvisational music to a third dimension of texture you can feel. Rhodopa is my selection for album of the year for 2013. Critically acclaimed guitar virtuoso Hristo Vitchev started the year with the release of the highly regarded Familiar Fields. With Rhodopa, Vitchev has now assumed his rightful place as a global virtuoso of unrivaled talent and ability. As artistically gifted as he is technically proficient, Hristo Vitchev moves to the head of the pack with this stellar outing." – Brent Black (CriticalJazz.com)
"Hristo boldly departs from the group setting and gives the audience even more of what they crave - soulful arrangements and virtuosity with heart. There is a beauty and an elegance that comes through on each and every one of Hristo Vitchev's recordings. The music he composes, the arrangements he crafts, the musicians that he assembles together and the dignity and reverence of his musicianship speak of the heart of the man and his love of life." – Travis Rogers (JAZZTIMES)
As jazz critic Hrayr Attarian describes: "The warm, poetic tunes are like fairy tales in verse. They are imbued with nostalgia, and shimmer with a variety of muted colors and sentiments. Krastev's softly undulating tones waver against Vitchev's vibrating strings in a spiritual celebration of abstract beauty. This thematically unified work is a genre bending, elegant and satisfying opus and a new high for Vitchev who continues to excel himself on each fresh release."
"Modern jazz guitarist, pianist and composer Hristo Vitchev always refreshes the ear and the soul with his inordinately sensitive, mesmerizing, and beautiful approach to music. He is unique - and artist who explores every avenue of approach to both folk music and jazz and the result is an experience that simply no one else can match." – Grady Harp (Amazon.com)
"With Rhodopa, guitarist/composer Hristo Vitchev and clarinetist Liubomir Krastev meld musical minds, dive exuberantly into an array of earthy Bulgarian folk material and come up with four hands of beauty. The result is a panoply of aural color, emotion, and technical artistry." – Nicholas Mondello (All About Jazz)
As jazz critic Ed Blanco describes: "Rhodopa is an instrumental serenade of Bulgarian folklore music interpreted by a world-class guitarist and clarinetist. Hristo Vitchev and Liubomir Krastev deliver an enchanting and relaxing escape from reality with a fifty-three minute encounter of soul-reaching music."
"You just won't find a jazz guitarist (on the planet) these days who has such essential communication skills through his fingers. With Liubomir's reeds, they form a cultural jazz experience that can't be compared with anything else!" – Dick Metcalf (Improvijazzation Nation Magazine)
On top of leading his own quartet, quintet, duo projects, and co-leading the group SEVA, Hristo Vitchev also co-writes and plays guitar with Joe De Rose and Amici - an energetic jazz/fusion formation lead by drummer Joe De Rose. Hristo Vitchev has appeared on countless radio shows/programs all around the world.
Hristo has also performed in world-class jazz venues and festivals including the 11th JARASUM INTERNATIONAL JAZZ FESTIVAL (Gapyeong, South Korea), 2015 Hong Kong International Jazz Festival (Hong Kong), 2015 Beishan International Jazz Festival (Zhuhai, China), JZ Club (Shanghai, China), T-Union Jazz Club (Guangzhou, China), Yoshi's Jazz Club (Oakland, CA), Once In A Blue Moon Jazz Club (Seoul, South Korea), All That Jazz (Seoul, South Korea), B Flat Jazz Club (Tokyo, Japan), Kei Jazz Club (Tokyo, Japan), Kobe Modern Jazz Club (Kobe, Japan), Jazz Club Analog (Hamamatsu, Japan), Into The Blue Jazz Club (Machida City, Japan), Bach Dancing and Dynamite Society (Half Moon Bay, CA), Kuumbwa Jazz Center (Santa Cruz, CA), Anthology (San Diego, CA), Catalina Jazz Club (Hollywood, CA), The Jazz Corner (Hilton Head Island, SC), Heidi's Jazz Club (Cocoa Beach, FL), Alvas Showroom (San Pedro, CA), The Jazz Station (Eugene, OR), Egan's Ballard Jam House (Seattle, WA), Timucua White House (Orlando, FL), Ivories Jazz Club (Portland, OR), The Herbst Theater (San Francisco, CA), SOhO Jazz Club (Santa Barbara, CA), as well as major jazz festivals including the 53rd Monterey Jazz Festival (Monterey, CA), 2009/2010/2012/2013 AT&T San Jose Jazz Festival (San Jose, CA), 2010 and 2012 Redwood City "Jazz on Main" (Redwood City, CA), Okazaki Jazz Festival (Okazaki, Japan) and many more.	Show less
7 Mile House Jazz Festival 2019
Of Light and Shadows by Phillip Woolever
Catching Up With
Hristo Vitchev: Charting His Own Way
In Search of Wonders by Mark Sullivan
In Search of Wonders by Edward Blanco
In Search of Wonders by Roger Farbey
In Search of Wonders by Karl Ackermann
Multiple Reviews
The Acoustic and the Electric: Hristo Vitchev and Joe DeRose
Rhodopa by Nicholas F. Mondello
Rhodopa by Jakob Baekgaard
Rhodopa by Eyal Hareuveni
Familiar Fields by Karl Ackermann
Familiar Fields by Nicholas F. Mondello
Familiar Fields by Chris Mosey
Familiar Fields by Jakob Baekgaard
Extended Analysis
Hristo Vitchev Quartet: Familiar Fields
Rhodopa by Dan Bilawsky
Heartmony by Hrayr Attarian
Heartmony by Karl Ackermann
Modern Jazz Guitarist Hristo Vitchev's New Video Masterclass "Harmonic...
Bulgarian Modern Jazz Guitarist Hristo Vitchev's 2012 West Coast Tour...
SEVA (featuring Hristo Vitchev And Weber Iago) Live At "Downtown Jazz"...
Hristo Vitchev / Weber Iago / Christian Tamburr - "Heartmony 3" - Live...
Hristo Vitchev / Weber Lago Highly Anticipated New Album "Heartmony" Is...
SEVA (featuring Hristo Vitchev and Weber Iago) at Club Fox on December...
SEVA (featuring Hristo Vitchev and Weber Lago) at Yoshi's on September...
SEVA Featuring Hristo Vitchev and Weber Iago "LIVE" at Piedmont Piano...
Guitar Fest 2011 - featuring Hristo Vitchev / Rick Vandivier / Neil...
Hristo Vitchev Quintet brand new album "The Perperikon Suite" -...
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Hristo Vitchev Concerts
Feb28Fri
Sjz Collective Plays Weather Report
Cafe Stritch
San Jose, CA	 $20.00 30.00
Albums by Hristo Vitchev
Of Light and Shadows
First Orbit Sounds
In Search of Wonders
Hristo Vitchev...
Familiar Fields
Rhodopa
The Perperikon Suite
Musica Humana
Heartmony
Devoiko Mari Hubava (Beautiful Young Lady)
Wounded by a Poisoned Arrow
Born: May 3, 1980
Publicist: Jim Eigo, Jazz Promo Services
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Home Interviews Eric Stone – Top 'Crosser in the 1970's
Eric Stone – Top 'Crosser in the 1970's
Eric Stone.
We know the 'cross season is over and our Angus Edmond interview was supposed to bring the curtain down on VeloVeritas 'cross coverage but bear with us on this one, please – it's a 'goody.'
Back in the 70's when 'The Comic' [Cycling Weekly, ed.] was virtually the only source of information on bike racing during the winter there were comprehensive reports on 'cross and the Six Days over the winter months.
It was hard not to notice the top 'cross men of the era; John Atkins, Keith Mernickle – who has featured on this site – and Chris Wreghitt, who we've also spoken to.
But there was another man whose face graced the magazine most weeks during the 'cross season – Eric Stone.
Stone was a wiry ex-runner who made the top 20 in the Worlds six times including a top ten result – and that was in the days of the De Vlaemincks, Van Damme and Zweifel.
We caught up with him recently at his home in Australia to 'talk cross' for the last time until the autumn – unless we get hold of Eric De Vlaeminck that is…
You were a Fell runner, Eric?
"I was originally a runner, yes – but no, not the Fells, road and cross country. My goal was to make the GB team for the marathon; back then you couldn't run a marathon if you were under 18 years-old. So when I was 18 I ran the European Marathon Championship which was held on a course near Hull. It was won with a 2:20 on a really brutal day, I did 2:32 but it took so much out of me that I struggled to recover from it.
"I rode the bike as a kid and one of the guys I worked with suggested I try cyclocross – of course, I didn't know what it was and he had to explain. There was a race for 'non-experts and juniors' at Bromsgrove and I entered – I won by two or three minutes and thought; "this is for me!"
"I decided that my aim was to ride for GB – a goal I achieved within a couple of years."
Eric's running background was an advantage in cyclocross.
You were a pro for a long time; 1969 to 1983.
"I would have stayed amateur longer to contest the Nationals and Worlds but the BCF declared me 'professional' because a picture appeared of me in the local paper wearing a Dawes track suit top – there weren't many cyclocross pros back then but I just had to accept it."
You were good at picking up sponsors.
"I rode for Tower Cycles, with whom I had a lot of success then Research Building Materials before going on to Ron Kitching, Benotto, Emperor Sport and Andrews BMW.
"It's not well known but Bill Dodds – the main man at RBM – had me under a lot of pressure to perform.
"I had the late Danny Horton [ex-British professional road race champion and top time trial rider after he quit the pro ranks, ed.] as my mechanic and Sid Barras [big sprinting main man on the British pro scene of that era.] was retained to train with me in the summer – and Chris Dodds [top British 'Cross rider of the day] to train with me in the winter.
"I've always managed to build good rapports with people over the years. Sponsors weren't easy to get back then but I would push, push, push 'til I got a deal."
Seven National podiums but no win – you were unlucky to come up against Atkins and Wreghitt…
"Those podiums were achieved between 1969 and '81 and I beat both of those riders on more than one occasion during those years but if I'm honest I think there were two occasions where I was capable of the win – on one occasion I had a 'mechanical' then on the other occasion I caught flu just before the National.
"I'm still good friends with all of that 'old guard' of 'cross guys."
Stone, Ledger and Wreghitt found themselves pitched together at the top races.
But you won the Three Peaks on five occasions.
"I think I could have won it a few more times but on one occasion I fell out with the organiser because he was paying the Swiss to ride but wouldn't pay me.
"The last time I rode I won it for GB and we won the team, too – beating the top Swiss guys of the day." [The Swiss were one of the dominant forces in 'cross during that era, ed.]
What was your best finish in a Continental race?
"I never won one but was second a few times; on one occasion to Albert Van Damme – who went on to be world champion. [Van Damme won more than 100 crosses in his career, including six Belgian Championships and the Worlds, ed.]
"I had a number of top ten finishes but remember the first time I went over – I was used to being one of the top guys in the UK but over there you had somewhere between 10 and 20 guys at your level or better – it was a shock to the system.
"We were on start money but can't remember how much; it was all ferries back then – and if you paid all your expenses and still had a few quid left then it was a good trip."
You raced against the best ever – Eric De Vlaeminck.
"I competed against him a number of times; one Christmas I went over with John Atkins and Daryl Brassington to ride five races in Belgium over the holiday period – we got to know him during that trip.
"He was an absolute superstar; I remember when the Worlds were at Crystal Palace in London in 1973 there was a section of adverse camber which no one could ride, we all had to run – he rode it every lap.
"His bike handling was in a class of it's own."
Eric's bike handling was first class too.
Who impressed in the UK?
"John Atkins was an unbelievable bike handler; to beat him was a big deal.
"Keith Mernickle was good and so was Chris Dodd.
"I remember once when Chris Wreghitt was on the way up I took him to one side and explained to him about how to present yourself, you have to be professional – nice fresh white socks to start every race and display your sponsor's colours.
"When I rode for Andrews I had my wife and two daughters in matching Andrews tracksuit tops – that used to attract so much attention."
Did you ever consider becoming a 'Euro Pro?'
"I thought about it when I was with Tower Cycles but then Bill Dodds made me a really good offer which didn't just involve the bike, I could work for his company, RBM too.
"That put an end to my Euro ambitions – none of us were really full time pros, we had to work too, semi-pros you'd say."
Six top 20's at the Worlds – and a top ten.
"That top six was some race; it was in Italy and the course was frozen solid – so the organiser got the local fire brigade to hose it to soften it. Then it thawed overnight!
"It was a virtual running race, you could only ride the road sections – I remember passing the German rider Klaus Peter Thaler (who won the Pro Worlds twice including in the snow and ice of Munich, ed.) stuck up to his knees in mud with a look of total bewilderment on his face, like; "what am I doing here?"
"He climbed off soon after that."
On the cover of Jock Wadley's superb 'International Cycle Sport' magazine, December 1970.
I remember you were a man for the light bikes.
"When I rode for Ron Kitching I worked for him too so I had access to all the equipment he supplied. When I saw the first of the Speedwell Titanium frames I thought; "I'll need to have one of those!"
"They were a bit 'whippy' but very light – I was only eight-and-a-half stones so it was fine. [The frames were made in Birmingham and used by Luis Ocana on key stages of his 1973 Tour de France win, ed.]
"I rode 24-spokers and whilst I never weighed the bike I think I had it down to about 16 lbs – and that's at a time when not many bikes were below 18lbs in weight.
"And on the subject of equipment, I rode the Three Peaks 10 times and never punctured once."
What did you do after you'd finished as a pro?
"If I'd stayed in the UK I'd probably still be racing as a vet – but I went to Australia to work with Bill Dodds, my sponsor from my RBM days.
"I took up the mountain bike and won the State Championships but it was six months 'til the next race – so I turned to surfing and did that for about 10 years.
"Six years ago I took up the bike again; I'm 68 now but still weigh 10 stones, I'm very fit and mentally I'm around 45 years-old."
Eric's still very fit and into good equipment.
Regrets?
"Not winning a National – I always got on with the press so I think I'd have got good headlines.
"And another is perhaps not going to Belgium to ride 'cross full time?
"It was much harder back then with the language barrier and being isolated from your friends and family – but maybe I should have given it a try for three months?
"But saying it is much easier than actually doing it…"
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Thomas Mein – Silver at the u23 European Cyclo-cross Championships
Cameron Mason – Eighth in the UCI u23 Nommay 'Cross World Cup
Steve Douce – Seven Times British Cyclo-Cross Champion
Tom Pidcock – Junior European Cyclo-Cross Champion 2016
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Interviews July 3, 2015
By the mid-70's Belgian, Eddy Merckx was well established as the "Cannibal", an insatiable creature for whom only victory satisfied the hunger. In 1975 a handsome, smiling Frenchman ended Merckx's reign of fear in one of the all-time great Tours. Bernard Thevenet is older now, but still handsome and affable, he took time-out from his role as "chef de piste" at the Grenoble Six Day race a year or two ago to talk to VeloVeritas. The interview was conducted in his office, he brought his chair round the desk so there were no barriers between us; I couldn't help but notice that he had his shoes off…
Jamie McGahan – Scottish Winner of National Tours, definitely was 'Good Enough'!
Interviews January 13, 2017
The Rás. A race to strike fear in the strongest heart; huge fields, big hills and mad uncontrollable stages with fearless Irishmen continually firing off the front in death or glory bids. High times VeloVeritas 'had a word' with Mr.McGahan..
La Vuelta a España, Stage 15: Barredo First to Lagos de Covadonga
Diaries September 14, 2010
Carlos Barredo's grandmother wells up, 'my God, my God' she keeps repeating as Carlos's amigo hugs her - the man himself hurtled past just seconds ago to join the immortals as a winner on the Lagos de Covadonga. They're standing beside us at the 150m to go mark, and in the mist and cloud once again, QuickStep have done the job. The break survivors limp by before a snarling Ezequiel Mosquera flashes past, intent on putting as much time into the other 'heads' as he possibly can.

redpajama_set_name: RedPajamaCommonCrawl


When nature created the Colorado River, she plotted a winding course from its headwaters in the high country of Colorado and Wyoming through Utah, Arizona, Nevada and California. This irresistible force of water forged its way through mountains, plateaus and deserts to the low country, eventually reaching the alkali salt flats of Mexico and emptying into the Gulf of California. Other rivers, streams and brooks feed the Colorado River, draining the mountain ranges of New Mexico and the other states through which it curves its way. Ancient people learned how to divert water for human use. White settlers later began diversions from the river and its tributaries in the 1800s. At that time, it was a river that could be a rampaging giant, spawning killer, destructive floods in the spring, but dying off to placid trickle of water in the hot, dry months of summer. As diversions increased by the various states, the seeds were sown for a decades-long battle over apportionments.
In 1922, the Colorado River Compact was hammered out to apportion the beneficial consumptive use of the river's water between the Upper and Lower basins.
The dividing point between the two basins was set at Lee Ferry near Page, Arizona. The Upper Basin states are Wyoming, Colorado, Utah and New Mexico, and the Lower Basin are Arizona, Nevada and California.
Agreement on the compact was necessary before legislation to harness the river could be introduced. After considerable maneuvering in Congress, legislation that cleared the way for building Boulder (now Hoover) Dam and its reservoir, Lake Mead, was passed in 1928. Completed in 1935, the dam was the first big step toward taming the wild, often violent river. In 1956, passage of the multi-provision Colorado River Storage Project Act, allowing the Upper Basin states to develop use of their share of the river's water, resulted in construction of a number of facilities, including Glen Canyon Dam and Lake Powell, the second of the two major dams on the main stem of the Colorado.
Today the benefits of the Colorado River are numerous and impressive, though some go unrecognized by most. It not only meets the water and power needs of the nearly 30 million people within the basin states and adjoining areas, including those south of the border in Mexico.
Water from reservoirs flow to people and large and small business and industry in cities such as Phoenix, Tucson, Salt Lake City, Denver, Colorado Springs, Albuquerque, San Diego, Rock Springs, Las Vegas, Los Angeles and many others that are less well known but with one major commonality, rapid growth. Often having to face tremendous physical obstacles to reach the areas of need, the river's water travels through man-made channels built by muscle, sweat and ingenuity over mountains and across 242 miles of blistering desert in California to its coastal cities and across 300 miles in Arizona southeast to Phoenix and Tucson.
In both states, the Colorado is a major player in maintaining the thriving economies. The river's water burrows eastward through tunnels under the Continental Divide in Colorado to reach its eastern cities of Fort Collins, Denver, Colorado Springs and Pueblo. Similarly, in Utah, streams and rivers tributary to the Colorado will, on their way, meet the needs of people in Salt Lake, Utah, Duchesne, Wasatch and Juab counties with enough to supply about one-quarter of all the people living in the state. In Nevada, the glittering Las Vegas and the riverside boom town of Laughlin in large part owe their existence to the Colorado. Without the river's water, neither could be any more than a dry desert town. And more than one million residents of northwestern New Mexico and southwestern Wyoming depend on the waters of the San Juan, the Green and other tributaries feeding the Colorado to serve urban water users. Throughout the seven basin states, the Colorado River provides water for people and for business and industry - creating jobs for millions, jobs that contribute to local economies and billions of dollars to the nation.
The Colorado's reservoirs also provide water for nourishing fruits and vegetables on the farms and for growing hay to feed cattle on the ranches. More than 1.4 million acres of irrigated land throughout the Colorado River Basin produce about 15 percent of the nation's crops, 13 percent of its livestock, and agricultural benefits of more than $1.5 billion a year. The water provides a means of livelihood for the people who work the water, for the many hands who raise premium beef and for those who till the soil. Whether Imperial Valley or Coachella, Yuma or Palo Verde Valley, once touched by the waters of the Colorado, fertile soil and lots of sunshine result in a year-round array of healthful foods. Agricultural lands in the snow country of the basin come alive when winter dissolves into spring. At the end of the season, each box of cherries, basket of peaches or pound of apples, every bushel of corn, bale of hay or pound of beef, every head of lettuce is indebted to the Colorado River or the streams that feed it.
Not widely recognized are the ecological pluses that have been realized as a result of Colorado River development. The cool, clear water below Glen Canyon Dam has allowed the establishment of a blue-ribbon trout fishery. The riparian vegetation belt is said to be the only riparian area in the South-west to have improved in the 1900s. There has been a greatly increased species diversity and numbers in the Grand Canyon - especially bird species - tied directly to the increase in the quality of the riparian habitat. The placement of Glen Canyon Dam encouraged the establishment of an important bald eagle wintering area and the largest breeding population of peregrine falcons in the lower 48 states. The improved habitat continues to attract new species to the canyon. Waterfowl and the great blue heron are now nesting there.
Unfortunately, there also have been setbacks. Valuable marshland and backwater habitats that had been established were severely impacted by the 1983-84 floods. The extent to which they will recover is not yet clear.
The benefits provided by the Colorado River don't end with the environment. Add the flood control resulting from taming an unruly bully of a river, the production of clean, non-polluting hydroelectric power and other forms of energy generated in the basin states with the aid of water from the Colorado, and recreation, including one of the best white-water rafting experiences in the world. A picture comes into focus of the many benefits of the Colorado to the western United States and to the entire country.


We form ideas based on our first impressions – it's a fact of life. It's not really fair and can lead to some bad conclusions. (Ask me about General James Longstreet!) So even though there's the old saying "don't judge a book by its cover", in the literal, visual world of publishing that's exactly what happens.
Aware of this fact, I knew I needed to convey a very specific image and feel on the cover of my first historical novel. I wanted it to be eye-catching in a beautiful, traditional way, and was blessed to meet and work with an award-winning artist.
Cheryl Schoenberger has had a life-long interest in art and has been formally studying oil painting under the tutelage of Wei Lo in Montrose, CA, for seven years. Cheryl's artwork has recently won several awards. Art is testimony and witnessing tool for Cheryl, and she is devoted to sharing her Christian faith through her work and as she interacts with other artists and patrons.
She says: "I believe that God is the Creator of all things, and this has directed my approach to light and shadow. When God spoke light into existence with the words, "Let there be light," a whole new realm of beauty was created. He "saw that the light was good; and separated the light from the darkness," and ever since artists have been intrigued with that light and resulting shadow on a form.
"Every artist borrows from God's creation and incorporates what he sees into a creation of his own. This is an affirmation that God's creation is supreme. That light that He made, and the resulting shadow it caused, enhance the beauty of the form, drawing the focus away from one area to another. Yet for a painting to be pleasing, there must be both, creating an anti-thesis. This is a reflection of the world in which we live: ie., if there is truth, then there is also a lie, if light… then dark, if day… then night, if black… then white, if good… then evil, if right… then wrong.
During a busy Civil War re-enactment, my friend Cheryl was interested in the research I was doing for a historical novel and casually mentioned that she was an artist and might be interested in doing artwork for the cover. I expressed non-committal thanks and didn't think seriously about it for eight months. Then, I was curious and searched "Cheryl Schoenberger, artwork" on the internet, quickly found the art website, took one look and knew I'd found the right artist…if she was still willing.
Where could I find a young lady in her early teens with dark hair who would look charming in 1860's clothing and actually be willing to pose for photographs which would be used as the basis of the painting? I wasn't sure. I couldn't do it, and, despite what some of my fans might supposed, I didn't want to be the model. I wasn't Betsy Westmore! A young lady who attended Bible study at my home was fourteen, had dark brown hair, a lovely smile, and seemed to be about the right height. I talked with her and her parents, and they were excited about the idea. We took some "test photos" while she wore an old-fashion style dress and hairstyle, and Cheryl approved. Our "Betsy Westmore" for the artwork had been found!
November 1, 2014 After several lengthy discussions about weather, sunrise vs. sunset, clouds, Gettysburg countryside, 1860's clothes, artwork composition, model poses, and a host of other details, it was time for a photo shoot. As our "Betsy Westmore" was preparing and we were working on her hairstyle, it was raining heavily. But the storm passed and by the time "the crew" got to the photography location at a local park, the sun was breaking through the clouds and creating some lovely natural lighting.
About 1,000 pictures later, we returned to the studio room and enjoyed visiting while the pictures downloaded. Then came the challenging moment. Cheryl, our "Betsy Westmore", and I started narrowing the selection of possible photos. When we had three choices, we called for second opinions from my mom and Cheryl's husband, Mark. Interesting, we all agreed unanimously on the same photo!
December 2014 I was excited to received pictures of two "mock-up" paintings which gave me the chance to chosen the final angle and see the color palette. Though both samples were nice, I decided I still wanted the image of a young lady in profile, carrying a water bucket and walking toward a blue, gray, and crimson sunrise.
January 2015 During the next weeks I waited anxiously to hear about the painting (and avoided calling or emailing Cheryl every day to inquire.) Toward the end of January, we visited the Schoenberger's home, and I got a sneak-peak of the artwork on the easel.
February 2015 I received a message: The artwork is ready. Very excited, I made arrangements to sign the paperwork and check and bring home the painting. Mark Schoenberger gave the painting its official name: Up At First Light. When I first saw the finished painting, I thought "WOW! It's the scene from the story come to life." It was a very special moment.
June 2015 The first proof copy of Blue, Gray & Crimson: A Story of Civilian Courage at Gettysburg arrived and the cover was exactly what I had envisioned. It was quite a day when I got to sign a copy, write a thankful letter, and send Cheryl a copy of the book. A month later, Cheryl was able to attend the book release party and we got to take pictures holding the book while standing near the original artwork.
Sometimes I can't believe how perfectly the artwork matches my first idea…and improved it. I absolutely love the coverart of my historical novel!
When I look at a copy of the book or at the original artwork, I'm reminded of joy of working on that part of the project and getting to spend time with an encouraging Christian lady. It was a wonderful blessing to work with Cheryl to and to share prayer requests for the project. The vision of the book was truly captured and brought to life on canvas for the original artwork.


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Proclamation 6462—Helsinki Human Rights Day, 1992
By the President of the United States of America
Less than two decades ago, on August 1, 1975, the United States and Canada joined 33 European nations in adopting the Helsinki Final Act of the Conference on Security and Cooperation in Europe (CSCE). Affirming the "close link between peace and security in Europe and in the world as a whole," signatories to the declaration agreed to respect human rights and fundamental freedoms, "including freedom of thought, conscience, religion, or belief, for all without distinction as to race, sex, language or religion." Participating states recognized respect for human rights as "an essential factor" for the attainment of peace, justice, and cooperation among nations and agreed to settle disputes among themselves peacefully and on the basis of international law. This year the CSCE Summit, the first held in Helsinki since 1975, offered an historic setting to renew United States support for a strong Euro-Atlantic partnership based on shared goals and values.
Since its inception, the CSCE has championed human rights and democratic values. Originally set forth at Helsinki in 1975, these standards have been strengthened and reaffirmed by the Copenhagen, Geneva, and Moscow CSCE documents and by the 1990 Charter of Paris for a New Europe, through which members added to existing CSCE principles new and sweeping commitments to political pluralism and the rule of law. The Charter of Paris also established new CSCE institutions, such as the Conflict Prevention Center in Vienna, to strengthen the ability of the Conference to promote the peaceful resolution of disputes and the development of stable, democratic governments.
During the past two years, the Conference has evolved further to assist in the task of managing the dramatic changes that have been brought about in the CSCE community by the collapse of communism and the end of the Cold War. In addition to expanding its activities and institutions, as well as its mechanisms for fostering international dialogue and cooperation, the CSCE has welcomed new members from among the emerging states of Central and Eastern Europe and the 12 states that replaced the Soviet Union. We welcome these new CSCE participants and the commitment to human rights that their membership signifies.
While great advances have been made overall in promoting human rights, especially since the democratic revolutions that swept Europe in 1989, today some states are making only minimal progress while others are sliding backward into the mire of ethnic conflicts. Thus, this year's Helsinki Summit emphasized that political stability and lasting freedom can be based only on genuine respect for human rights, which forms the basis of the CSCE concept of international security and cooperation. At Helsinki, participating states broke new ground in enhancing the CSCE's ability to promote human rights, to manage change, and to prevent conflicts. In addition to establishing the office of a CSCE High Commissioner on National Minorities, which will assist in the investigation and prevention of conflicts arising from ethnic or minority tensions, the 1992 Helsinki document provides for an expanded Office of Democratic Institutions and Human Rights in Warsaw. To promote the nonviolent resolution of disputes, the document also envisages formal peacekeeping operations in support of political solutions, either by CSCE countries directly or with the support of other international organizations such as NATO and the Western European Union (WEU).
Today the Euro-Atlantic community continues to be challenged by the legacy of the Cold War. The peoples of Europe's emerging states face many difficulties as they strive to overcome deeply rooted political and economic problems imposed by decades of Soviet repression and communist rule. Yet, during this period of great change, the principles set forth in the 1975 Helsinki Final Act and reaffirmed at follow-on meetings of the CSCE continue to offer a steady guide to peaceful, cooperative relations among states and to the just and democratic conduct of governments.
In recognition of the contributions of the CSCE toward the expansion of human rights and toward the development of a strong Euro-Atlantic partnership for freedom, the Congress, by Senate Joint Resolution 310, has designated August 1, 1992, as "Helsinki Human Rights Day" and has requested the President to issue a proclamation in observance of this day.
Now, Therefore, I, George Bush, President of the United States of America, do hereby proclaim August 1, 1992, as Helsinki Human Rights Day and reaffirm the United States commitment to upholding human dignity and freedom -- principles that are enshrined in the Helsinki Final Act. As we Americans observe this day with appropriate programs and activities, let us remember all those courageous individuals and groups of individuals who have made tremendous sacrifices to secure the freedoms that we enjoy. The God-given and inalienable rights affirmed in our Declaration of Independence and guaranteed by our Constitution are rights that many people in the world still struggle to obtain. Building on the foundation that was laid at Helsinki 17 years ago and that was fortified there last month, let us recommit ourselves to making peace and liberty the common heritage of all.
In Witness Whereof, I have hereunto set my hand this twenty-eighth day of July, in the year of our Lord nineteen hundred and ninety-two, and of the Independence of the United States of America the two hundred and seventeenth.
George Bush, Proclamation 6462—Helsinki Human Rights Day, 1992 Online by Gerhard Peters and John T. Woolley, The American Presidency Project https://www.presidency.ucsb.edu/node/268584
Written Presidential Orders


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'Game of Thrones: The Last Watch', A Two-Hour Feature Documentary Chronicling the Making of the Final Season, Debuts May 26
For a year, acclaimed British filmmaker Jeanie Finlay was embedded on the set of the hit HBO series "Game of Thrones," chronicling the creation of the show's most ambitious and complicated season as a special bonus for fans.
The long awaited final six episodes will air Sundays, April 14-May 19.
Debuting Sunday, May 26 (9:00-11:00 p.m. ET/PT), one week after the series finale, "Game of Thrones: The Last Watch" delves deep into the mud and blood to reveal the tears and triumphs involved in the challenge of bringing the fantasy world of Westeros to life in the very real studios, fields and car-parks of Northern Ireland.
The film will also be available on HBO NOW, HBO GO, HBO On Demand and partners' streaming platforms.
Made with unprecedented access, "Game of Thrones: The Last Watch" is an up close and personal report from the trenches of production, following the crew and the cast as they contend with extreme weather, punishing deadlines and an ever-excited fandom hungry for spoilers.
Much more than a "making of" documentary, this is a funny, heartbreaking story, told with wit and intimacy, about the bittersweet pleasures of what it means to create a world – and then have to say goodbye to it.
Jeanie Finlay's previous credits include the documentaries "Seahorse," "Orion: The Man Who Would Be King," "Pantomime," "The Great Hip Hop Hoax," "Sound It Out" and "Goth Cruise." "Game of Thrones: The Last Watch" is her eighth feature film.
"Game of Thrones: The Last Watch" is a Glimmer Films production for HBO; director, Jeanie Finlay; executive producers, David Benioff, D.B. Weiss, Bernadette Caulfield; producers, Jeanie Finlay, Rachel Hooper, Martin Mahon; editor, Alice Powell; filmed by Jeanie Finlay, Mark Bushnell, Louise Liddy, Aaron Black, Richard Jephcote; composer, Hannah Peel.
Photo: Helen Sloane/HBO


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Benjamin Pearsall
Luke Pearsall
Nanney Westwood
About Benjamin Pearsall
10/9/1785 - 8/25/1862
Benjamin Pearsall was born on October 9, 1785 in Rowley Regis, Staffordshire, England and died on August 25, 1862 in Simcoe Co., Ontario, Canada. Dates for birth and death are estimated. He lived to be about 76 years old.
Click on any of the News, Events, or Discoveries buttons above to see historical things that happened during Benjamin Pearsall's life. These are only some of the major events that affected the life and times of Benjamin, his family, and friends. For example, Benjamin is 2 years old when Constitution of the United States is signed
8 1793 The cotton gin was invented by Whitney.
14 1799 The Rosetta Stone was discovered
15 1800 The first battery was invented by Volta
22 1807 The first steamboat was invented by Fulton
29 1814 The first locomotive engine was created by Stephenson
45 1830 The first railroad is constructed between Liverpool and Manchester, England
54 1839 Goodyear invents vulcanized rubber, opening the door for tires and other rubber products.
59 1844 The first telegraph message is sent by Morse, who later invents the Mores Code
68 1853 The process of creating steel is invented by Besermer in Britain and Kelly in the U.S.
71 1856 The first Neanderthal fossils are found near Germany
15 1800 NEWS HEADLINES: Seat of U.S. government moves from Philadelphia to Washington DC
26 1811 NEWS HEADLINES: Tecumseh's emerging Indian Confederacy is defeated at the Battle of Tippecanoe in Ohio. Afterwards, Tecumseh and his brother travel from their Shawnee homes in the north to recruit and unify the southern Indians.
27 1812 NEWS HEADLINES: War of 1812 begins and will continue for until 1814. Some call it the Second War of Independence because the US fights Great Britain to a stalemate, Americas independence was assured.
43 1828 Gold is discovered in Georgia.
49 1834 July 9 - The S.S. John Randolph, the first successful iron steamship, is launched in Savannah
2 1787 Constitution of the United States is signed
8 1793 Alexander McGillivray, the head of the Creek Indian Nation, dies. A restlessness begins to grow among the Indians in what is now Georgia, Alabama and Northern Florida as town chiefs via for the vacant leadership role.
9 1794 The United States establishes the Navy
13 1798 Mississippi Territory organized from Georgia's western land claims. It includes what will later become portions of Mississippi, Alabama and Northern Florida,
18 1803 Louisiana Purchase from France (who secured it from Spain) gives the US a huge new territory and the port of New Orleans.
19 1804 The Seminole warrior later known as Osceola is born near Tuskegee, AL.
20 1805 Federal Road project begins after the Creek Indians give the U.S. permission to develop a �horse path� through their nation that will provide better mail delivery between Washington City (DC) and New Orleans. Soon settlers are traveling and settling along this path to settle the southern frontier.
21 1806 Lewis and Clark Expedition, which began in 1804, ends. News of the rich lands to the west begins to spread.
26 1811 By 1811 the new "Federal Road" (which started as a horse path) is filled with a steady flow of white settlers into Creek Indian Territories. The Spanish begin to fan hostile sentiments among the Indians.
35 1820 The Act of April 24, 1820 abolished the land purchase credit system, fixed the price of public lands at $1.25 per acre, and set the minimum purchase at 80 acres. After a person purchased land, a final certificate was issued by the land office and sent to Washington DC to be verified and signed by the President -- a time consuming process. Public lands were most typically available through US treaties with Indians who agreed to be removed from their homelands.
45 1830 Indian Removal Act signed and the moving of eastern Indians west of the Mississippi begins.
50 1835 Second Seminole Indian War begins.
52 1837 The trickery used to capture Seminole Indian Chief Osceola (Assi Yohola) creates a public uproar and U.S. General Jesup is publicly condemned.
55 1840 Oregon Trail is established
57 1842 Second Seminole Indian War ends and thousands of Seminole Indians are forced to move west of the Mississippi.
70 1855 Third Seminole Indian War begins. It ends three years later when Chief Billy Bowlegs and his band are forced to move from Florida.
2 1787 Catherine the Great leads Russia into war with Turkey
3 1788 Russia begins war with Sweden
4 1789 French feudal system is abolished with the Declaration of Rights of Man. Outbreak of hostilities in France with the fall of the Bastille on July 14; Revolution in Austrian Netherlands declares independence as Belgium
7 1792 French Revolutionary Wars begin and the French royal family is imprisoned the following year
8 1793 Marie Antoinette is executed; Fugitive Slave Act passed; Roman Catholic faith is banned in France; France declares war on Britain and Holland.
10 1795 White Terror and bread riots in Paris
11 1796 Napoleon marries Josephine de Beauharnais
12 1797 Napoleon proclaims the Venetian Constitution, founds Ligurian Republic in Genoa
48 1833 Santa Anna is elected President of Mexico
Elizabeth Cordan
Born about 1792 and died on June 12, 1868.
They were married 8/13/1827.
The Children of Benjamin Pearsall
George Pearsall
Born in Southwell, Nottinghamshirs, england on August 1, 1829 and died in Roscommon, Michigan on April 15, 1896. He was 66 years old.