284 10 9812 https://caspercollege.cvlcollections.org/files/original/f8e440da5c87a86902b20f112588f451.pdf 90b1f5b9dbfb316cc64870edcde0a5c7 PDF Text Text THE REDEEMER Leland L. Bush The new morning sun shone partly through the slats of the boardedup window where the Red Clouds lived. Young Johnny Red Cloud lay star­ ing at the opening which allowed the sun to slip into their one-room shanty. It is Easter morning,” thought Johnny. “Yes, Easter morning. I must not be late for Mass so as not to disappoint Father Mannard, for it is my turn to assist in communion.” Sitting up, hunched over on his knees, Johnny gazed bitterly at the surroundings in which they lived, wondering how God could let them exist in this dump—unfit for a rat’s nest. Lifting his eyes to the cots in which Mr. and Mrs. Red Cloud slept, Johnny wondered if they would come home today or the next. “Probably today,” he thought to him­ self. “Today is Easter and Moore’s Bar will be closed. Then they’ll just lie there. Lie there in their stench, too drunk to brush the flies away.” Johnny felt the cold, hard steel of his gun against his bare leg, the eun he had stolen from the rancher near the mission. He smiled to himself as he thought of his crafty trick: “Right out from under his nose, the stupid white eyes!” The rich rancher would never suspect, for he often saw Johnny at Mass, and who could suspect an altar boy—a child of God. No, he would never suspect. I hate them! I hate the white eyes in their fancy houses and big ranches. Papa is no good; he won’t work. He just sits in Moore’s Bar with Mama and begs what whiskey he can from the proprietor, and ...” “Johnny! Johnny! whispered his younger brother Robert, “are we still gonna go hunting with your new gun before Mass?” Startled, Johnny looked down irritably at the questioning look of his seven-year-old brother. “Yah, sure,” he said, “get your clothes on.” “Robert is too young, six years younger than me, thought Johnny to himself, “too young to know what life is all about. No, he doesn’t understand how the white man can ...” “We must get a big deer and then tonight we can have a feast,” babbl­ ed Robert, excited at going hunting. Will you shut up,” snapped Johnny, “you want to wake your sister?” I m sorry, Johnny, I didn’t mean to make so much noise,” Robert meekly replied. Picking up his newly acquired rifle, Johnny led his younger brother out into the early morning light. They were soon picking their way over rocks and boulders and between the brush and aspen trees which encroached in their path. Occasionally a goss hawk would shrill the air breaking the calm­ ness. Suddenly a jackrabbit veered out from beneath a clump of scrub brush. “Shoot him, Johnny!” yelled Robert, “get him quick!” —6— �“No! No, he is too small,” Johnny retorted sharply, “and for the sec­ ond time today, shut up, or do you want to scare everything away?” The brothers silently continued their hunt, weaving in and out of the underbrush; the younger, stinging from the harsh rebuff of his brother, and the elder, gun in hand, burning with triumph at having swiped the white man’s gun. “Look, Johnny,” whispered Robert, his finger pointing toward a dense growth of trees. Something stirred, rustling the quaker leaves. Quickly, Johnny raised the gun to his shoulder and sighted the trees. Squinting his eyes, he squeezed the trigger. The shot cracked through the still morning air. Robert scrambl­ ed over the rocks and through the brush to the spot, only to stare in dis­ belief at his feet. Johnny ran to his side and gazed down blankly at an in­ nocent bundle of brown fur at his feet—crimson with blood. “Oh,” Johnny gasped, “it’s only a puppy.” Sudden compassion over­ came him, and his eyes blinded with tears and trickled down his dusty cheeks. Robert sadly lifted his dark eyes to Johnny’s face, “Yes, it is only a poor little puppy.” Wiping his face with the back of his hand, Johnny said, “Come on Robert we will be late for Mass and Father Mannard will be angry.” Slowly turning, they started back in the direction they had come. Johnny glanced over his shoulder at the little dog stained with blood and shivered under his shirt. “We will bury him,” said Robert. “God says everyone should be buried.” Looking down at his brother’s round, childish face, Johnny soberly nodded his head in silent agreement. Four hours later, Johnny and Robert returned to bury the little victim they had thoughtlessly slain. They stopped at the aspen grove where the little dog had lain. Now all that remained was a dried patch of blood. The two brothers stood stupified, staring in bewilderment at each other. Then Johnny kneeled beside the empty spot and bent his head on his chest, his long black hair hanging in his eyes. He looked at the stolen gun in his hands and remembered the Priest’s words from Mass: “Take, eat, for this is Christ’s body that died for you. Drink, for this is his blood that was shed for your sins.” “Where is he, Johnny?” asked Robert with pleading eyes. Johnny suddenly jumped to his feet and, with all the strength he could muster, threw the gun against the trunk of a tree. Then he turned, placing his arm around Robert’s shoulder “He is risen, my brother.” —7— � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Print magazine story Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Redeemer" Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">http://rightsstatements.org/vocab/InC-EDU/1.0/</a> The Casper College Archives has archived this story to encourage the use of its Expression Literary Arts Magazines for digital humanities and other related educational uses. Requests to take this story down should be made to the Casper College Goodstein Foundation Library Western History Center. Date Created Date of creation of the resource. 1964 Description An account of the resource A story published by Leland L. Bush in the fall 1964 Casper College Expression magazine. Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Leland L. Bush Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. 1964 Fall. Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA_04.ii.c.01_Expression1964_Fall_Bush Format The file format, physical medium, or dimensions of the resource PDF Extent The size or duration of the resource. 2 pages Publisher An entity responsible for making the resource available 2 pages https://caspercollege.cvlcollections.org/files/original/d4ff05a5f39b97c1bdc56101b1824169.pdf b1c3a76accf5d0ec688f2c3304d5903e PDF Text Text vague but something about it made me think it was Doug Bitter. With the exception of my one dimly lighted window, the place was in darkness. I watched the figure move closer to the house, and with sudden sur­ prise a beam of light swept out of the darkness, shone for a moment on the house, then vanished. Startled, the figure crouched at the side of the house porch. It appeared that another figure was now making its way along the path. It seemed to float to within a few feet of the crouching form and then it paused. Because of the darkness and the costume it wore, I was unable to see the new stranger other than as a dark form. Again the first figure was illumined in that blinding flash of light. With a kind of gurgling cry, it sprang upright and started to run toward the cliff’s edge. Doug—if it was Doug—paused and looked wildly around. Suddenly that other shapeless form was behind him. There was a shriek, and Doug, if it was Doug, went hurtling over the edge. I blinked my eyes. There was nothing at the cliff’s edge. Before I knew what I was doing, I found myself irresistibly pulled out of the house. I stumbled up the dark path until I could see over the edge of the cliff. A dark form lay sprawled on the cold moonlit rocks below. I straightened up, took a step backwards. Hands dropped upon my shoulders and pushed me forward. I lurched around, freeing myself from the pressure, and swung to catch the wrists. I grasped nothing. Nothing! NOTHING. I hear the same familiar footsteps coming down the corridor to my room as they have for the past nine years. There is the usual pause, then the knock and Nurse Brown’s voice asks, “Mr. Weakly, is your script ready? Then she said a curious thing, as if someone else was there. “We have to keep the patients busy doing something, and poor man, he really thinks they are sold each month.” She paused, then went on, “Yes, just as I thought, word for word, it’s the same one he’s written month after month for nine years. After the same story over and over without a word changed, I sometimes wonder if perhaps he’s not crazy; perhaps such a thing could have happened.” "WHAT A DAY IT HAS BEEN" Tom Norman “Mom,” I called. “I’m going now!” “Oh, honey, do you have money?” “Yes,” I said as I slipped on my coat. “Now, if you should have an accident, do you know what to do? There’s an accident report form in the glove compartment.” “Yes, I know.” —2— �Mom always worried when I took the car. I had been driving for two years, and had never had an accident or a violation, and she trusted me with the car, but she always worried. “Drive carefully, and have fun,” she said as I left the house. I slipped into the driver’s seat and started the engine. As I backed out of the driveway. Mom stood and kept the kids from running in back of me. I waved goodbye as I drove away, and turned left at the corner. As I drove along, I thought of the many years I had known Martha, and how, five long days ago, I had finally summoned the courage and fortitude to ask her for a date. I had caught fire inside with joy, and half swallowed the happy lump in my throat when she said “Yes, I’d love to John.” To my way of thinking, Martha was the most beautiful, the most “fun” girl in the world. I simply couldn’t imagine any human being who might be more right for me than she. She was simply wonderful. Well, here was her house! “Stop the car, put on the brake, and don’t forget to remove the key in your hurry,” I said to myself. Approaching the door, I hesitated a moment, but in a final spurt of decision, I pressed the bell. The door opened, and I was suddenly confront­ ed by a solid hulk of man — her father. “Good evening,” he said with a deep, booming voice that seemed to shake the very foundations of the porch. “You must be John.” Stammering, I pulled myself together and managed somehow to spit out the words, “Er, uh, yuh-yes! I - I am!” “Well, come in, John!” “Uh,.... Thank you, sir!” “Thank you,” I said, as I untied the knots in my fingers. “How’ve things been going?” I offered as a conversation starter. “Quite well, thank you.” “I like your house. I think this is really nice.” “Thank you.” Our conversation went on like this, until I finally hit upon the sub­ ject that he wanted to talk about—the high school football game that night. We both wanted the home team to win, of course, but he said he would have to put his money on our opponent. I had to agree. I stood as Martha entered the room, quite beautiful, even in her band uniform which hid her more than ample physical assets. She had red hair and brown eyes, and quite a pretty face. She made my heart go pitterpatter just to look at her. As she approached me, she held out her hand, and I, being the ham that I was took it, bowed to her, and kissed it. Somehow, I felt more com­ fortable with her in the room. �We bade Mr. Patton goodbye, and left the house. She was always such a lady. I liked it, because that allows a man to be a gentleman. I enjoy being a gentleman. Something that a boy of seventeen likes vary much is for a girl to move over to the middle of the seat when she enters the car. Martha did this. When we arrived at the school, Martha took her flute, put the plume on her uniform hat, and handed the hat to me. We ventured on into the school building, and into the bandroom, where we picked up music, glockenspiel, and a few other necessary items. Fifteen minutes later, we arrived at the football field, and assumed our places in the ranks of the band. The night was cold, and none of the instru­ ments were warm, so everyone was either flat or sharp, depending on wheth­ er or not they tried to compensate. Cold weather has little, if any effect on a glockenspiel, so I wasn’t on key with anyone. The band sounded pretty bad that night. After the game was over, we went to a drive-in hamburger and coke joint, and each of us had a coke. We sat and talked for a while, and then I took her home by way of the park. We sang a few songs, and the last one we sang was “Almost Like Being In Love” from Brigadoon. It begins with the lyrics, “What a Day It Has Been.” This was our song. I think it was that night I fell in love with her for good. By the way, we won the game! CONDEMNED FREEDOM Steve Halvorsen It seemed she would not or could not catch up with herself. As she walked, her shadow caught on a tree, fell to the ground and stretched as if made of rubber bands. She was certainly no china doll about to break. She seemed capable of stretching into any form imaginable. The whole spring scene appeared as a thick green mist. The figure of the little girl blended in with the landscape like the fluid motion of an impressionistic painting. The continual flow of movement created a romantic frame for her awakened innocent body skipping along through the moist woods. And as the early morning rays of the sun produced a repeated sparkle in her eyes, she would whisper to the flowers the natural and slowly vanishing secrets of her liber­ ated morning in her own little private fantasy world. The true expression of those eyes articulated the final irreducible secret of life itself. She wander­ ed alone in the depopulated environment of the non-objective. She was the pure and simple beauty of innocence. And that innocence was free from any prejudice of the discrimination of race, creed, or color. The anonymous morning was painted with yellow sunlight, while umbered shadows melted � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Print magazine story Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "What a Day it has been" Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">http://rightsstatements.org/vocab/InC-EDU/1.0/</a> The Casper College Archives has archived this story to encourage the use of its Expression Literary Arts Magazines for digital humanities and other related educational uses. Requests to take this story down should be made to the Casper College Goodstein Foundation Library Western History Center. Date Created Date of creation of the resource. 1964 Description An account of the resource Story by Tom Norman published in the fall 1964 Casper College Expression Magazine. Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Tom Norman Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. 1964 Fall. Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA_04.ii.c.01_Expression1964_Fall_Norman_01 Format The file format, physical medium, or dimensions of the resource PDF Extent The size or duration of the resource. 3 pages https://caspercollege.cvlcollections.org/files/original/ea63c7a8a086ab8f184bf026fc7faedd.pdf 67867519dc68eece6bfa55f1803b3f8e PDF Text Text REALITY OR INSANITY? Carl Davis Room 13 — four walls, a bed and one chair. As for the past nine years I am still unable to cast off, answer or even think of a possible ex­ planation to the grotesque almost uncanny, episode that has made Room 13 my permanent address. It would seem almost impossible that any strange event, left unexplained, could distort a person’s mind and make him delve into his consciousness so deep. As my pen rolls on, I recall the events as clearly now as I have for the past nine years. They have now become a part of me. I grew up in a small town, being passed on, so to speak, from house to house. Having never known who or what my parents were, I have literal­ ly been on my own all my life. With no parents I slowly became the target for my age group to torment and play jokes on. By my middle teens I was the victim for every prank that could be thought. Doug Bitter was my main antagonizer. I remember it was a Wednesday noon when I received a letter, per­ sonally addressed to me in big letters. I don’t remember verbatim the con­ tents, but they were something like this: Victim Be at the old cliff house on Halloween night at nine o’clock p.m. When you get there, wait inside and don’t leave till you hear from me. If you’re not there, you’ll suffer grave consequences. Vengeance. At first I disregarded the note just as I had done with all the other pranks that had been played on me. I threw the letter away and ignored the idea of going. However, when Friday came, I suddenly decided to string along with my prankster. Night was nearing and the town was filled with Halloween masqueraders. Everywhere the motley assortment of costumed figures surged. At my appointed hour, I went to the old cliff house about a mile from the edge of town. The air was warm, windy and stuffy. I kept assur­ ing myself I had nothing to fear, that it was only a joke. After listening carefully, I finally forced myself to open the door; lit a candle I had brought with me, and seated myself in front of the window. Nothing happened for nearly an hour. Then about ten o’clock, a car made its way down the road, the headlights cutting a bright path through the darkness. The machine was brought to a stop, the lights were switched off, and a figure scrambled out. Suddenly, I don’t know why, a chill came sweeping over me and I wished I hadn’t gone along with what I thought was a joke. Quietly, the figure walked up the moonlit path to the house. The form was —1— �vague but something about it made me think it was Doug Bitter. With the exception of my one dimly lighted window, the place was in darkness. I watched the figure move closer to the house, and with sudden sur­ prise a beam of light swept out of the darkness, shone for a moment on the house, then vanished. Startled, the figure crouched at the side of the house porch. It appeared that another figure was now making its way along the path. It seemed to float to within a few feet of the crouching form and then it paused. Because of the darkness and the costume it wore, I was unable to see the new stranger other than as a dark form. Again the first figure was illumined in that blinding flash of light. With a kind of gurgling cry, it sprang upright and started to run toward the cliff’s edge. Doug—if it was Doug—paused and looked wildly around. Suddenly that other shapeless form was behind him. There was a shriek, and Doug, if it was Doug, went hurtling over the edge. I blinked my eyes. There was nothing at the cliff’s edge. Before I knew what I was doing, I found myself irresistibly pulled out of the house. I stumbled up the dark path until I could see over the edge of the cliff. A dark form lay sprawled on the cold moonlit rocks below. I straightened up, took a step backwards. Hands dropped upon my shoulders and pushed me forward. I lurched around, freeing myself from the pressure, and swung to catch the wrists. I grasped nothing. Nothing! NOTHING. I hear the same familiar footsteps coming down the corridor to my room as they have for the past nine years. There is the usual pause, then the knock and Nurse Brown’s voice asks, “Mr. Weakly, is your script ready? Then she said a curious thing, as if someone else was there. “We have to keep the patients busy doing something, and poor man, he really thinks they are sold each month.” She paused, then went on, “Yes, just as I thought, word for word, it’s the same one he’s written month after month for nine years. After the same story over and over without a word changed, I sometimes wonder if perhaps he’s not crazy; perhaps such a thing could have happened.” "WHAT A DAY IT HAS BEEN" Tom Norman “Mom,” I called. “I’m going now!” “Oh, honey, do you have money?” “Yes,” I said as I slipped on my coat. “Now, if you should have an accident, do you know what to do? There’s an accident report form in the glove compartment.” “Yes, I know.” � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Print magazine story Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Reality of Insanity?" Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">http://rightsstatements.org/vocab/InC-EDU/1.0/</a> The Casper College Archives has archived this story to encourage the use of its Expression Literary Arts Magazines for digital humanities and other related educational uses. Date Created Date of creation of the resource. 1954 Description An account of the resource Story by Carl Davis published in the fall 1964 Casper College Expression Magazine. Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Carl Davis Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. 1964 Fall. Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA_04.ii.c.01_Expression1964_Fall_Davis Format The file format, physical medium, or dimensions of the resource PDF Extent The size or duration of the resource. 2 pages https://caspercollege.cvlcollections.org/files/original/18b24a01e4b0df9938c16177474a8d38.pdf 4a1082b5d97b28f6a15be7546f00b867 PDF Text Text r z*vzis-„-r*^ ..ytye.*- •’“-•\i^>l"'V I —^~z^ dL\ � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Print magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Expression Fall 1964 Cover Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Date Created Date of creation of the resource. 1964 Description An account of the resource Cover of the fall 1964 Casper College Expression Literary and Arts Magazine Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Casper College Expression Staff Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. Expression Literary and Arts Magazine wins big for Casper College. Chinook Student Newspaper, CCA 08.i.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA_04.ii.c.01_Expression1964_Fall_Cover Format The file format, physical medium, or dimensions of the resource PDF https://caspercollege.cvlcollections.org/files/original/2cede529bce97f1719fcccffc5821dff.jpeg 66141bd44eeed4a038488b30cd3647e4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.01_Rodeo Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.Rodeo_12_46 Date Created Date of creation of the resource. 2000-05-01 https://caspercollege.cvlcollections.org/files/original/bf76990f5117864fa971e80d48192925.jpeg c81b2b3da346b6dc72b1766bd96b79be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.01_Rodeo Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.Rodeo_12_45 Date Created Date of creation of the resource. 2000-05-01 https://caspercollege.cvlcollections.org/files/original/548ed70b48ad6511a1f982520e7143b2.jpeg 1cb65865cef7e9de3ca794d71c82e7eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.01_Rodeo Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.Rodeo_12_44 Date Created Date of creation of the resource. 2000-05-01 https://caspercollege.cvlcollections.org/files/original/7b4225bb66cd8a3eb1dc9a431bfe9541.jpeg 4646180038aaca3483833646aae7a05f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.01_Rodeo Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.Rodeo_12_43 Date Created Date of creation of the resource. 2000-05-01 https://caspercollege.cvlcollections.org/files/original/3543e5caefaabbc1c945b486f3085ac0.jpeg d589fbc3eeb3861a4ccc3d022e92aa66 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.01_Rodeo Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.Rodeo_12_42 Date Created Date of creation of the resource. 2000-05-01 https://caspercollege.cvlcollections.org/files/original/ab89a67b0a64032a23b495189db10dda.jpeg 10eaceda13a9a068199cfbcedf7317e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.01_Rodeo Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Public Relations Thunderbird Rodeo Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource image Creator An entity primarily responsible for making the resource Casper College Public Relations Department Is Part Of A related resource in which the described resource is physically or logically included. Casper College Public Relations Department Photographs and Records, CCA 05.xiv.2023.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 05.xiv.2023.Rodeo_12_41 Date Created Date of creation of the resource. 2000-05-01