Today we have no Saints, Blesseds, Venerateds, or Servants of God to honor; but on this date in 1690 the first multi-page newspaper was published in America.
Before 1690 single-page newspapers, called broadsides, were published in the English colonies. The first edition of Publick Occurrences Both Forreign and Domestick was published in Boston, Massachusetts, and was intended to be published monthly, “or, if any Glut of Occurrences happen, oftener.” It was printed by Richard Pierce and edited by Benjamin Harris (publisher), who had previously published a newspaper in London. The paper contained four six by ten inch pages, and filled only three of them. No second edition was printed, as the paper was shut down by the government. The Governor and Council, on Sept. 29th, 1690, issued an order as follows: “Whereas some have lately presumed to Print and Disperse a Pamphlet, Entitled, Publick Occurrences, both Forreign and Domestick: Boston, Thursday, Septemb. 25th, 1690. Without the least Privity and Countenace of Authority. The Governour and Council having had the perusal of said Pamphlet, and finding that therein contained Reflections of a very high nature: As also sundry doubtful and uncertain Reports, do hereby manifest and declare their high Resentment and Disallowance of said Pamphlet, and Order that the same be Suppressed and called in; strickly forbidden any person or persons for the future to Set forth any thing in Print without License first obtained from those that are or shall be appointed by the Government to grant the same.” So four days after publication of the first multi-page newspaper was the first censorship of a multi-page newspaper in the United States.
When I woke up today I found that my A/C charger for my Galaxy Note 4 on my nightstand had died. I did my Bathroom Devotional Reading, and on our way to work I did my Internet Devotional Reading and said the Fourth Day of my Novena to Saint Thérèse of the Child Jesus; I also moved some cash money from my stash I keep in my hat to my wallet. Once we clocked in at the casino, Richard was on the $5.00 Minimum Blackjack table, and I was the Relief Dealer for Mississippi Stud and Three Card Poker (and Let It Ride once, but when I got there it was closing).
On our way home I continued reading The Mauritius Command by Patrick O’Brian, and Richard stopped at Wal-Mart for some sandwich supplies; I had asked him to drop me off in the middle so that I could get a new A/C charger for my Galaxy Note 4, but he said I could use the one that he had been using in the living room. Once home I read the morning paper and ate my lunch salad, and Richard went out to the bakery to get the last loaf of French bread. I then took a nap until about 5:00 pm; Richard made roast beef poboys (more anon), and eventually came to bed when I got out of it to do today’s Daily Update.
Tomorrow is the Optional Memorial of Saint Cosmas and Saint Damian, Martyrs (died about 303), the Optional Memorial of Blessed Paul VI, Pope (died 1978), and the birthday of Richard’s niece Leah, the daughter of his sister Susan in Iowa (1977). We will work our eight hours, and when we are coming home we will listen to the start of the college football game with our #8 LSU Tigers playing the Syracuse Orange at 11:00 am. Once home we will eat roast beef poboys, then I will go to the Adoration Chapel to do my Weekly Hour of Eucharistic Adoration.
Our Parting Quote this Friday afternoon comes to us from José Montoya, American poet and artist. Born in 1932 in Escobosa, New Mexico, his family eventually came to the Central Valley looking for work and moved from Delano, where the United Farm Workers movement was born, to Fowler, 10 miles south of Fresno. As a boy he picked grapes with his family in Delano and Fowler in the blistering Central Valley heat and learned from his mother how to make pigments for paints from what they could find in the neighborhood for her work in stenciling the interiors of homes and churches. While picking grapes he began drawing on the paper used to dry grapes into raisins. Montoya played football and served as art editor of the yearbook at his high school. He joined the Navy during the Korean War, then went to San Diego City College on the G.I. Bill and moved to the California College of Arts and Crafts in Oakland to get his teaching credentials. He taught art at Wheatland High School and Yuba Community College. “El Louie” is probably Montoya’s most famous and most often anthologized poem, published in 1969. That same year he and other Latino educators were invited to get their master’s degrees through the Mexican American Education Project at Sacramento State College. There, he and several other sons of migrant farm workers formed the Rebel Chicano Art Front, an artists’ collective committed to supporting the UFW while bringing art to the people. The initials of the organization, RCAF, led people to believe they were part of the Royal Canadian Air Force, so they renamed themselves the Royal Chicano Air Force. The name helped them to be outrageous activists. Montoya and his fellow artists used Joe Serna’s garage to make silk- screen posters, and drafted their kids to picket with them every weekend. (Serna later became the first Latino Mayor of Sacramento in 1993.) They helped Manuel Ferrales become one of the first Latinos elected to the Sacramento City Council. Around 1970 Montoya and the RCAF opened a community center on 32nd Street and Folsom Boulevard in east Sacramento, where they put on plays and music and offered silk screening and mural training. He was one of the Tortilla artists, who painted fine art using baked and acrylic coated tortillas as canvases. In 1977 he and fellow RCAF artists painted a mural in Southside Park. He went on to mentor two generations of artists and activists at California State University, Sacramento (formerly Sacramento State College, now informally known as Sacramento State) where he taught art and ethnic studies for 27 years, along with teaching high school students at Leland High School in Wheatland and junior college students at Yuba Community College. El Sol y Los De Abajo and other R.C.A.F. poems por José Montoya was published in 1972. His colorful, expressive paintings with bold strokes have been shown worldwide. His poetry mixed English, Spanish and barrio slang, exploring themes of struggle and injustice. In 1992 he published In Formation: 20 Years of Joda. Los Compas: Chale Gallego y’l Xorty came out in 2010. That same year he and another RCAF artist spent two weeks retouching the Southside Park mural, which had been vandalized by graffiti (died 2013): “We helped [my mother] grind colors and mix them. We made stencils from discarded inner tubes and gathered colorants from creek beds. I remember chasing horseflies for her. She would dry them and grind their tails and mix them with egg yolk to produce an iridescent blue color that she was known for. Later, when I was a student at the California College of Arts and Crafts, I learned about egg tempera. It was the same thing.”