"Our History: Glenwood was Roosevelt’s home away from home"

"As far back as the early 1900s, Glenwood Springs received famous visitors, but none got a warmer welcome than Teddy Roosevelt, president of the United States from 1901 to 1909. According to the Glenwood Post, the town’s primary newspaper at the time and predecessor to the Post Independent, Roosevelt routinely enjoyed coyote hunting in the prairies east of Colorado Springs, cougar hunting near Meeker and bear hunting around Glenwood.

“Roosevelt, born in 1858, visited Colorado seven times during the early 1900s, including Glenwood Springs in 1905,” Lee Perlman wrote in the Rocky Mountain News. “In 1905 he led a six-week hunting trip near Glenwood Springs. This party, which included the interior secretary and close friends, bagged 10 bears. Roosevelt was credited with six of them.”

Known as an avid hunter, it is said that “Teddy Bears” got their name because once on a hunting trip in Mississippi, Roosevelt refused to shoot a bear that was trapped. A cartoon depicting Roosevelt refusing to shoot a bear cub shaking with fear ran in the Washington Post on Nov. 16, 1902, and inspired New York candy shop owner Morris Michtom to start making stuffed toy bears and asking Roosevelt to call them Teddy Bears.

Roosevelt would go on to vacation at the Hotel Colorado in the summer of 1905 and became familiar enough with staff to joke with them.

President Teddy Roosevelt greets the crowd from the balcony of the Hotel Colorado.

President Teddy Roosevelt greets the crowd from the balcony of the Hotel Colorado.


It was a big story for the Glenwood Post.

“Roosevelt loved to hunt in the White River Forest Reserve and stayed in the Hotel Colorado,” Glenwood Post Lifestyle Editor Kathleen McMullen wrote. “Because of his admiration for the area, and to boost the resort, powerful Colorado Congressman Edward T. Taylor proposed to Congress in 1909 that a permanent ‘Summer White House’ be built in the town.”

Though Taylor hoped to make Glenwood Springs an unofficial stop for all future presidents, the proposal was turned down. However, the publicity helped Glenwood become the state’s best-known resort by 1915.

Attracting tourism to town became an economic driver for Glenwood Springs as early back as the 1900s as businesspeople formed a Board of Trade in 1903, a forerunner to the Glenwood Springs Chamber of Commerce. With the help of these businesspeople, Glenwood became best known as a resort town rather than a mining or farm town, like so many others in the state.

“Some of the Wild West’s most notorious criminals passed through Glenwood Springs, but as tourists, not on ‘business,’” according to a passage in Steven F. Mehls’ “The Valley of Opportunity.” “Tom Horn, killer of more than 20 men and who eventually died on a Wyoming gallows, liked to vacation in the Hot Springs Lodge and take advantage of the healing water.”

One of Glenwood Springs’ most infamous residents, Doc Holliday, came to the spa first as a tourist then moved to Glenwood shortly before his death in 1887. His grave is now among the town’s most popular tourist attractions.


While these pioneers shaped Glenwood Springs’ history over time, few individuals influenced the town more during the early 1900s than Amos J. Dickson.

Dickson officially bought the Glenwood Post on Jan. 1,1898, and would continue as its owner for 35 years, wielding a fair amount of power and holding a conservative standpoint during his tenure.

“On Dec. 27, 1897, for the sum of $1,300, Amos Dickson received all of the equipment, type, furniture, fixtures and patronage connected with the publication of the Glenwood Post located at 201 Eighth St. in Glenwood Springs,” Willa Kane with the Frontier Historical Society wrote in the Post Independent in 2014. “Dickson’s goals for the Glenwood Post were simple: to be a strong community newspaper and the best ever in Garfield County; to not allow partisan politics to influence reporting or his editorials; and to make the welfare of the people paramount to political objectives.”

A Silver Republican, Dickson served as the newspaper’s editor from 1898 to 1931. His first edition, a four-page newspaper recapping the Christmas events of 1897, contained advertisements for Glenwood Springs businesses, advertised unclaimed letters to the post office, printed neighborhood columns for Eagle and Four Mile, and contained an article centered on the wellbeing of a demented woman determined to make her way to the top of Lookout Mountain. At the time, subscriptions to the weekly newspaper were $1.50 for the year, 75 cents for six months, and five cents for a single copy.

Dickson not only reported on the current events in town, but he also started a column entitled “Pioneers I Remember” in which the community founders would document the community’s past. He would go on to report on mining strikes, building of roads, politics, deaths, births, marriages, anniversaries and community news of interest.

In his last will and testament, according to Kane, Dickson left his typewriter to his daughter Geraldine and his most prized possession, his bound editions of the Glenwood Post from 1898 to 1931. His will read, “in the making and publishing of which I have poured out the best part of my life, the ambitions and enthusiasm of young manhood and middle age, and the more sage, considerate and conservative thought and effort of later years, and commend to her a careful and charitable perusal and study of the pages of these volumes as they represent my earnest thought and endeavor to accomplish some good in the circumscribed field in which I have wrought..”

These editions of the Glenwood Post have been microfilmed by the Colorado Historical Society, with microfilmed copies available for “charitable study and perusal” at the Frontier Historical Society and Museum in Glenwood Springs."

Source: Post Independent

Glenwood Springs Historical Society seeks public input

"Howdy Pardner...

The Glenwood Springs Historical Society/Frontier Museum needs your opinion as it plans for its future. Please participate in this survey, which will take about ten minutes of your time. (...A mere blink of the eye from an historic perspective!)

Then, plan to attend one of two sessions on February 22 at the Hotel Denver Loft, from 11 a.m. to 1 p.m. or 5 p.m. to 7 p.m. We'll share the collective results of this survey and ask for your input on some prioritization of goals, along with your brainstorming ideas for future possibilities for the museum and Glenwood Springs history.

Here is some background that may be helpful:

In 1963, when Glenwood Springs was just 78 years old, a group of concerned citizens founded the nonprofit Frontier Historical Society.


The preservation of the town’s history was fast disappearing. At first, a small museum was housed in the basement of the Hotel Colorado. Shortly after that, the museum and its collections were moved to a small house on the 800 block of School Street. As the collection grew, space for its displays became a challenge.

In 1971, Stella Shumate bequeathed her home at 1001 Colorado Avenue to the society, and the Frontier Museum moved to its current location in 1972. The name of the organization was changed to the Glenwood Springs Historical Society in 2016.

What do we do?

We conduct an authentic “Ghost Walk” through the historic Linwood Cemetery with actors portraying settlers, pioneers and outlaws in costume at their characters’ gravesites. There are also summer programs and historic tours. The Hidden History Tour, Museum Tours, Sunday Walking Tours, Cemetery Tours, Coal Camp Tours, and the Cardiff Schoolhouse Programs to name just a few. We provide historical photographs for businesses and individuals. And we research genealogical inquiries and many, many more historic questions from the public for Glenwood and the entire Roaring Fork and Colorado River valleys.

We ask that you complete this survey by Wednesday, February 15. But why put it off? Go ahead and get started now. Thanks in advance for your participation.

P.S. Call 970-945-4448 or email us today for membership information. (Historically speaking...our members never regret it.)"

Source: Glenwood Springs Historical Society & Frontier

"Our Winter Playground: White River National Forest"

"The past few weeks of colossal snowstorms give cause to take a quick break from laps on the powdery ski runs to think about what makes these bliss-filled days possible; the public –private partnership on national forest lands.

There are 12 permitted ski areas operating partially or fully on the White River National Forest. Eleven are administered by the White River and the 12th (Ski Cooper) by the Pike San Isabel National Forest. There are also six Nordic ski areas permitted partially or fully on the White River. Collectively, these areas contribute to a large part of what makes the White River the destination forest for winter recreation in the country.

This year is a cause for celebration for many throughout the community including your local national forest. The forest marks 125 years of existence, 100 years of which include management from a supervisor’s office headquartered in downtown Glenwood Springs.

The forest is also thrilled to help commemorate the anniversaries of Arapahoe Basin Ski Area (70 years) and Sunlight Mountain Resort (50 years). As both land managers and members of these vibrant mountain communities, we would like to take a few moments to acknowledge this shared history with our ski partners and all of you.

The evolution of sliding on snow on forest lands had its humble beginnings in isolated and enthusiastic pockets of forest locations around the country. However, the passing of the Term Occupancy Act in 1915 gave winter recreation the jump start it needed to develop as an agency- recognized use on national forest lands. The act allowed for the quick expansion of the special-use permitting program, granting permits for the development of infrastructure including summer homes, resorts and ski tows.

Late 1950s, at an unidentified resort on the White River National Forest, two women pose for a €œâ€glamourous” ski photo while taking a break between runs.

More opportunities for winter recreation greatly expanded with New Deal funding in the 1930s and the influx of Civilian Conservation Corps labor to work on the construction of both summer and winter recreation areas. As public interest steadily grew, the agency needed to consider capacity, accessibility and proximity to highways for the development of new winter recreation areas.


World War II also played a major role in the development of ski areas on the White River National Forest. Camp Hale, located on forest land south of Minturn, served as the storied and primary training ground for the elite 10th Mountain Division, whose members specialized in winter combat operations, which included skiing. After World War II, the 10th Mountain Division veterans returned to the states playing a major part in the development of ski areas across the country and also becoming legendary for contributions to resorts such as Vail, Aspen and Arapahoe Basin.

The end of World War II not only freed up ingenuity and capital to build resorts, but also enabled Americans to “return to the forest” to recreate at these resorts. Development of ski areas on the White River National Forest began shortly after the war with the opening of Arapahoe Basin in 1946, followed by the development of Aspen Mountain (1946-47).

The 1950s through the early ‘70s resulted in the establishment of the bulk of White River National Forest ski areas with Buttermilk (1958), Highlands (1958), Breckenridge (1961), Vail (1962), Sunlight (1966), Snowmass (1967), Keystone (1970) and Copper (1971). The last ski resort to be built on the White River National Forest was Beaver Creek, which opened to the public in 1980. Several other ski areas were proposed on the White River that either barely started and ended or never started such as the Rifle Ski Area north of Rifle, Little Annie and Ashcroft near Aspen, Marble Ski Area at Marble and most recently Adam’s Rib south of Eagle.


As forest year-round visitation numbers have soared over the past five years, exceeding 13 million combined winter and summer visitations, it has become clear that the White River is more than just a winter destination.

In 2011, Congress officially recognized the summer season for resorts by passing the Ski Area Recreational Opportunity Enhancement Act, granting resorts the opportunity to diversify their recreational offerings to the public on a year-round basis introducing what the agency has dubbed “summer uses” to the landscape. These uses include zip lines, bike trails, mountain coasters and outdoor education opportunities.

The forest has partnered with the resorts in this endeavor, seeing this as an opportunity to provide on-site environmental education and inspire a connection between visitors and nature in a developed setting.

While most locals know that when they ski on some of the 23,000 skiable acres or 1,300 individual ski runs in the area that they are skiing fully or in part on their national forest lands, the majority of the winter visits to the White River come from the Front Range, out of state or international visits.

This fact alone continues to motivate the forest to strengthen partnerships with ski areas and local communities as we endeavor to build awareness and educate about the benefits and opportunity of winter recreation on national forests.

As we celebrate 125 years of the White River National Forest, 125 years of the Post Independent and 50 years of the Colorado Mountain College, we invite you to think about the evolution of the ski areas that surround your community, the vision of agency and industry leaders of the past and present and we encourage you get out and go play in snow on your White River National Forest.

For more information on the history of recreation on National Forests visit http://www.foresthistory.org/."

Source: http://www.postindependent.com/news/local/our-winter-playground-white-river-national-forest/

Strategies on How to Manage Glenwood's Traffic Demand

"With the 2017 traffic bridge detour approaching, the Grand Avenue bridge team is strategizing about reducing traffic on the detour through Glenwood Springs by 20 percent during rush hours. Many people have asked, 'How can something like this be done?' and our answer is traffic demand management.

TDM describes a wide range of programs and services that create the efficient use of existing transportation facilities by managing the actual demand placed on these facilities. TDM efforts are implemented through strategies including promotion of alternative transportation modes, increasing vehicle occupancy, reduction in travel distances and easing peak-hour congestion.

TDM measures are widely recognized and utilized in cities such as Los Angeles and New York. Our goal is to implement some of these strategies for our small community to create a smooth detour.

Some TDM measures include carpools, ride share matching, additional parking lots, walking, cycling, variable work hours, telecommuting and work schedule adjustment. This could also include covered bike parking or a bike sharing service.

Our team has also identified a few TDM measures that have not been included in other studies. The city’s new transportation manager, Tanya Allen, is assisting the team with locating “slugging” locations around Glenwood Springs. Slugging is 'casual carpooling,' where people wait in certain identified lots and motorists pick them up and take them part or all the way to their destinations during commuting hours.

Other ideas for TDM have stemmed from the environmental assessment of the bridge project. There will be a strong campaign leading up to the detour that includes information on all pedestrian and bicycle routes around Glenwood Springs, as well as links to Roaring Fork Transportation Authority schedules."

Source: Post Independent 

"Carbondale Artist Picked for National Show in Portland"

"Discomfort: it’s a sensation that ceramic artist Matthew Eames would like us all to get more, ahem, comfortable with.

Eames, who works with the Carbondale Clay Center as its studio manager, was recently accepted to present an installation he calls 'Room' at the upcoming National Council on Education for the Ceramic Arts conference in Portland, Oregon. He hopes the piece, which he will create and then deconstruct over the course of four days, will provoke feelings of instability and environmental transience in its viewers.

'With this installation I’ve thought a lot about how we perceive our environment as being filled with permanent fixtures in everyday life,' Eames said. 'But in reality, those structures are very impermanent in the grand scheme of time.'

The artist plans to construct 'Room' with a collection of simple building materials including drywall, metal rods, wood and hundreds of hollow ceramic bricks he is making by hand. The finished product will include a crafted space of 8 by 20 feet, encompassing two rooms and a corridor that viewers can experience by walking through and exploring.

A native East Coaster who grew up on Cape Cod, Eames came to the ceramic arts as a teen and later pursued undergraduate studies in the field at the University of Hartford in Connecticut. He went on to earn a master’s degree from Wichita State University, and ultimately chose to take a position at the Clay Center after applying for multiple opportunities nationwide. He moved to the Roaring Fork Valley in August 2013 and says he has not looked back.

'I have really worked to become immersed in the community here, and opportunities have opened up,' Eames said. 'Things have been progressing in an upward trajectory, so I’ve felt the past few years have been very enjoyable and productive here.'

He noted that his upcoming installation at the Portland conference will help him place a foot in both the national and local spheres. Eames pointed out that 'Room' is representative of the larger vision of his artistic aesthetic.

'My work has always centered around building, and the structural,' he explained. 'With this piece I want the ceramic in a way to become a discovery — it will create this tenuous, semi-movable space. As visitors step in they will notice things shifting or shaking a bit, and this is totally intentional to play with the psychology of the viewer’s mind and challenge how they interpret spaces in general. The goal is that they’ll feel a sense of discomfort.'

Eames stressed that although the work is intended to appear unstable, the fully enclosed rooms with raised flooring are indeed structurally safe. Two previous iterations of “Room,” which he presented this summer at the Clay Center and again at pop-up gallery Nomad in downtown Glenwood Springs, prompted a range of reactions from viewers.

'I’ve had people shaking things and jumping on the floor before, apparently to test everything out,' he said. 'There is a notion in the artistic world that once you put your work out there, it no longer belongs to you — it becomes public domain in a way. And the truth is that some people will push the envelope, so it has been fascinating for me to see how others react and interpret my work.'

Eames submitted the concept of 'Room' to the council earlier this year in hopes of having a chance to bring his work to the national stage.

'It’s a very involved application process with lots of forms, image submissions, and a breakdown of materials and timing,' he said. 'NCECA is the biggest clay conference in the world, with more than 5,000 people in attendance each year, so it’s very competitive. I had applied before and was not accepted, but this year I was and it has been a huge honor.'

Along with two other selected applicants who will present installations in the conference’s Projects Space, Eames will have the opportunity to connect and network with leading professionals in the field.

'I’m looking forward to the exposure this experience will provide, having thousands of people looking at my work and navigating the pieces,' he said. 'It’s an amazing opportunity for my personal career but it’s also an experience that I can learn from and bring back to our work at the Clay Center.'

For now, Eames is focused on completing his collection of materials and planning their transportation to the conference. He has set up an Indiegogo fundraiser for local arts patrons to help support the project financially and is looking forward to future opportunities and artistic growth.

'I currently have two shows at the Clay Center lined up for after the conference, and beyond that I just hope to keep creating, working and applying for new shows,' Eames said. 'That’s the life of an artist — just putting your nose to the grindstone, and continuing to make.'"

Source: Post Independent

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