Some context: Grace Barnett Wing was born October 30, 1939, in the Chicago suburb of Highland Park, Illinois, to Ivan W. Wing (1907-1987), of Norwegian and Swedish descent, and Virginia (nee Barnett; 1910-1984), a lineal descendant of passengers of the Mayflower. Her parents met while they were both students at the University of Washington, and later married. In 1949, her brother Chris was born. Her father, working in the investment banking sector for Weeden and Company, was transferred several times when she was a child, and in addition to Chicagoland, she lived in Los Angeles and San Francisco, before her family finally settled in the San Francisco suburb of Palo Alto, California in the early 1950s.
After retiring, and after a house fire, divorce, and breakup, Slick began drawing and painting animals, mainly to amuse herself and because doing so made her happy during a difficult period in her life. Soon thereafter, she was approached about writing her memoir, which ultimately became Somebody to Love? A Rock-and-Roll Memoir. Her agent saw her artwork and asked her to do some portraits of some of her various contemporaries from the rock-and-roll genre to be included in the autobiography. Hesitant at first (because she thought "it was way too cute. Rock-n-Roll draws Rock-n-Roll"), she eventually agreed because she found she enjoyed it, and color renditions of Janis Joplin, Jimi Hendrix, and Jerry Garcia appeared in the completed autobiography. An "Alice in Wonderland"-themed painting and various other sketches are scattered throughout the book. Her paintings of Jorma Kaukonen and Jack Casady were used for the cover art of the album The Best of Hot Tuna. Though Slick has been drawing and painting since she was a child, she admits to not being able to multitask, so did not do much of it while she was focusing on her musical career. A notable exception is the cover art of her first solo album, Manhole, which she signed "Child Type Odd Art by Grace."  Slick is not bound by any specific style or medium in her production of visual art and has no interest in developing one. She uses acrylic paints, saying oil takes too long to dry, canvas, pen, ink, scratchboard, pastels, and pencil. Many of her works are mixed media. Her styles range from the children's bookish "Alice in Wonderland" themes to the realism of the rock and roll portraits and scratchboards of animals to the minimalist ink wash styled nudes to a variety of other subjects and styles.  The best-selling prints and originals are her various renditions of the white rabbit and the portraits of her colleagues in the music industry. In 2006, the popularity of her "Alice in Wonderland" works led to a partnership with Dark Horse Comics, Inc. that resulted in the release of stationery and journals with the "Wonderland" motif.  While critics have variously panned and praised her work, Slick seems indifferent to the criticism. She views her visual artistry as just another extension of the artistic temperament that landed her in the music scene in the first place, as it allows her to continue to produce art in a way that does not require the physical demands of appearing on a stage nightly or traveling with a large group of people.  Slick attends many of her art gallery shows across the United States, sometimes attending over 30 shows in a year. While she says she enjoys talking with the people who come to her art shows, she is not a fan of the traveling involved, particularly the flying. At most of her art shows, those who purchase a piece of her art get a photo with Slick, an opportunity to chat, and a personalized autograph on the back of the piece that has been purchased.
Are there any other interesting aspects about this article?
A: Slick attends many of her art gallery shows across the United States, sometimes attending over 30 shows in a year.
Some context: Philip Henry Sheridan (March 6, 1831 - August 5, 1888) was a career United States Army officer and a Union general in the American Civil War. His career was noted for his rapid rise to major general and his close association with General-in-chief Ulysses S. Grant, who transferred Sheridan from command of an infantry division in the Western Theater to lead the Cavalry Corps of the Army of the Potomac in the East. In 1864, he defeated Confederate forces in the Shenandoah Valley and his destruction of the economic infrastructure of the Valley, called "The Burning" by residents, was one of the first uses of scorched earth tactics in the war. In 1865, his cavalry pursued Gen. Robert E. Lee and was instrumental in forcing his surrender at Appomattox.
The protection of the Great Plains fell under the Department of the Missouri, an administrative area of over 1,000,000 mi.2, encompassing all land between the Mississippi River and the Rocky Mountains. Maj. Gen. Winfield Scott Hancock was assigned to the department in 1866 but had mishandled his campaign, resulting in Sioux and Cheyenne raids that attacked mail coaches, burned the stations, and killed the employees. They also killed and kidnapped a considerable number of settlers on the frontier. Under pressure from the governors, General Grant turned to Sheridan. In September 1866, Sheridan arrived at the former Fort Martin Scott near Fredericksburg, Texas, where he spent three months subduing Indians in the Texas Hill Country.  In August 1867, Grant appointed Sheridan to head the Department of the Missouri and pacify the Plains. His troops, even supplemented with state militia, were spread too thin to have any real effect. He conceived a strategy similar to the one he used in the Shenandoah Valley. In the Winter Campaign of 1868-69 (of which the Battle of Washita River was part) he attacked the Cheyenne, Kiowa, and Comanche tribes in their winter quarters, taking their supplies and livestock and killing those who resisted, driving the rest back into their reservations. When Sherman was promoted to General of the Army following Grant's election as President of the United States, Sheridan was appointed to command the Military Division of the Missouri, with all the Great Plains under his command. Professional hunters, trespassing on Indian land, killed over 4 million bison by 1874, and Sheridan applauded: "Let them kill, skin and sell until the buffalo is exterminated". When the Texas legislature considered outlawing bison poaching on tribal lands, Sheridan personally testified against it, suggesting that the legislature should give each of the hunters a medal, engraved with a dead buffalo on one side and a discouraged-looking Indian on the other.  Eventually the Indians returned to their designated reservations. Sheridan's department conducted the Red River War, the Ute War, and the Great Sioux War of 1876-77, which resulted in the death of a trusted subordinate, Lt. Col. George Armstrong Custer. The Indian raids subsided during the 1870s and were almost over by the early 1880s, as Sheridan became the commanding general of the U.S. Army.  Comanche Chief Tosawi reputedly told Sheridan in 1869, "Tosawi, good Indian," to which Sheridan supposedly replied, "The only good Indians I ever saw were dead." In Bury My Heart at Wounded Knee, Dee Brown attributed the quote to Sheridan, stating that "Lieutenant Charles Nordstrom, who was present, remembered the words and passed them on, until in time they were honed into an American aphorism: The only good Indian is a dead Indian. Sheridan denied he had ever made the statement. Biographer Roy Morris Jr. states that, nevertheless, popular history credits Sheridan with saying "The only good Indian is a dead Indian." This variation "has been used by friends and enemies ever since to characterize and castigate his Indian-fighting career."
When did the Indian Wars begin?
A:
the Winter Campaign of 1868-69