Month: September 2020

Copyright © 2020 by Wendy Waszut-Barrett

We finished the attic scenery documentation today, cleaning and measuring the last nine borders by noon. The 28’-0” wide borders had holes for only two operating lines, much different that the current ones designed for use with three operating lines. The nineteenth-century borders depict blue sky, treetops and a fancy pink interior ceiling. These were intended to accompany the wing and shutter sets for the 1879 stage; the borders measuring just 2’-4” in height.  This narrow strip of painted fabric would have been just enough to conceal the gas jets above the stage. No sandwich battens at the top of the borders either, just a 4” board and double rows of tacks. I have encountered this technique several times. It is astounding that these tattered border curtains managed to survive in the attic for over a century without irreparable damage, but it is a testament to a long succession of stewards.

The most recent scenery collection stewards for the Tabor Opera House include Mary Ann Graham-Best, Carl Schaefer, Tammy Taber, as well as many, many other volunteers. Those who I have worked during this month and last February Mary Ann, Carl, Tammy, Kan, Theresa, Ruth, Curt, Janel, Greg, Allie, Derrick, Jen, Mike, Scott, Eric, Theresa “T”, Robin and Donna. My apologies if I missed anyone.

This trip, Michael Powers also traveled with me to volunteer; his work in the attic with Carl helped make lowering the scenery from attic to stage floor safe and secure. Without their support, much of the scenery may be still sitting under a layer of dust, undocumented. The scenery has managed to survive despite a massive renovation (1901-1902), the Great Depression and a series of other financial obstacles. The survival of a historic venue is dependent upon strong leadership leader and community support. A small band of theatre people is not enough, you need the support from those outside of our industry too.

Evelyn E. Livingston Furman was one of the great leaders and scenic stewards for the Tabor Opera House. She also wrote “The Tabor Opera House: A Captivating History.” In the publication, Furman includes some details of the early scenery. Her words leave a legacy.

There are a few things to keep in mind as we explore the nineteenth century scenery delivered to the Tabor Opera House…In 1879 Horace A. W. Tabor purchased wing and shutter scenery for the Tabor Opera House. Some of the earliest scenes included a mountain setting  (Royal Gorge), forest, garden, palace, plain chamber with balcony, and a prison. We know that more scenery was delivered in 1888, and included a horizon (seascape), European street setting, rustic country setting, rocky pass, and Eastern street scene. This is the same time when some of the original stock scenery were repainted and a few new scenes were added to the original wings, shutters and roll drops. Only eight shutters that remain, some double painted. The six surviving settings include a rocky pass, rustic country landscape, cut woods, European street scene, Eastern street scene, and winter scene. These all have flat sheaves that make the settings glide across the stage floor on wheels. In 1890, a series of eight jungle wings were also added to the stock, built by William J. Moon and painted by H. E. Burpey.

The technical specifications for the Tabor Opera House stage paints a pretty picture, including a 6” rake. The 1884 issue of “Harry Miner’s Dramatic Directory” noted that the Leadville’s Tabor Opera House had a seating capacity of 800. H. A. W. Tabor’s second theater, the Tabor Grand of Denver, boasted a seating capacity almost twice that – 1,500. Tabor’s second theater was much larger than that in Leadville. The proscenium opening in Leadville was 23 feet wide  by 17 feet high , whereas the proscenium opening in Denver was 34 feet wide by 33 high.

The size of the Tabor Opera House stage in Leadville measured  34-feet deep by 60-feet wide. The Tabor Grand Opera House stage in Denver measured 45-feet deep by 75-feet wide. The grooves (for wings) measured 16 feet in height at the Tabor Opera House in Leadville and 20 feet in height at the Tabor Grand in Denver.

 “Harry Miner’s Dramatic Directory” also listed that Leadville’s Tabor Opera House boasted 12 sets of scenery, whereas the Tabor Grand had much more, 50 sets of scenery. The two venues were drastically different when examining the types of stage scenery and machinery. In Leadville, the Tabor Opera House used wings, shutters, and roll drops, there was only 19 feet from stage to rigging loft. In Denver, there was a grid 66 feet above the stage floor, accommodating a series of leg drops, cut drops and backdrops., in addition to grand interior setting.

At the current Tabor Opera House, there is a significant amount of used scenery produced for an earlier, and larger, venue.  These pieces likely belonged to the Tabor Grand, and the scenes include borders, interiors settings and at least one set piece (step unit). There also pieces left on site from touring shows.

In short, there is a treasure trove of scenic art and stagecraft, depicting the delightful transition from Nineteenth-century itinerant artists painting stock scenery on site to early twentieth-century studio artists painting scenery at a distant location.

I have about four weeks of work in front of me once I return this week. It will take a while to decipher the information collected on site, compiling historical analyses, conditions reports, appraisals and a collections care and management program. Although I have written about 700 pages pertaining to the 1902 collection delivered by Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio, there is much more to go. I am taking three days off to return home and then will resume “Tales of a Scenic Artist and Scholar,” about the life and times of Thomas Gibbs Moses (1856-1934)

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

For additional installments, go to www.drypigment.net

Saturday was our last big day to lower scenery from the attic at the Tabor Opera House in Leadville, Colorado. It was the sixth of seven workdays in a row. We did manage to hit our goal of lowering all remaining shutter scenes, plus a few other pieces, to the stage floor. The attic looks positively bare. Only eight borders remain for me to document today. That being said, some scenic pieces still remain in the loft above the attic and on platforms high above stage right and stage left. Documenting the final shutters, wings and borders will have to wait until next time.  The amount and the scope of the scenery at the Tabor Opera House is staggering.

The biggest surprise this week was discovering a marked piece of scenery from the Tabor Grand Opera in Denver. This was Tabor’s second theater. There are some interior set pieces and borders obviously created for another, and much larger.  There are also a few pieces from touring productions that never left the Tabor during the nineteenth century. It will be fun to track down more information in the upcoming weeks.

The majority of the work this week was completed by volunteers without any background in theater. Their careers varied from nursing and teaching to law and public service. Some were born in Leadville and others not; all were passionate about the project.

Painted scenery produced for the stage a century ago continues to have  a broad appeal to the general public. Well painted scenes still cause people to gasp, as did much of the scenery at the Tabor Opera House. It is just magical.

For the next few weeks, I will continue to post images from this week’s documentation, focusing on individual scenes and painting techniques. More tonight.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

I feel wonderfully exhausted after today’s activities. There have been too many long days spent at the theatre, and too many short nights spent at home deciphering the day’s information.

I was asked tonight by Colorado Public tonight what it felt like to uncover scenic treasures at the Tabor Opera House in Leadville Colorado.  It took me a minute to respond, as “magical” is too simple a response; the experience is much more than that for me.

Removing the layers of dust from an historic stage setting is like stepping back in time and embracing old friends. Seldom am I overwhelmed with emotion when a scene is lowered to the stage. In most cases, it is like the comfort of a warm banket on a cold day.  Today, I teared when the first two shutters were joined, creating a rustic country scene.  We sat in the audience admiring the painted shutters by Frank Cox from 1888.  It had taken more than a century for this onstage reunion and we reveled in the moment.

Some of us feel we were born into the wrong era, embracing the aesthetic of another time and place our entire lives; I am one of those people. Today, I would have given anything to stand in the wings and help position these freshly painted new shutters into place for the next scene.

What a transformative experience.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There is more scenery at the Tabor Opera House in Leadville, Colorado than I expected – go figure. In addition to the attic scenery and that in the attic loft, historic scenery was spotted in two other locations – the fly gallery and the corresponding stage left platform. This is on top of that already documented on the stage. I had to check the finds out.

The first thing that I did this morning was to climb up a wooden ladder to the stage-left platform. This was about twenty-five feet above the stage floor; one of those wooden original wooden ladders that always make me a little nervous.

Yes, there are more treasures up there, including a bridge profile piece, some ground rows depicting water, several platforms and a few crumpled soft goods. I doubt that they will come down this trip. There was also a deteriorated flat on the fly gallery level, once used to block sunlight from a window. It was from the same setting that we set up yesterday; the missing sixth wing. Sever deterioration and faking allowed me to examine the primer and a previous base coat of paint.

We continued to lower attic scenery to the stage throughout the day, forming neat little piles of flats, divided by composition. Lowering each piece from the attic door, the scenes were guided by an individual on the pin rail while a group in hard hats waited below. We are now all in sync and the process is going beautifully. Regardless, this is a relatively slow process, and I desperately tried to be in two places at once – both the attic and stage, while still documenting scenery in various locations. The surges of adrenaline from each new discovery kept me energized throughout the day, well into the board meeting this evening.

The majority of the scenery (once stored in the attic) has been removed and is patiently awaiting further instructions on stage. We have saved many of the larger pieces for tomorrow; reducing the number of smaller pieces that surrounded the largest ones. Despite the camaraderie and constant stream of adrenaline, it was another physically exhausting day for all.  The entire crew, including myself, are volunteers. We each have participated in the documentation process because we believe in the cultural significance of these artifacts. That being said, I am being hired to create documents containing a historical analyses, condition reports, replacement appraisals and collections care managements forms.

I ended by day attending a zoom meeting with the Board of Directors and the architects. It is so wonderful to meet with such a group of passionate individuals. We all understand that this is a crucial moment in the future if the Tabor Opera House. We see the potential in the building and scenery collections; it extends throughout the area. Even Ziska Childs drove over from Aspen and volunteered today, cleaning off some dust from flats before they were sent to the stage floor.  It was so wonderful to share the beauty of these painted shutters with a friend and colleague.  Similarly, Bruce Bergner from the University of Colorado, Colorado Springs, has also been on site for two days. It is so wonderful to work with him on this project. And I cannot forget to mention that Michael Powers traveled with me from Des Moines, Iowa, to help on site this week.

The most exciting discovery for every are the shutters. I have been waiting for over two years to see each shutter on stage with its mate. Of course, the shutters have been waiting even longer since they were placed into storage over a century ago.  Tomorrow, we will commence with the arduous task of lowering the shutters to the stage floor. The 12’ x 16’ pieces will be a challenge as they are lowered floor some 40 feet below.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

We all experience those tactile moments that conjure up images from the past, offering an instantaneous connection. It can be as simple as using your grandmother’s mixing bowl or your grandfather’s tools. There are so many ways to reconnect and remember times gone by.

Handling historic scenery offers a special connection to the past, especially if the setting has not been assembled for decades. I often wonder if the original creators are patiently waiting in the wings for their scene to appear once again on stage, occasionally stepping in to guide our fumbling hands.

Today, we set up two historic scenes on the stage of the Tabor Opera House in Leadville, Colorado; ones that had been stored in the attic for well over a century. Damaged and dusty, we carefully pieced together two interior sets. I spent a significant amount of time, both last night and this morning, contemplating how I would “put Humpty Dumpty back together again.” Some of the of pieces were intended to work with grooves, effortlessly sliding on an off stage. Others had anchors for stage braces. Some had no indication as to how they were supported. In the end, it just took time, muscle and a crew that trusted my gut instincts.

The process was almost as satisfying as the outcome. It is hard to express my emotions as the stage was transformed today.

I first laid eyes on a piece from the setting two years ago.  At the time I could only envision how this would look on stage. Seeing it assembled surpassed all of my expectations. Although some of the colors are faded and some of the fabric is torn, there is an insuppressible beauty to the painting. It was absolute magic.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There is a variety of historic scenery tucked away in the attic at the Tabor Opera House in Leadville, Colorado. When the building was renovated, the stage was enlarged, and all of the original wings and shutters were carefully tucked away above the auditorium ceiling. This attic space was also once home to a few hotel rooms, divided by a central sky hall that allowed natural light for each room.

Over the decades, the walls dividing each hotel room were removed and the third floor became home to abandoned artifacts, including theatre scenery, drop rollers, and much more. By the way, it is quite a climb to the attic, over 70 steps in all. This climb, combined with an altitude of 10,000 feet, certainly separates the locals from the flatlanders, like me. 

On the attic wall adjacent to the stage and above the proscenium arch is a loft. Well, not quite a “loft,” as there are no floorboards, just joists. We threw down a few planks to walk on.

In this space are some additional wings, rolls, and shutters placed high above. I started my second day in the attic loft. This involved climbing up a wooden ladder with my camera, balancing my way across a few boards, and contorting myself to photograph a few dust-encrusted wings and shutters.

In the meantime, the crew started to clean and remove some of the wings from the attic wall above the proscenium arch. Several flats had been cut down and nailed into the wall above the proscenium arch; no idea why this happened at all. The careful removal of 10’ wings involved detaching the ladder that led to the loft and grid, as it partially covered one wing.  A team of three then carefully carried each wing down the winding staircase to the stage.

Meanwhile, plans for the lowering all other stage scenery commenced in earnest. The majority of pieces range from 5’ x 16’ to 12’ x 16’ – sizes too large to carry down the staircase.  These pieces were lowered directly from the attic by way of about fifteen feet above the pin rail. By the end of the day, seventeen scenic pieces were lowered with this method. Although there were a few rough starts, some frightening moments, and a couple panicked cries, each piece made it safely to the stage floor.  By the end of the day, we established a system, and everything worked like clockwork.

Tomorrow we will set up two of the scenes before lowering more. Due to size, we are saving the shutters for last, focusing on interior sets these  first few days. Despite the hard work, it was a wonderful experience and a fantastic group of people to work with. My sincere thanks go out to Carl, Mary Ann, Tammy, Greg, Kan, Curt, Michael, Jane, and Bruce; such an outstanding group of individuals.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Today was my first day on site at the Tabor Opera House. I am in town to document the historic scenery collections in the attic; last spring I documented the scenery collections on the stage. This is such a very important collection, in both in the scope of American theatre history and world theatre history.

We spent much of the day cleaning and organizing about 75 pieces; shutters, drops, borders and other set pieces were placed in storage when the Leadville Elks purchased and renovated the stage and auditorium in 1901-1902. New scenery was delivered to the opera house and old scenery carefully tucked away. Much of it is still there, albeit a little worse for wear and covered in a century’s worth of dust.

I knew what to expect when we climbed steep steps to the third floor today and had my game plan. But there was so, so, so much more scenery than I expected; much more than anyone expected to find today. We uncovered and shifted scenic pieces produced in 1879, 1888, and 1890. This is on top of the 100+ scenic pieces from 1902 currently housed on the Tabor Opera House stage.

By the end of the day, the scenery was divided into piles, organized by setting, and I am starting to compile an inventory. We were also able to clean and lower some pieces to the floor. There were many big surprises; surprises included shipping tags and scenic art signatures.

It was a delightful, yet exhausting, day for me; one that ended with a Colorado public radio interview. I’ll write much more tomorrow, but too pooped to pen any more now.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

I return to my “Travels of a Scenic Artist and Scholar” storyline today. Tomorrow I leave for Leadville, Colorado, departing in the wee morning hours and driving to Denver. I am stopping by Des Moines to pick up Michael Powers, and we will arrive in Leadville, Colorado, on Sunday, September 20. My week-long project is to document all of the scenery currently stored in the attic of the Tabor Opera House.

Originally built in 1879, the building was later purchased by the Leadville Elks and substantially renovated in 1901-1902. The renovation included enlarging the auditorium and stage. Previously used roll drops, wings and shutters were replaced with new fly scenery from the Kansas City Scenic Co. and Sosman & Landis Scene Painting Studio; Sosman & Landis was subcontracted by the Kansas City Scenic Co. for this project. Much of the original scenery never left the building it was simply tucked away in the attic.

In 1879, ten stage settings were delivered to the Tabor Opera House.  This was a standard a stock scenery collection at the time. Keep in mind that larger theaters would order as many as 25 to 35 sets. The height of the Tabor Opera Houses’ original grooves purportedly measured 16’-0,” accommodating painted wings and shutters. The height of the original proscenium was listed in theatrical guides, varying from 17’-0” to 20’-0”.

By 1884, “Harry Miner’s American Dramatic Directory” noted there were 12 sets of scenes, increasing the original installation by two sets. This was also common, as new theaters continued to increase their stock over the years, even within the first decade. I have verified that some additional scenery was delivered in 1888, painted by T. Frank Cox on site. There was also a signed piece by Cox on site that has helped verify the dates on a few other pieces.

I first visited the Tabor Opera House in June 2018, documenting some scenery on the stage and in the attic. My 49^th birthday was spent carefully shifting scenery to get a sense of what was in the attic.  At the time, I knew that this was a really special find, maybe one of the most significant scenery collections in North America due to its scope. I  returned this spring (February 2020) to document all of the 1902 scenery on the stage. This was the first of two phases to document all of the scenery on both the stage and in the attic.  I have been hired to provide historical analyses, conditions reports, replacement appraisals and final collections care programs and management for the Tabor Opera House scenery. These documents will help guide the future preservation and use of these remarkable artifacts.

In anticipation of this second-phase project, I also painted historic replicas of some shutter scenes that are stored in the attic. I referred to my 2018 images for color and some much older slides (gifted from Ken Kurtz) for composition, creating small 8” x 10” acrylic paintings. This step was solely to help convey was is currently stored in the Tabor Opera House attic, hidden under a century’s worth of dust. It is difficult for board members and the local community to understand these hidden treasures. I am planning to  paint many more scenes after fully documenting the attic collection.

My plan is to post scenes at the end of each day, sharing many on site discoveries.  Keep your fingers crossed that all travel goes well, and we stay healthy; the N95 masks are already packed!

To be continued…

Garden drop design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota, ca. 1905-1910.

This is part of the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.

The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections

Copyright © 2020 by Wendy Waszut-Barrett

In 1921 Thomas G. Moses was working in Dallas, Texas, at the new Majestic Theatre. His wife Ella was able to accompany him on the nine-week southern trip; there were ample opportunities for sighting seeing and sketching trips.  That spring, Moses wrote, “A short trip to San Antonio was thoroughly enjoyed by both of us.  It was a very interesting place, being so close to Mexico.  It has taken over many ideas in buildings and costumes.  One place we enjoyed more than the others was the large Brackenridge Park, which was built in a Stone Quarry.  Made several sketches.”

Brackenridge park made headlines that year, as American newspapers focused on the success of San Antonio’s various beautification projects and park system. The “Central New Jersey Home News” reported, “How City Officials Beautified San Antonio by Unique Methods” (New Brunswick, NJ, 22 May 1921, page 11). The article noted, “Once in a thousand years you find a person who possesses the gift of making much form little or nothing. Sometimes it is a woman who can make a stylish dress from a piece of great grandmother’s shawl and a yard of ribbon, in San Antonio it was Ray Lambert who made Breckenridge [sic.] Park blossom like the rose – the whole rose bush, indeed – and did it so economically that people still ask – ‘how did he do it?’”

The “Dearborn Independent” also included an article on the park entitled, “Texan’s Magic Has Brought Beauty to City” (Dearborn, Michigan, April 16, 1921, page 6). It provided a little more information about the man behind the mission – J. R. Lambert. Here is an interesting section from the article, as it gives some history:

“San Antonio was a wide-open town and J. R. Lambert on of the best known bar keeps. Situated within 150 miles of the Mexican border, within easy access of vast stretches of plains and prairies where wandered countless herds of Texas long and shorthorns, San Antonio drew to her bosom the sons of wild and wild stretches. Here they came to take a chance at faro or the cards and drink whisky straight. In the midst of this oasis was J. R. Lambert’s saloon and he stood behind the baar and served the spirit-loving throngs.

“Before he became a barkeep Lambert was a stone mason. He saved his money and finally accumulated enough cash to buy the saloon. Like many of his kind in those days Lambert also became interested in politics. Politics and the saloon were bed-mates before the Eighteenth Amendment went into effect. His power became felt in local election. He was a man to be reckoned with in any local issue that was decided at the polls. His saloon grew more and more prominent as Lambert extended his political power.

“There came a mayoralty campaign in San Antonio. It was a biter contest and after the votes were counted Lambert’s candidate was a declared the winner. And then Lambert, who had exacted no political reward before, demanded one, He insisted on being appointed commissioner of parks and plazas of the city of San Antonio. Since the mayor was morally bound to give Lambert any political appointment he demanded, because of his services at the polls, he had to comply. This he did reluctantly. There was much protesting, much agitation, much denouncing. Giving a job like commissioner of parks and plazas to a saloonkeeper was preposterous. Much in the way of political graft had probably been attempted in San Antonio, but this was too bold, too brazen, too horrid. The public wrath grew, the flame of public indignation swelled and the mayo was denounced along with Lambert. But the mayor was firm and Lambert kept his peace. The tumult subsided as such tumults always do. Lambert sold his saloon and settled himself in a downstairs corner of the city hall and went to work.

“Today J. Raymond Lambert, or Ray Lambert, is the biggest man, as far as could be learned in one month’s time, in San Antonio. Forty-six parks and plazas within the city limits testify to his greatness. In the opinion of the writer he is the most efficient city official in the country today.

Lambert has been commissioner of parks and plazas of San Antonio for a number of years and he will probably be able to continue as commissioner just as long as he cares to. During all this time he has worked within his power, regardless of time, energy, personal hardships and self-denials and to save as much money for the public as possible. In both he has been brilliantly successful.

San Antonio has her Missions and her Alamo, ‘the cradle of Texas liberty.’ San Antonio has her old churches, a wonderful country club and beautiful residential sections, but if you ask the average San Antonian what point he considers of most importance and interest he will answer immediately, ‘Brackenridge Park. Have you seen the Japanese Gardens there?”

“Brackenridge Park is the palace ground of San Antonio’s 46 parks and plazas , and the sunken Japanese Garden the palace. Of the 592 acres that are included in park and plaza allotments, Brackenridge Park is big and complete, a remarkable city playground, but the Japanese Gardens lift it to fame and the history of the gardens shows the creative genius of Lambert.

When Lambert became commissioner of parks and plazas, Brackenridge Park was little more than a larger tract of waste land. It had few possibilities. Many landscape gardeners would have passed it up. Some of the experts said it would never do as a park. It contained an abandoned stone quarry and a garbage incinerating plant, also abandoned. It presented a dismal aspect. Not only was a large portion an eyesore, but most repulsive.

“Lambert gathered his laborers and got busy. He dismantled the garbage plant and tore it down. He saved every part of it, stone and all. After everything was piled up neatly, he sent his army of laborers into the stone quarry and hauled out al the loose stone that remained. The quarry cleared, he began building and after much hard work the Japanese Gardens were created and the disgusting eyesore became a thing of unparalleled beauty in way of landscape gardening.

In this garden are Japanese houses built of stone, lily ponds and flower beds, rustic Japanese bridges and tropical foliage. There are fishponds and shaded nooks. Stone steps wind down into the gardens and the gardens are spotted with the same kind of steps and benches.

“The stone house, the large one, was built of the loose stones picked up in the quarry. They also served for the steps and the benches.

“The stones, now fast, line the lily ponds, and the quaint fishponds with their rare goldfish were made from the dilapidated vats found in the incinerating plant. The roof of the bog house is made of thatched palm leaves. There are many palm trees in San Antonio. You find them in all the parks and plazas. Lambert had his men collect then and, instead of destroying them, they were hauled to the Japanese Garden where they served for roofing. It is said that the only expense of the garden, outside of labor, was for wire used in attaching the palm fronds. And the quaint-looking steeple at one edge of the garden, the one covered with vines and looking so artistic in the distance? Why, that was the chimney of the incinerating plant, the only part of the plant that Lambert left standing when he dismantled the building. At night the gardens are lighted with thousands of globes and to view this spot from a place that  was once the edge of the stone quarry, gives a sight that will be long remembered.”

There is a fantastic paper by Susanna R. Katz and Anna A. Fox  -“Archeological and Historical Assessment of Brackenridge Park, San Antonio, Texas” (1979). The two identified 15 prehistoric site s and 27 historic sites and features within the boundaries of Brackenridge Park. They noted the sites reflect a variety of activities which have been carried out over a period of several thousand years; here is the link: (http://www.car.utsa.edu/CARResearch/Publications/ASRFiles/1-100/ASR%20No.%2033.pdf)

To be continued…