Arizona Highways… after 50 years we're setill Ramblin' Down The Road

The spring of 1925 was a propitious time in Arizona. Statehood had been granted the Territory just thirteen years earlier, in 1912, making Arizona the last of the forty-eight contiguous States to be admitted to the Union. The yearly influx of outof-State automobiles was estimated to be 192,000, carrying 672,000 persons. It was further estimated, that each person spent at least three dollars per day for lodging, food and gasoline. Tourist trade, if it were encouraged, and if proper roads and facilities were provided, could be a great source of income for Arizona.

At the time, the United States boasted nearly 500,000 miles of surfaced highway. Arizona had, out of a possible 22,355 miles, over 2,000 miles of better-than-average graded, graveled or paved roads.

What was needed now was a means of communication to attract the tourists and let them know of the highway conditions and scenic beauty of the State! Something that would erase the wild and woolly image and let the people know that Arizona was civilized, as well as inform the local people as to the advantages to be gained for the state by building good highways.

Arizona Highways... after 50 years we're still Ramblin' Down The Road

by Marjel DeLauer That means of communication was found in April, 1925, when Volume One - Number One, of ARIZONA HIGHWAYS, was published under the guiding hand of Editor Vincent J. Keating. It was presented to the public at the wondrous price of 10¢ per copy or $1.00 per year. The Governor of Arizona at the time was George W. P. Hunt. The initial run of the magazine was 1,000 copies.

The heading read, “ARIZONA HIGHWAYS Civilization Follows the Improved Highway . . .” TO THE PUBLIC

With this issue, ARIZONA HIGHWAYS makes its bow to the public. In its decision to issue a magazine devoted to the interest of good roads, the Arizona Highway Department is following the example of 22 other state highway departments, the American Association of State Highway Officials and the United States Bureau of Public Roads in disseminating information in regard to its activities and those of the nation. Although, during a previous administration, a pamphlet dealing with highways in Arizona was issued at intervals, the inauguration of ARIZONA HIGHWAYS is the first big step forward to tell the people of Arizona and other states of the work being done by the Arizona Highway Department.

The necessity of such an organ for the Highway Department has become apparent through the scores of letters received from persons in this and other states inquiring into its activities or seeking information in regard to Arizona's highways.

ARIZONA HIGHWAYS will be published each month by the Arizona Highway Department. It will contain in each issue many interesting and well illustrated articles by authorities on roads and allied subjects, furnishing authentic information of value to all who use Arizona's highways for business or pleasure.

For the information of motorists of Arizona and tourists from east and west, each issue will contain a travelogue of one of the 18 main routes in the State. The travelogue will tell the route of the particular highway, illustrated by map, pointing out the conditions of the road (at the time A.H. goes to press not responsible for changes due to rain storms), the towns visited, historic points of interest and a description of the scenery. The article concluded with, “Those who favor good roads will boost ARIZONA HIGHWAYS.” The format remained the same under Keating for the next four years. ARIZONA HIGHWAYS was filled with engineers' logs, vital statistics of highway personnel, and ads for cement, grading equipment and highway construction related materials. The most aesthetic and imaginative features of those issues were poems by Ira L. Wood, who might well have been the most prolific poet in Arizona at that time.

One of Wood's most popular verses was "The Ten Commandments of Motordom," which appeared in ARIZONA HIGHWAYS, March, 1927.

November, 1927, ARIZONA HIGHWAYS carried the story of the highest highway bridge in the world! "Bridging the Grand Canyon of Arizona," by Ralph A. Hoffman, bridge engineer. A black and white photograph of the awesome bridge accompanied the story, along with a page of the actual specifications for the bridge. The "Navajo Bridge," as it is called, is still in use today.

Volume Four Number 6, which was published in June, 1928, was the first super-special, sixty-four page Vacationland issue ever attempted by ARIZONA HIGHWAYS. The price was 25¢ and it was the first time the readers were treated to full page duotone graphics. Even then the photographs were spectacular scenes near Prescott at the Hassayampa Mountain Club, canyons along the Little Colorado River, San Xavier Mission, the Grand Canyon, cliff dwellings, Castle Dome, the Coronado Trail between Tombstone and Nogales, and the scenic splendor on Canyon Lake.

By February, 1929, the magazine boasted that since the four years of its inception, tourist dollars coming into the state had doubled to an astounding $23,000,000. W. W. Lane, State Highway Engineer, wrote an article pointing out that the earnings of the roads would pay for the annual highway program of $5,500,000.

An editorial on "hitch-hikers" complained that they had become so numerous, that some states were considering special legal restrictions. Under a bill introduced in the New Hampshire legislature, hitch-hikers would be compelled to pay $3.50 annually for a hitch-hiking license. Everything changes, and nothing changes.

1929 brought a new Governor, John C. Phillips, to office in Arizona, and the first three-color cover to ARIZONA HIGHWAYS. Readers were informed of the dedication of Coolidge Dam, travel to the Grand Canyon, the beauty of the Tonto National Forest, and the Indian Exhibit at the Arizona State Fair.

By 1931, Arizona had begun to feel the depression. The January issue of ARIZONA HIGHWAYS proclaimed a new Editor, George W. Comparet, who was also Secretary to the Highway Commission. Although the magazine seemed more subdued, there were still optimistic stories on Nogales being the largest port of entry on the entire Mexican-American border, news that the entire highway from Phoenix to Yuma had been surfaced, and a detailed feature article by Frank C. Lockwood, on "The University of Arizona Its Place in The Life of The State."

1932 seemed a dark year for the magazine. No color or duotones, an editorial "Automobiles Kill More Than Criminals!", and "Oil Stocks Decline Causes Unknown!"

In June, 1932, Editor Comparet ran an excerpt from an address before the Institute of Public Affairs, University of Virginia, given by the Governor of the State of New York, Franklin Delano Roosevelt. It was entitled, "The Excessive Cost of Local Government."

The article began, "The cost of government in this country, particularly that of the local government, is causing considerable concern. We are told that the aggregate expenditure of federal, state and local government is approximately twelve or thirteen billion dollars yearly. Of this sum the federal government spends approximately one-third, state governments about thirteen percent, leaving considerably more than onehalf as the cost of local government. Notwithstanding the influence of the war on federal governmental expenditures these ratios have existed with slight variations, since 1890. It is manifest that inasmuch as the cost of local government constitutes the major portion of our aggregate tax bill, we must, if we hope to lower taxes or have a less rapid increase in taxes, analyze local government and see if its workings may not be simplified and made less expensive for the tax payer."

In 1933, Arizona elected another new Governor, B. B. Moeur, and Hal Mitchell became the new editor of ARIZONA HIGHWAYS. Franklin Delano Roosevelt had been elected President of the United States, and the N.R.A., W.P.A. and C.C.c. became a part of our way of life. Actually, because of the W.P.A., ARIZONA HIGHWAYS would find a period of renaissance. Writers and photographers and fine artists in every field would begin to find a home in the pages of the small, regional monthly. And within the next few years, that small, regional monthly's circulation would jump to 10,000. Still at a price of 10¢ a copy, and $1.00 for a year's subscription.

Ira Wood had been writing poetry for ARIZONA HIGHWAYS for eight years, and in 1933, graduated to prose with a lead article entitled, "The Traffic Lesson." Dr. George H. La Berge, in the February, 1933, issue, wrote an extensive article on, "The Medicinal Plants of Arizona," that would make fascinating reading today.

We have reproduced many magnificent views of these spectacular falls, in the canyon home of the Havasupai Indians, by many photographers, Wayne Davis is a longtime contributor to the magazine and this particular one has been a commercial art director's favorite.

One of the hallmarks for ARIZONA HIGHWAYS in 1933, was an article by Clara Lee Fraps, entitled "Prehistoric Adornment in Southwest Ornaments and Jewelry of Color and Brilliance Attracted Earliest Races Miss Fraps is better known today as Clara Lee Tanner, Professor of Anthropology at the University of Arizona in Tucson, and one of the world's leading authorities on Indian Culture. The article, published in July, 1933, was her first to be published anywhere. As her career progressed, ARIZONA HIGHWAYS would publish many more of her articles on Indian Culture, Jewelry, Pottery and Weaving. Today, after 42 years, Professor Tanner is still contributing to the magazine!

Photographs published in August, 1933, of the Hopi Snake Dance, are priceless. No photographers have been allowed to take pictures of these religious rites since 1915.

There were vast improvements in the literary content of ARIZONA HIGHWAYS in 1935, John McPhee was Editor, and writers such as Frank Lockwood, from the University of Arizona in Tucson, and Will C. Barnes, who published and edited "Arizona Place Names," became frequent contributors.

By 1936, under McPhee's guiding hand, more photographers were encouraged to submit their work. The W.P.A. (Works Projects Administration) opened the doors for many dedicated writers to become contributors to the magazine. McPhee recognized the literary quality of these talented writers, long before other editors. Oren Arnold and Stan Adler were also part of his literary stable. Even actor Leo Carrillo became a contributor, with his full-page poem, "Arizona."

Bert Campbell acted as Editor for HIGHWAYS for a brief period of six months in 1937, and then in January, 1938, Raymond Carlson took the helm. Governor R. C. Stanford was number one man in the State. A record $75,000,000 was flooding into the State via tourist dollars.

Carlson had a genius for knowing what the public wanted. Through the magazine he issued an invitation to amateur photographers to submit pictures of scenic Arizona. The prize money was $15.00 $10.00 $5.00. Almost as much as a week's wages in those days. This was the beginning of ARIZONA HIGHWAYS' photographic treasury.

The magnificent black and white photos of James R. Wilson, Norman Rhoads Garrett, M. H. Deshler, Anton Stipek, Tom Imler, Jr., Norman Wallace, W. M. Tillery and aesthetic Esther Henderson, introduced moods and aspects of Arizona that would provide portfolios of major importance in the world of graphic arts.

Raymond Carlson's writing dominated the text of the magazine, and the general format began to reflect the great aesthetic values that have made ARIZONA HIGHWAYS so outstanding. Portfolios of full-page sepia-tone reproductions became a regular feature, and by the end of 1938, ARIZONA HIGHWAYS was no longer a periodical for road building and highway statistics. Carlson embarked on a program of scenic attractions, and articles featuring the cultural, historical and economic development of the State.

The stylized drawings and illustrations of George Avey appeared in the early issues of 1938, which proved to be the beginning of a thirty-three year association with Carlson. Avey became the first Art Editor for the magazine, introducing original innovations in layout and graphic excellence.

Carlson's editorials were to the readers of ARIZONA HIGHWAYS what Roosevelt's "Fireside Chats" were to the nation. December, 1938, was a classic example: "December is a delightful month in Arizona. High in the mountains snow falls and glistens in the sunshine and the stately trees and lonely cabins wear gay white coats. The beauty of such scenes is caught in the two photographs by Norman Rhoads Garrett, F.R.P.S., on pages 18 and 19. The "F.R.P.S.," by the way, stands for "Fellow of the Royal Photographic Society." Mr. Garrett's salon prints are world famed.

Snow falls lightly and gently at the Grand Canyon during the winter, and when it does the effect is beautiful to behold. Our cover page by G. E. Ruckstell, we feel, glimpses part of the beauty of the Grand Canyon in Winter. But on the desert and in the valleys of the southern part of the state, there is no snow and thousands of visitors are arriving to loaf in the sun.

Mr. Ferde Grofé, famed American composer, enters our pages this month with an account of his hauntingly beautiful Grand Canyon Suite, masterful interpretation in music of Nature's foremost masterpiece. We feel honored to have Mr. Grofé with us . . ."

Another of Raymond Carlson's and George Avey's masterful layout-features was "Arizona Sketch Book," which featured various fine art collections. Carlson wrote, in that 1938 Christmas issue, "Enchanted Arizona colorful, historical, romantic, bizarre offers inspiration and invitation to the artist's touch. Fulfilling our mission of revealing in our pages the Arizona scene, we offer herewith selections from the works of Arizona artists. We will continue the series of the Arizona Sketch Book in other issues."

The series presented fine arts portfolios par excellant! Carlson and Avey were years ahead of the trends.

In 1939, R. T. (Bob) Jones became governor of Arizona, and ARIZONA HIGHWAYS' Artist's Sketch Book presented artistauthor Ross Santee. Santee would also become an important member of the HIGHWAYS' family. The photographs in the portfolio by Max Kegley, the self-styled "desert rat" of Arizona, are timeless in their beauty and excellence.

1939 was the beginning of full page color sections in the magazine. Carlson's "Arizoniques" column, about interesting and odd facts about people, places and things in Arizona, became another of the readers' pets. The priceless woodprints of cowboy-turned-artist Lon Megargee appeared in the magazine. Works of cartoonist Hal Empie began to appear regularly, and the first contributions of photographers Barry Goldwater, Josef Muench, and Milton Snow were presented to the world. An impressive portfolio of etchings by George Elbert Burr, text by Carolann Smurthwaite, received great acclaim from the readers.

More important, historically for the magazine, it was February, 1939, that legislation was passed in Arizona, making State funding available for ARIZONA HIGHWAYS, and there was a painless transition eliminating all advertising in the magazine.

1939 was a great year for ARIZONA HIGHWAYS, but 1940 was better! The Sketch Book presented such greats as Walter E. Bohl, one of America's most distinguished etchers; Mexican Sketches by Stephen Golembeski; and a graphic portfolio entitled "Hopiland" by Forman Hanna, F.R.P.S.

Readers were also treated to a study of Arizona bird life by Harry L. and Ruth Crockett; an in-depth chapter on Frank Lloyd Wright and his Taliesin West; Margaret M. Walsh's story on "Kachinas America's Oldest Folklore"; an illustrated travel tour into Sonora, Mexico; a great story by Joseph Miller based on the 1868 account of J. Ross Browne's "Adventures in the Apache Country," and Irvin S. Cobb's "Testifying, O Lord, As to Rainbow Bridge" with photographs by Barry Goldwater and Josef Muench.

The Christmas issue, in 1940, contained this message from Raymond Carlson, "In many parts of the world, Christmas will not be as festive and gay as Christmas of other years. Cannon have drowned out the bells of Yule, and death stalks grimly through the countrysides. No twinkling lights greet the passer-by from happy windows of homes, large and small. Terror slinks through the waters of other seas and shuttles back and forth through the very clouds of other skies.

"Christmas, 1940, is a significant Yuletide for Arizona and America. There is peace in the land and happiness and good cheer among people. The sound of marching feet will not drown out the voices of children singing Christmas carols in the streets. The light of Christmas trees will be seen in the windows proclaiming all is well within and without.

"We know not the role we are to play in this bitter drama of Nations; we know not where the tides of destiny may sweep us. Of tomorrow, we know not. Only we know that today is Christmas and there is peace in the land and good cheer among the people. In our desert and our mountains and in our land there is the Peace, the most eloquent Peace, which proclaims a simple message this Christmas Day: Peace on Earth, Good Will to Men . . . R. C."

There was also a magnificent color section with photography by Max Kegley; "Storm Over Uinkaret" by Jonreed Lauritzen, Arizona Writers Project, W.P.A., drawings by Ross Santee; and additional photos by Norman Garrett, Josef Muench, Norman Wallace and Andre de Dinenes.

Another one of the many important and memorable issues of ARIZONA HIGHWAYS was the January 1941 issue. Sidney P. Osborn was Arizona's new Governor. A bearded and young Barry Goldwater wrote the article and provided the photographs for "An Odyssey of the Green and Colorado The Intimate Journal of Three Boats and Nine People on a Trip Down Two Rivers." It was an exciting and well written article that kindled the adventurous spirit in more than ten thousand avid ARIZONA HIGHWAYS readers!

The February issue introduced a young, unbearded Arizona artist, Ted De Grazia, "from down Bisbee way." De Grazia, who was born in Morenci, in the southeast corner of Arizona, lived for many years in Italy.

Of De Grazia, Carlson said in 1941, "The young man from Bisbee is Ted De Grazia, a very sincere person, and one from whom you may someday hear a great deal about!"

Stories and pictures of Arizona's Indian tribes were in great demand. The September, 1941 issue of HIGHWAYS features "We Went to a Navajo Sing in Monument Valley," with story and pictures by Max Kegley. Twelve hundred Navajo gathered in the loneliness of the Valley, their camp buzzing with noise, color and commotion.

Because this was in 1941, and America was on the threshold of a great and terrible war, this might well have been the last gathering of its kind which whites were allowed to visit or photograph.

The Christmas issue in 1941 was spectacular! Avey's art work and layouts were masterpieces, and the color, text and graphics made the issue an early collector's item.

But that December, the lives and histories of many people would suffer an abrupt change. Nothing would ever be the same again.

In 1942 the pulse of ARIZONA HIGHWAYS began to change. World War II was beginning to have its effect on the State of Arizona. The clear desert skies and unlimited visibility made the state an ideal place to train pilots. They came from all over the world. Young, eager men from the entire fortyeight states, from England, Europe, and from the Orient.

Carlson's Editorial, entitled "Brave New Year," set the mood, "As this is written the echoes of the enemy's attack on Pearl Harbor have barely died away in the blue Pacific. The sound of the cannonading in the Philippines, where Liberty is making her first stand against the fury of the oppressor, is heard around the world. Such is America's beginning of this brave new year, the year of America's rendezvous with destiny.

"ARIZONA HIGHWAYS, to begin this new year and new volume offers for its frontispiece a portrait of peace and simple beauty, as a reminder in this mortal storm, of pleasant and happy things to come when fury has spent itself and the might of righteousness is felt throughout the world."

The young Miss on the cover of that January issue was an eight-year-old Navajo child, named Hosteen Cly Bit-sui. The enchanting portrait was the work of Joseph Miller.

This was an attitude that would be carried in the magazine throughout the duration of the War. ARIZONA HIGHWAYS would serve as a reminder of what the sane world had been like, and what we would have to look forward to when the holocaust was over.

Sunset Crater Landscape. - DAVID MUENCH The eruption of Sunset Crater in 1064 A.D. is recorded as the most recent geologic event in northern Arizona. After the earth had settled and the lava cooled and hardened, another masterpiece of exotic earth forms became part of Arizona's natural gallery of wonders.

The 1942 and 1943 issues brought articles about the Saguaro National Monument, written and photographed by Natt N. Dodge; the now-famous oils of Ray Strang; Skiing time in Northern Arizona; "Coyote Traits and Trails," by J. Frank Dobie drawings by Ross Santee.

Of Maynard Dixon, Carlson wrote, "One of the great painters produced in the west, born in California, he first came to Arizona in 1900, and has been coming back regularly since." Color had gone to War, so the readers had to enjoy his great paintings in black and white.

June of 1942 was devoted to "Thunder in the Skies," a "portrait of Old Glory preparing for war, with special emphasis on the activities of American, English and Chinese cadets, officers and soldiers at Luke, Williams, Thunderbird and Falcon Fields." Pictures for the article were by Captain Barry Goldwater, U.S. Army Air Forces, Luke Field; the U.S. Army Signal Corps; Mr. John Swope of Thunderbird Field; and Mr. Max Openshaw of Mesa.

The Christmas issue in 1942 featured "The Sings of Sun and Saddle Leather... The Story of Badger Clark, by Charles Franklin Parker." Color reappeared briefly in that issue to give credit to the magnificent photographs of Arizona by Esther Henderson. "Medicine Man" and "The Navajo," two black and white portraits by Goldwater are masterpieces!

In October, 1943, Raymond Carlson wrote, "We hope to drop you a card from Tokyo With this issue of ARIZONA HIGHWAYS, your editor for the past six years closes his long and happy contact with you. The next issue that will call at your home will be edited by other and more competent hands.

"My name now ceases to be a part of the editorial masthead of these pages. It becomes instead a name in front of a long number, signifying a buck private in one of Uncle Sam's Army Units.

"Naturally I am (please pardon that 'I' stuff but this has to be a purely personal communication to you, our friendly readers) sorry to leave this most interesting work in the world, but proud that maybe my nickel's worth can be of help to my country along the way to victory.

"Induction is one of the orderly processes of this Democracy. The time comes and the individual responds. Democracy is, after all, the glorification of the individual, but it places great and exacting responsibility on him. In a Democracy the individual must think for himself, act for himself, and stand on his own two feet. When he ceases to do so Democracy has gone out the window. So as an individual I must do my part as a soldier, as I have tried to do as a citizen, to serve my country in order to deserve the privilege of living in it and of being a part of it. (This 'I' stuff really sounds silly, doesn't it?) "In leaving ARIZONA HIGHWAYS, I wish to express again my appreciation for the cooperation I have received from so many writers, artists and photographers whose work has made the magazine what it is. I wish to thank, too, the members of the Arizona Highway commission and the Arizona Highway Department executives, for whom I have worked, for their constant encouragement in increasing the width and scope of ARIZONA HIGHWAYS. Also, we express again our gratefulness to the engravers and printers with whom it has been our pleasure to work and whose skill and patience have always brought order out of editorial madness.

"And lastly, I wish to thank you for your support of our magazine, for your interest in it and for your many, many letters of praise, both from Arizonans and people elsewhere, which have been so inspirational and stimulating. It has been a mighty great pleasure to have been with you and here's wishing you miles of happiness and good weather always. Some day we hope to drop you a card from Tokyo, and until then 'So long!' and 'Hasta la Vista!'"

Once again, Bert Campbell, who had been interim editor of the magazine in 1937, became the guiding force of ARIZONA HIGHWAYS again in November of 1943. Two major changes were brought about under Campbell. First, the price of the single copy was raised from 10 to 25¢, although the yearly price remained at $1.00 per year. Second, color came back into the pages of the magazine in bright and brilliant splendor.

In addition to the front and back cover of the January, 1944 issue, Campbell included a sixteen-page, full-color center section, with unforgettable photographs by Josef Muench, George Geyer, Esther Henderson, Emil W. Haury, Norman Rhoads Garrett, A. Lee Moore, Gladys V. Broderson, and Norman Wallace.

Our present editor Joseph Stacey says of the black and white portfolio of Arizona Indian faces by Joseph Miller, that is contained in the same issue, is one of the finest collections of black and white photographs ever published in the history of the magazine.

Stacey also brings to our attention the sepia-tone portfolio of wild flowers, caught by the photographic art of William M. Tillery in the March, 1944 issue.

Campbell also brought to the readers marvelous color reproductions of the fine painting of Ray Strang, the murals of Jay Datus, and the aesthetically brilliant series, an epic in oils, of Jay Datus's murals which adorned the walls of the

Arizona Department of Library and Archives on the third floor of the old Capitol Building to Phoenix In April, 1944, the yearly subscription rate for aRIZONA and its rewards was increased to 52,60 per year. Stanly the best. bargain is the country for the readers sheer vivid and emo tional enjoymenti In February, 1945, ARIZONA HIGHWAYS invited readers to their first full color photographic spread of Indian jewelry, blankets, and pottery, captured in Kodachrome by Joseph Miller, Jari Ragon, Josef Muanch and Chuck Abbott. Way Maaley's name appeared in the last issue with his study of Petri fied Log in Painted Desert The Grand Old Man" of football, Cosch Alginto A. Stary, Fotbar Flanagan, Dr. and Ms. Clonge Gallop and Laraino Dey were listed as "sonalde datos to the State A large section of the book was designated to the "Phoenix with Scotty Chisholm Golt the gentle rooster sousta ceremonice at all, ronjer tourmbys. Bob Goldwater, "B Chief of the Thunderbirth, who sponsored the tempety, was shawa crowning Harold (Juga) McSpadou na honorary man her of the organisation in recognition of his winning the playoft in the 1944 Phoenix Open. Among the gabing prests of the oza whe attended wwe "Long" Byon Nelson, Craig Wood, Via Armstrong, Miit Coggins, and Eid (Porky) Oilver. Prite zhonéy totaled 16,600 in war bandsi Under Bert Castiphell's editorship spectacular art pro ductions by Freshtic Realogion, K. Furrington Elsvall, water colors by Margaret Walsh, oils of cowboy artists Gray Bartlett Maynard Disor and Ray Strang appested in fill coles folios With the June, 1945 laste, shagle copy pelos Of ARRONS LORWAYS was raised to 366. In September Bill Mauidim's cartoons gave Phoenicians an fraids louk at their hometown bero and his "Willic and Joe" 63s Wild Flowers, Desert Birds, Cowboys, Indians and their Culture, The Grand Canyon, The San Francisco Feaks, Ostrich Ranchers (Arizona hed awe bean their capltal), Date Gree ers, Water Colon, Ois, Etchings, The Petrified Forest, Sagaso, Cholla, Cards, Horses, Agriculture and tisa Boariful, Beauti fni Skyi All Inuating frath in color on the pages of LOKA wanrways. Kaough to boggle the mind and imaginatioul

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Color photographs. De Grazia's first full color portfolio in the March, 1949 issue was wildly acclaimed, proving Raymond Carlson's original prophecy that "the world would be hearing more about the bright young artist from Bisbee!" "The Arizona Story . . . In the Movies," which appeared in the May, 1949 issue, made Carlson a favorite with Hollywood. Producers and directors always sought his advice on the best locations, the sunshine, and where to stay and what to do. Such western delights as "She Wore A Yellow Ribbon," "Blood on the Moon," "Chicken Every Sunday," "Red River," and a dozen more were made in Arizona. The classics, "Squaw Man," "Stagecoach," and "Blood Brother," were photographed in Arizona's wonderland. During the filming of "Oklahoma!", millions of dollars were spent transplanting a peach orchard, upon whose branches were hung thousands of man-made hand-made peaches, complete with fuzz! The peaches had to be removed every night to protect them from the early morning dewing, and rehung when the desert air was warm. The August issue featured the shapely lasses of the "world's fastest growing sport, girls softball." Crowds at the gates made the event look like the world series! And this was years before Woman's Liberation.

November, 1949, brought "Genius in Chaps . . . The Life and Works of Charlie Russell," by Homer E. Britzman, to the pages of ARIZONA HIGHWAYS, and became one of the many "collector's issues!" The color portfolio contained eight full page reproductions, with an additional seven pages of text and black and white reproductions.

The Christmas issue of that year was highlighted by a salute to the Navajos, by Carlson; "Remembering Arizona" by J. B. Priestley; "Home of the Ancients," an in depth study of the ruins of Betatkin, Keet Seel, Incription House, Canyon de Chelly, the Wupatki and Walnut Canyon ruins, Tuzigoot and Montezuma Castle, and the Tonto and Casa Grande ruins; the missions in Arizona; an article describing every variety of Cholla-Cacti (pictures and text by Claire Meyer and R. C. Proctor).

Subscription rates in 1949 were $3.00 per year in the United States and possessions; $3.50 elsewhere. 35¢ each. By the time Howard Pyle was Governor of Arizona, in 1950, the circulation of ARIZONA HIGHWAYS, under the editorship of Raymond Carlson, had more than doubled again . . .

it now reached an astounding total of 175,000 issues per month.

The 1950's were more of the same . . . it was almost like a game, "How do you top this?" There were some editions that were not as popular as others, and some that were complete bombs, but most of the issues seemed to enchant the readers. Many became collectors items and are priceless today.

Some of the outstanding issues include February, 1950, with a cover of an original painting by Indian artist Andy Tsihnahjinnie. It featured an article by Clara Lee Tanner on "Contemporary Indian Art," with a magnificent portfolio of reproductions of paintings by Indian artists Gerald Nailor, Andy Tsihnahjinnie, Quincy Tahoma, Jose Rey Toledo, Lewis Numkena, Jr., Velino Shije Herrera, Harrison Begay, Pop Chalee, and Allan Houser.

The April '51 issue featured the brilliant photographs of Rudolph Wm. Sabbot about butterflies and moths. The August, 1951, all-Indian issue with a lead article on the Apaches, was a complete sellout.

"Canyon De Chelly - National Monument . . . Arizona," with black and white photographs by Ansel Adams and text by Nancy Newhall, which appeared in the June, 1952 issue of ARIZONA HIGHWAYS will be a feature difficult for anyone to top. The July, 1953, magazine was another outstanding allIndian issue.

1954 was filled with Pipe Organ Cactus, Desert Wrens, Hoover Dam, acres of commercially grown flowers, the Chiricahuas, and April of 1954 dawned a cover of "Mission San Xavier Del Bac," by Ansel Adams, that is sheer splendor to the eye! An article written and illustrated by Paul Coze, in the November issue of HIGHWAYS is classic in both text and fine paintings.

Arizona's inland waterways and marine recreational areas are mainly the result of the westward movement of population. Today, modern highways reach the first class facilities in this area which is famed for fishing, boating and scenic beauty.

The October, 1955 issue, featuring Mexico's West Coast Highway, is as contemporary today as it was then. Photographs by Ray Manley and Allen Reed, along with illustrations by Ted De Grazia, have made this issue very valuable. November, 1955, brought Solar Energy to the public eye. The magazine featured an article entitled, "The Sun's Big Muscles Scientists to meet in Phoenix for the First World Solar Energy Symposium!" Gaston Burridge's article informed the readers, "Why is it so important? Because, if world population and consumption of electric power per capita continue to increase at present rates, by 1975 our own country's reserves of fossil fuels oil and coal may have become so scant and so high prized that it will be advantageous to look to the sun for additional energy!" Most issues, from 1956 onward, are available, or at least viewable in many libraries. It is a shame that many of the plates of the older issues have been lost or destroyed. In 1958 the price of a single copy of ARIZONA HIGHWAYS was raised to 40¢; and in 1959, Paul Fannin became the Governor of Arizona. Visitors were flocking into the state, and the circulation of the magazine had reached over 200,000. As readers know, there is very little that appears in ARIZONA HIGHWAYS that has not appeared before. The newness and excitement of the old material is in the manner and style in which it is re-presented. Carlson liked Stacey's "manner and style!" Editing this particular magazine was not something that could be learned in school, it was something that had to be learned by osmosis. The necessary ingredients for success were sensitivity, vision, a poetic soul and a great love of the State of Arizona. Raymond Carlson recognized these qualities in Joseph Stacey.

The relationship between Raymond Carlson and Joseph Stacey continued to grow and in 1963, Carlson asked Stacey to resign from his job as National Merchandising Manager for the Arizona Republic and come to work full time for HIGHWAYS.

Sam Goddard served a term as Governor of the state and in 1967 Jack Williams took office.

In September 1971 the Arizona Highway Commission announced the retirement of Raymond Carlson who, for 33 years, had been Editor and Director of Publications. Stacey assumed the position of Editor of the magazine and James Stevens was elevated to the expanded post of Director of Publications. Because of failing health, George Avey prepared for retirement, and Wesley Holden, also a former Phoenix Newspaper advertising specialist, was asked to join the magazine as Associate Editor.

Stacey and Holden had collaborated in the production of past HIGHWAYS editions on free-lance assignments, and since January 1972, save for a brief period during 1973, have produced each issue performing full editorial, layout and production duties . . . a feat unsurpassed in scope and quality in the publication business.

1973 had been a record making year. When a reported energy crisis threatened curtailment of highway travel for 1974, Stacey decided to subordinate the promotion of travel and tourism in favor of a series of special editions related to the Arts and Crafts of the Indians of the Southwest. Beginning with the now famous January '74 Turquoise issue following editions on Pottery, Weaving and Jewelry became collectors' choices which carried the year's publication program to new circulation and sales records. Superb photography, spectacular layouts and authoritative articles opened new markets and awakened an awareness both on and off of the traditional highways.

In August 1974 the newly formed State of Arizona Department of Transportation replaced the Highway Department as titular head of the magazine. Raul H. Castro was elected governor and took office in January, 1975.

EDITOR'S NOTE:

The selections for this special Golden Anniversary Commemorative edition were chosen on the basis of readers' interest and preferences as indicated by sales, letters to the editors, requests for prints, and various marketing and research evaluations.

Due to technical and economic disadvantages we have not in all cases matched the work to the person and vise versa. It is unjust and impossible to distinguish our selection by comparative superlatives.

In summary we feel that we have projected a high fidelity image of Arizona and the Southwest as a graphic testimonial to the excellence of all the artists, photographers and printers who have helped make this publication respected, honored and welcomed throughout the civilized world.

The grand, Grand Canyon

The Grand Canyon of the Colorado has inspired more writers, artists and photographers than all the other natural wonders of the world combined. During our fifty years, the variety and numbers of words and illustrations describing the moods, make-up, and romance of the Grand Canyon are enough for a full year's programming of special editions related to the river, the gorge, and surrounding country. Some of the prose and photographs we have reproduced have been great by any measure of quality. Others reflect touches of greatness. Most of them, however, must fall into lesser categories of relative distinction, but nevertheless important in the universal definition of the greatest of natural wonders. From this wealth of resources, we must limit our choice to three selections to tell the Grand Canyon story.

These must be like three eloquent words from ARIZONA HIGHWAYS' many volumes on the grandest of canyons.

Arizona's Indians ... their lands and their ways

The exotic quality of our northern Arizona Indian lands, such as Monument Valley on this page and Canyon de Chelly on pages 26-27, is unmatched anywhere on earth. Although we share the visual and geographic measures of the area with neighboring states, millions of readers throughout the world associate these marvels of natural sculptures with ARIZONA HIGHWAYS Magazine. Impressions vary according to the viewpoint, but the great photographers of Southwestern landscapes have learned to use the instruments of the camera world to extract new expressions from a part of this planet which, in itself, is a masterpiece in the universal gallery of sublime creations.

Navajo Sing

by Quincy Tahoma

Courtesy, U.S. Indian School, Santa Fe, New Mexico

No single publication has portrayed the lands and ways of the Hopis, Navajos and Apaches more than ARIZONA HIGHWAYS Magazine. Although in the past their ceremonies were open to artists and photographers many of these places and events are now off limits. None the less, no one picture could depict more than one phase of a ceremony. Many of the Indian artists painted near masterpieces of the dances and sings. It would take thousands of words to tell the story of a "Navajo Sing" as depicted by the late Quincy Tahoma.

FOLLOWING PANEL pages 26-27 Path of the stream, Canyon de Chelly. - ESTHER HENDERSON

Arizona is a land of dramatic visual images and the almost unbelievable contrasts that one has to see to believe. Stark majestic forms rise from the desert floor and await the proper time and temperature to explode into glorious patterns of color and textures.

FOLLOWING PANEL

pages 30-31 Forms of the Chain Fruit Cholla cactus frame the misty outline of Arizona's Superstition Mountain ... a wilderness area famed for legends of the Lost Dutchman and his gold mine. DAVID MUENCH