Entertainment

Civil War Buffs Are Coming to St. Louis to Remember the Sultana Disaster

Published

3 weeks ago

April 25, 2024

For 25 years, Gene Salecker worked as a university police officer. There, Salecker met his wife, a professor, who inspired him to transition to the classroom, where he taught eighth grade for 12 years. Upon retiring in 2015, he became a full-time military historian, writing seven books in total on the Civil War and World War II. He has spent more than 30 years researching the Sultana Disaster and has become one of its leading authorities.

On April 27, 1865, the steamboat Sultana exploded on the icy cold Mississippi River, resulting in the greatest loss of life in a naval disaster in American history. The steamboat had been carrying 1,960 Union soldiers who’d been held as prisoners-of-war at two notorious Confederate prisons.

On April 26 and 27, descendants of victims and survivors, as well as history buffs, will gather in St. Louis for the annual Sultana Association reunion to honor and memorialize the Sultana Disaster. Salecker recently joined us to explain more about the disaster — and what keeps the story alive today.

This conversation has been edited for length and clarity.

Why has the Sultana’s explosion gone relatively overlooked by history?

I read all the Civil War books and nobody mentioned the Sultana. The reason that Sultana is so little known is it occurred at the same time that Abraham Lincoln was assassinated. In fact, the Sultana, which had a home base in St. Louis, set out from St. Louis on the eve on the morning of April 14, 1865, and went down river. It was at Cairo, Illinois, the next morning, April 15th, when word came through the telegraph that Lincoln had been assassinated in Washington. The captain of the Sultana, James Cass Mason, who also lived in St. Louis, knew that the South wouldn’t have gotten this information because the telegraph lines were all torn up. So he grabbed as many newspapers as you could get and started off downriver as the first steamboat to spread the word of Lincoln’s assassination to the south. He wanted to go down in history as the messenger of death, so to speak, and get himself a name.

The Sultana disaster happened on April 27, 1865, almost two weeks later. Well, all the newspapers are now reporting the search for John Wilkes Booth, who was shot on April 26. One day before the disaster there will be reporting on Lincoln’s funeral train traveling across the United States to all these different stops, and all the newspapers talking about that. All this crowded out the Sultana.

Senator John Covode from Pennsylvania traveled out to Memphis, Tennessee, where the Sultana had exploded, and he found out that the men on board were from Ohio, Indiana, Michigan, Kentucky and Tennessee, all of what were called the Western states. After he reported this, the big newspapers in New York and Boston and Philadelphia just sort of said, ‘Oh, that’s the Western guys that died. We won’t worry about them.’ They had little blurbs here and there about the Sultana, but it would be on page four of a four-page newspaper all the way in the back.
click to enlarge COURTESY OF GENE SALECKER Gene Salecker was amazed that a tragedy as riveting as the Sultana’s explosion could largely slip out of the public consciousness.

How did you personally get into Sultana documentation? What makes you so dedicated?

I was just amazed that something like this could slip through the cracks of history. There was a survivor who worked with the Sultana Survivors Association, which was the actual survivors, and he collected their reminiscences. At 92, he published a book, Loss of the Sultana and Reminiscences of Survivors. It’s everybody’s personal accounts of what happened, 180 guys or something like that. When you read through it, what these guys went through, it just amazed me: Why did this fellow survive? And why did his friend or partner not survive? What did this guy do that was right and this other guy do that was wrong? It could have been just as simple as one fellow went to sleep with a blanket on and another person just lay down next to him. When the scalding water from the exploding boilers hit them, the blanket got soaking wet, but he survived, but the other guy got scalded. Some simple little thing like that. This happens at two o’clock in the morning on a dark river seven miles north of Memphis, and they started grabbing onto each other rather than jump from the side of the boat where there weren’t as many people. There were, I believe, 962 survivors, and how did they survive? That’s what got me.

This slip through history is something that occurs almost in the geographic center of the United States. And yet, we don’t know about it. We know about the Titanic. We know about the Lusitania, which are English ships. And yet here is an American vessel — all the greed and corruption that went with the overloading of it — and to have it happen and then to be swept into the back pages of history. That’s why I thought, no, we’ve got to work on this to get this so people know what’s going on.

Decades after the last Sultana Survivors Association meeting, in 1931, the association was revived as the Association of Sultana Descendants and Friends. What led to that happening in 1987?

Norman Shaw lives in Knoxville, Tennessee, and was a big Civil War enthusiast, and had noticed that there was a monument in a Nashville cemetery to the Sultana disaster. The survivors formed reunion groups, and one was based in the North, which would have been the Indiana, Ohio and Michigan survivors, and they met around Toledo, but the Southern guys from Kentucky and Tennessee mostly met in Knoxville. The last survivor died in 1931 and the actual survivor reunions ended.

Norman Shaw wondered how many descendants might still be interested in perpetuating the memory of the Sultana. He put a little blurb in a national newspaper: “I’m going to have a meeting, and anybody interested meet at this national cemetery monument.” He was flabbergasted that between 40 and 50 people showed up. He didn’t know what was gonna happen — he might have had one person or no people. Then he decided to do a formal sort of reunion in 1988. He put some ads out in Civil War magazines and more newspapers, and that’s where I saw it. I saw that they were having this reunion in 1988 through a Civil War magazine, and I called Norman and said, “Do you have to be a descendant? Or can anybody show up?” and Norman said, “Well, I’m not a descendant. I just have a love of history and a love of the Civil War, and now a love of the Sultana.”

I had been working on a database of who was on board the Sultana, and I went to the reunion and met another fellow Jerry Potter, from Memphis, who had discovered the wreck of the Sultana. The Sultana is actually underneath an Arkansas soybean field because it had sunk in the river and been covered over the years with silt and then the Mississippi changed course, so the Sultana is really about two miles inland from the Mississippi River itself. But that was how it started. Norman Shaw, just by accident, said, “Gee, I wonder if anybody’s interested in the Sultana,” and sure enough, over the years, we’ve grown to have descendants and enthusiasts from all over the United States.

What is the significance of this year’s reunion being in St. Louis?

This is the first time that we’re coming here. The Sultana had been built in February 1863 in Cincinnati, but eventually came down the Ohio River to Mississippi, and its home port became St. Louis. It was considered a cotton steamboat, and it would travel from St. Louis down to New Orleans on a regular schedule picking up passengers and cotton and whatever stuff that they could find and bring back and forth. The Sultana, her captain James Cass Mason and the chief clerk were from St. Louis. A lot of the crew men were from St. Louis. Some of them are even buried there. They would leave St. Louis and go down to Cairo — that’s where they heard about Lincoln’s assassination, then traveled all the way down to New Orleans. On their way back, they stopped at Vicksburg, where they overcrowded with almost 2,000 paroled union prisoners to take back north.

Unfortunately, on the trip down river, when the Sultana stopped at Vicksburg to report Lincoln’s assassination, an unscrupulous Illinois Captain Reuben Benton Hatch, a scoundrel, went on board and knew that Captain Mason was financially hurting, and he himself was financially hurting, and he knew that the government would be paying the steamboat captains to take a load up north so they could go home. These had been released prisoners of war from the horrors of Andersonville prison. They had suffered and they were pretty weak. So, Reuben Hatch meets with Mason and says, “The government will pay you to take 1,000 men up river. I know you’re going all the way down to New Orleans and then back up. If I can somehow save 1,000 men for you, could you give me a kickback?” There was a bribery offered, and Mason readily accepted.

Unfortunately, word of a bribe leaked out to some of the other officers, but they did not know it was the Sultana or Hatch. When the Sultana comes back up river, these officers say, “We’re going to try to head off this bribe and we’re going to put every last soldier on the Sultana,” which was exactly what Mason and Captain Hatch wanted. The more men, the more money they would make. Unfortunately, it ends up exploding.

The other one of the other reasons that we’re meeting in St. Louis is because St. Louis was the home of Julia Dent Grant, General Grant’s wife. General Grant was involved a little bit with the Sultana — he had at one point arrested Hatch. Captain Hatch was a quartermaster, a guy that would buy tents and horses and rent steamboats and get ice for the soldiers. He was buying stuff at one price but charging the government another price and pocketing the difference. Grant found out about this as his superior officer when they were at Cairo in 1861, and he had Hatch arrested. However, Hatch was a good friend of Abraham Lincoln, and Lincoln got Hatch released from arrest. So we know that if Grant’s arrest would have worked, Hatch would not have been in place, and perhaps the Sultana may not have gone down like that.

There’s only two known pictures of the Sultana, and one of them is the Sultana at the St. Louis waterfront. It’s not too far from where the Arch is, so we’re going to try to get our group to stand there and take a picture in the approximate location of the Sultana docked when that picture was taken in about 1864.

How many association members can trace their heritage back to the Sultana?

I would probably say 85 percent are descendants of Sultana people. On Saturday, at the very end, we have a candlelight memorial where we have one person from each family with a candle. I believe last time we had like 35 different families represented. We light their candle, and then they tell us as we light it who their ancestor was. Then we say, “If your ancestor perished please blow out your candle,” and all these candles go out so the only ones still lit are survivors. And then we say, “Now, since all the survivors are gone, please blow out your candles,” and they all do and it’s a very moving ceremony. You really see, at that point, how many people are represented.

In fact, this year we actually have a couple of people that are descendants of civilian passengers that were onboard the Sultana, not just the soldiers. The Sultana was also carrying paying passengers as well as crew members. We have about 65 people signed up, which is good.

Do you think sites like Ancestry.com are a factor in how many people are showing up?

Yes, I do. In fact, when we hear from people, they will say that, you know, I found out through Ancestry or I found out through Genealogy.com or even just on Facebook. “I noticed on Facebook, and I was wondering gee, I remember hearing the story from my great-great- grandmother of something about Sultana, but I didn’t know what it was,” so they started asking questions in their family. And then even websites like yours, that all helps to spread the word, and then somebody reaches out and says, “I remember hearing something about the Sultana years ago, let me track that down.” And next thing you know, they’re contacting us.

Is there any part of this history that I wouldn’t be able to find by looking at the Wikipedia page or maybe reading a book you’d recommend?

I maintain the Wikipedia page, so I know it’s accurate. Every now and then somebody will get in there and edit and put something in there. And I’m like, “Now, let’s take that out.” So I try to keep it as accurate as possible.

I think I would be careful in some of the some of the books that are out there, as well as some of the websites that are out there. It’s interesting. My first book came out in 1996. Even in that one, I thought there was about 1,700 people that were killed on board the Sultana, but over the years, I would see people would say 1,700 died. 1,800 died. 2,000 people died. And, “We think it was sabotaged: a boat was exploded by a Confederate saboteur.” And I said, “Wait a minute, first off, I know that it wasn’t sabotage. But how many people really did die?”

I began heavy research to try to come up with the most accurate list of who was on board and who survived and who perished. I started finding people that were supposedly dead, but they were getting a pension in 1880 and 1890, and their headstone says they died in 1915. Then they didn’t die on the Sultana. I was able to determine that 1,167 people died. So I would be cautious of looking at websites and books and magazine articles that still claim 1,700, 1,800, or 2,000 people died. … There was only one Union officer court martial for overcrowding the Sultana, and he was court martialed for the death of 1,100 people. So even back then they knew that it was only around 1,100 people.

Source link

Entertainment

How Bob Cassilly Saved Michaelangelo’s Pietà

Published

3 days ago

May 16, 2024

Natural Bridge

Bob Cassilly played a profound role in reshaping the look and feel of St. Louis. The sculptor turned curator and creator of City Museum, Turtle Park, and many other beloved local installations remains one of St. Louis’ most esteemed residents more than a decade after his tragic death in 2011.

But before Cassilly became a visionary for a new urban landscape, he played just as significant a role in preserving one of the world’s most beloved masterpieces, Michaelangelo’s sculpture Pietà. While the media covered the incident at the time, it’s become a forgotten chapter in Cassilly’s remarkable life.

Named with the Italian word for “pity,” the Pietà depicts Mary cradling the body of Jesus in the aftermath of the crucifixion. Erected by Michaelangelo in 1498 and 1499, it was installed at St. Peter’s Basilica in Vatican City in the 1600s and has spent most of its days there ever since, becoming one of the world’s most venerated works of art.

On May 21, 1972, Cassilly and his new bride were visiting St. Peter’s Basilica in Vatican City as part of their honeymoon, an old-fashioned grand tour of Europe, he told the St. Louis Post-Dispatch. As they approached Pieta, Cassilly saw a man with a long beard climb onto the sculpture. The man reportedly screamed about Jesus Christ and started desecrating the statue, smashing at Mary’s face and removing her hand with an implement that proved to be a geologist’s hammer, a fearsome tool with a long chisel head.

The man, Laszlo Toth, was a mentally ill Hungarian-born geologist who recently moved to Rome from Australia. According to reports by the Associated Press, Toth believed himself to be Jesus Christ and said that Mary was not his real mother.
click to enlarge Bystanders drag Laszlo Toth (right) away from the Pieta in St. Peters after he smashed it with a hammer. This photo was released by the Vatican the following day.

Cassilly was the first person to rush Toth and start to restrain him. He climbed the statue and grabbed at Toth’s beard. Cassilly punched Toth and brought his destruction to an end. “I leaped up and grabbed the guy by the beard,” Cassilly later told People Magazine. “We both fell into the crowd of screaming Italians. It was somewhat of a scene.” The young man from St. Louis’ courage inspired others to take down the hammer-wielding vandal.

Cassilly, Toth, and the others involved in the incident walked away with a few bruises, but the statue had suffered significant damage, both to Mary’s face and her left hand. Preservationists worked for years to restore Pietà to its original glory. The statue now sits in St. Peter’s Basilica behind bulletproof glass.

Toth was not charged with a crime but instead committed to a psychiatric hospital for two years. The Guardian reported that Toth later moved back to eastern Australia and lived in obscurity until his death in 2012.

Cassilly returned to St. Louis and opened a restaurant in Lafayette Park called Park Place, which he sold in 1978. Slowly but surely, he started earning commissions as a sculptor and began putting his own playful, historically-minded touches on the city’s landscape.

While Cassilly’s role in saving Pietà is surprisingly little known, it serves as an interesting and, in some ways, unsurprising footnote to his life’s work, which was seemingly forward looking and backward looking at the same time.

Source link

Entertainment

The Best Things to Do in St. Louis This Weekend: May 16 to 19

Published

4 days ago

May 15, 2024

Natural Bridge

Thursday 05/16

Skin Show In what has become a celebrated tradition for local lovers of boobs, butts and bawdy behavior (the four Bs!), the 13th Annual Show-Me Burlesque festival is bringing glitz, glam and a whole lot of ass to Cherokee Street this week. Though founder Lola van Ella no longer lives in St. Louis, she has made an indelible impression on the number of shaking ta-tas the city sees in any given year — and that’s a beautiful thing, in our book. This year’s three-day celebration will take place from Thursday, May 16 to Saturday, May 18 at the Golden Record (2720 Cherokee Street) and the nearby Casa Loma Ballroom (3354 Iowa Street). As is the case with these affairs, the festival promises “spectacular productions and fabulous burlesque, vaudeville, circus, and variety entertainment from every gender and from around the world,” according to promotional materials. The performers include the aforementioned van Ella, as well as Jeez Loueez, Auralie Wilde, Sailem and many more whose talents (among other things) will be on full display. The festivities kick off with an opening night bash at 7:30 p.m. on Thursday. Tickets range from $25 to $140 and can be purchased here at showmeburlesque.com/tickets.

Smooth Operation Those interested in the shinier things in life will find much to enjoy at the Saint Louis Art Museum’s (1 Fine Arts Drive) Shimmering Silks: Traditional Japanese Textiles, 18th-19th Centuries exhibit. Curated by Philip Hu, SLAM’s curator of Asian art, the exhibit features more than a dozen works that came to the museum as gifts or purchases over the last century, and celebrates traditional silk textiles from the 1700s through the 1800s. During that time period, SLAM says, “the main centers of traditional silk textiles in Japan were the old imperial capitals of Nara and Kyoto, supplying a clientele that included the imperial family, members of the hereditary nobility, feudal lords and ladies, high-ranking Buddhist clergy and the uppermost echelons of civil society.” The most lavish silks were used for imperial and Buddhist ceremonies, performances of Kabuki and Noh theater, formal wear and wedding costumes — so we’re talking about some high-quality stuff here. The exhibit will be on view during SLAM’s normal business hours through October 20, and admission is free. Details at slam.org.

Friday 05/17

Forget All Your Cares Outside of sporting events, there can be a dearth of large-scale gatherings in downtown St. Louis these days— let’s face it, many of the city’s biggest celebrations take place where the tallest buildings aren’t. But this week breaks that trend, as the City Social Block Party returns for its third year, throwing one of the biggest, best block parties in town in the heart of the city on Washington Avenue. The event will feature live music, food, drinks and games. It’s like the neighborhood party you might have on your street — except the damn whole town is invited. Wash Ave eateries such as Hot Pizza Cold Beer, Levels, Sugarfire and many others will be hosting pop-ups on the sidewalk, keeping everyone fed, while 4 Hands Brewery will be among the great vendors serving drinks. Tons of phenomenal music acts will take the stage at Washington and 14th Street, including Marquise Knox, DJ Mahf, Joanna Serenko and more. Best of all, the whole affair is completely free to attend. The good times start at 5 p.m. For more information, visit shorturl.at/vEKSU.

A Matter of Taste Get ready to celebrate everything that is great about the Maplewood and Richmond Heights food scenes this weekend at the 16th Annual Taste of Maplewood Street Festival. Held on Friday, May 17 from 6 to 10 p.m. and Saturday, May 18 from noon to 8 p.m., this big block party aims to bring neighbors together while also supplying a small sample of all the area has to offer. In addition to downing tasty bites from local restaurants, guests can stop by the tents at this free festival and do a little shopping. There will also be two stages set up with plenty of entertainment options — enjoy performances from Mattie Schell, the Chris Shepherd Band, Raised on Radio and more, or catch the St. Louis Irish Arts song and dance exhibition on Saturday afternoon. Visit midcountychamber.org for more information, including the entertainment schedule, details on where to park and a list of vendors scheduled to be on site.

Saturday 05/18

Outside(r) Art Bougie types may hold out for Clayton’s Saint Louis Art Fair, where artists have to apply and it’s hard to find a painting for less than $800. But if your tastes run to quirky, not fancy, you will find yourself happily at home at the Bevo BAZAAR-O, the wonderfully named yard sale/craft fair in Bevo Mill. Unlike some of the more uptight affairs in this town, there’s no screening of these vendors — they just pay $10 per parking spot at 5000 Gravois Avenue, set up a display of their crap and get to selling. Sure, that lack of overall quality control means you’re assuredly going to find some real junk — but also, who knows what kind of treasures lurk in south city? The event runs from 9 a.m. to 3 p.m. on Saturday, May 18. Attendance is free. Details at shorturl.at/jBT67.

Sunday 05/19

One Last Hurrah Lo-Fi Cherokee said its goodbyes last month, as the low-key festival featuring a series of single-day music video shoots spent one last Saturday capturing a dozen local musical acts in and around Cherokee Street businesses. But because this is a music video festival, not a music festival, the fun isn’t really over until the videos premiere — and that makes this Sunday, May 19, the true end of the festival that videographer Bill Streeter started 14 years ago. Sob! Swing by Off Broadway (3509 Lemp Avenue) for the Lo-Fi Cherokee Final Premiere Party to see the results of Streeter’s day-long sprint and celebrate the community that’s sprung up around it. Oh, and you can catch some pretty good music videos, too. Doors open at 7 p.m. with the screening at 8 p.m. Tickets are $10. Details at lofistl.com.

Source link

Entertainment

Opera Theatre of St. Louis Is Ready for Its Biggest Season Since 2018

Published

5 days ago

May 14, 2024

Natural Bridge

For Opera Theatre of St. Louis, the past few years were tough. The pandemic upended the viewing habits of many of its biggest fans, who stopped attending live theater as COVID-19 ravaged the nation — and even when life returned to normal for most Americans, they didn’t come back.That’s what makes Anh Le, the opera company’s director of marketing and PR, downright stoked as she looks at the ticket sales for the festival season that kicks off later this month. “We are trending way ahead of the last two years,” she says. “Ticket sales are actually pacing very close to 2018. It’s the closest to pre-COVID numbers we’ve been since the pandemic.” What accounts for the bump? Digging into the data, Le explains that the devoted opera-goers who dropped out during the pandemic and weren’t ready for outdoor opera in 2021 or masks/vaccine cards in 2022 still haven’t returned. Where Opera Theatre of St. Louis has managed to succeed, however, is by bringing in new fans — in many cases, younger fans — and getting them hooked.”We are seeing extremely high interest from new audiences, people who have not been to the opera before, at percentages that are either equivalent to or higher than pre-COVID,” she says. “More of our audience every year is new to us.” That fact is not without its challenges; it often takes more outreach to bring in new fans, and the cratering of the base adds to the pressure of finding them. But it’s also resulted in audiences where a greater percentage of attendees are younger. You no longer have to attend only on Young Friends Night to notice young couples enjoying a show, or groups of girlfriends sharing a picnic before heading into a performance. Says Le, “Between 2018 and our first season back in the theater, our rate of young audiences jumped from like 25 percent to like 35 percent, but the actual body count was very, very similar. It’s just that now they’re a much larger percentage of the audience because of the people who aren’t coming back.”Part of what seems to be bumping the numbers in 2024 is the show selection. This year includes two major fan favorites — The Barber of Seville and La Boheme, the former one of the most beloved comedies of all time, with an instantly recognizable score, the latter the Puccini classic that directly inspired Rent. What’s not to love?But Le wants you to know there’s more on the bill. The season is rounded out by two operas that may be less well-known, but that she swears will knock your socks off. The first is Julius Caesar, which couldn’t be more different from Shakespeare’s assassination-focused history play. This one has a score by Handel and puts the focus squarely on Cleopatra in what Le describes as “an incredibly sexy, steamy story.” “It’s really her story of how she rises to power and how she uses all of the tools and all of the feminine wiles at her disposal to ensure that that happens,” Le notes. “So it is both political drama and very sexy love story.”The second is Galileo Galilei, with music by Philip Glass, which premiered in 2002 and has only been performed by two smaller opera companies since. “It is a really rare opportunity for those that small but very loud group of people who really really love Philip Glass,” Le notes. click to enlarge COURTESY OF OPERA THEATRE OF ST. LOUIS Costume renderings for Galileo Galilei, which makes its Opera Theatre of St. Louis debut this summer.
But you won’t have to be a Glass-head (is that a thing?) to appreciate the charms of this show. It’s not just that it’s a brisk 90 minutes, with no intermission (although opera’s trailing spouses will certainly approve). It’s also the fashion. Newcomers to shows at Opera Theatre of St. Louis often find their mouths agape at the beauty of its sets and costumes, and Le says Galileo Galilei is a more than worthy heir to that tradition. “I am not lying when I tell you I’ve seen I’ve been here for almost 10 years, and I’ve seen a lot of costume renderings come through our doors, but these ones made my jaw hit the floor,” Le says. “They are stunning. They are incredibly lavish and elaborate, true Renaissance period costumes designed by an Italian designer named Marco Piemontese. “Even if you don’t know anything about contemporary music, or Galileo or science, come see these costumes, because they are going to be kickass. They’re going to be so insane.” And if you are a newcomer to Opera Theatre of St. Louis, it’s also worth mentioning that the evening on offer is one of the most lovely experiences you can have in a St. Louis summer. Fans know to get there early, and order a picnic basket from Ces & Judy’s Catering ahead of time, to partake in a well-executed meal in the beautiful garden near the Loretto-Hilton Theatre on the campus of Webster University. (BYOB drinks are welcome; there’s also a bar.) Then stay after the show to close out the night with drinks under the stars. It’s elegant without being stuffy — and one of the many reasons that once younger people try Opera Theatre of St. Louis, they often come back every year.Incidentally, they’re increasingly around other St. Louis arts fans when they do. Before the pandemic, Opera Theatre of St. Louis regularly saw 20 percent of its audience consist of opera superfans, who fly to Santa Fe or Des Moines along with St. Louis to see the best new productions each year. The pandemic reduced their numbers, too, and now out-of-towners only make up about 10 percent of the company’s audiences, Le says.Again, it makes the job of marketing these shows harder — superfans had been a predictable category — but in some ways, it’s woven Opera Theatre of St. Louis’ fates even more tightly to its namesake city. “We’re really at the early starting point of trying to think about our season’s programming as, ‘How does this serve St. Louis? Why would a St. Louis resident be interested in seeing this work? And are we making it accessible for people who live here?'” Le says. “So we still want to bring all the national attention, we still want the national critics to come, we still want the out-of-town guests to come. But really, we haven’t done our job if we’re not serving our community.”Opera Theatre of St. Louis kicks off its 2024 festival season with The Barber of Seville on May 25. Tickets, picnic orders and more at opera-stl.org.
Subscribe to Riverfront Times newsletters.Follow us: Apple News | Google News | NewsBreak | Reddit | Instagram | Facebook | Twitter | Or sign up for our RSS Feed

Source link