{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=6","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=5","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=7","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026page=40"},"meta":{"pages":{"current_page":6,"next_page":7,"prev_page":5,"total_pages":40,"limit_value":10,"offset_value":50,"total_count":395,"first_page?":false,"last_page?":false}},"data":[{"id":"viu_viu03374_c07_c03_c12_c02","type":"Sub-Series","attributes":{"title":"Bout vs. Star City Rollergirls (Roanoke, VA), 2012","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_viu03374_c07_c03_c12_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu03374_c07_c03_c12_c02","ref_ssm":["viu_viu03374_c07_c03_c12_c02"],"id":"viu_viu03374_c07_c03_c12_c02","ead_ssi":"viu_viu03374","_root_":"viu_viu03374","_nest_parent_":"viu_viu03374_c07_c03_c12","parent_ssi":"viu_viu03374_c07_c03_c12","parent_ssim":["Charlottesville Derby Dames Records \n     \n     20078-2012","Series VII: Multimedia","Photographs, 2007/2012","2012 Season, 2012"],"parent_ids_ssim":["viu_viu03374","viu_viu03374_c07","viu_viu03374_c07_c03","viu_viu03374_c07_c03_c12"],"title_filing_ssi":"Bout vs. Star City Rollergirls (Roanoke, VA)","title_ssm":["Bout vs. Star City Rollergirls (Roanoke, VA)"],"title_tesim":["Bout vs. Star City Rollergirls (Roanoke, VA)"],"normalized_title_ssm":["Bout vs. Star City Rollergirls (Roanoke, VA), 2012"],"text":["Bout vs. Star City Rollergirls (Roanoke, VA), 2012","Charlottesville Derby Dames Records \n     \n     20078-2012","Series VII: Multimedia","Photographs, 2007/2012","2012 Season, 2012"],"parent_unittitles_ssm":["Charlottesville Derby Dames Records \n     \n     20078-2012","Series VII: Multimedia","Photographs, 2007/2012","2012 Season, 2012"],"parent_unittitles_tesim":["Charlottesville Derby Dames Records \n     \n     20078-2012","Series VII: Multimedia","Photographs, 2007/2012","2012 Season, 2012"],"normalized_date_ssm":["2012"],"unitdate_other_ssim":["3-2012"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[4],"sort_isi":97,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"extent_ssm":["228 digital files"],"extent_tesim":["228 digital files"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[2012],"_nest_path_":"/components#6/components#2/components#11/components#1","timestamp":"2026-06-23T07:37:54.120Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu03374","ead_ssi":"viu_viu03374","_root_":"viu_viu03374","_nest_parent_":"viu_viu03374","ead_source_url_ssi":"data/uva-sc/viu03374.xml","title_ssm":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"title_tesim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"normalized_title_ssm":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"text":["Charlottesville Derby Dames Records \n     \n     20078-2012","15490","This collection\n     consists of ca. 12,700 items.","Electronic documents are available in the Reading Room of the Albert and Shirley Small Special Collections Library of the University of Virginia.","The Charlottesville Derby Dames are Charlottesville’s first and only skater-run, flat track roller derby league. The Dames’ mission is to promote sportsmanship and community by \n    providing an alternative form of fitness and entertainment to the women and men of Charlottesville and surrounding counties.","The idea to form a derby team in Charlottesville began back in 2007 with founding members Jessika Daver and Phenol Barbie Doll. By October of that year the Dames had \n    recruited more team members and began to practice. The Dames made their public debut in 2008 when three CDD members (Little Miss Pissed, MatilDa Molish, Dark and Stormy) played in Commotion by the Ocean, a roller derby event in Virginia Beach. In 2009 the Dames hosted their first home bout, Daylight Slayings, featuring Charlottesville Derby Dames v. Northside Stranglers at Expoland.","The league has steadily grown to around 60 members. As of January 2011, the league grew to two bouting teams drafted for skill equality at the start of the \n    season, generally referred to as \"split teams\" (the Downtown Maulers and the Blue Ridge Bombshells), plus a travel team comprised of reliable, devoted, and skilled \n    skaters (the All-Stars). By the end of 2012, the team added a second travel team (now known as the Belmont Bruisers) and elected to keep the split teams primarily for \n    intraleague scrimmages. In addition, the league comprises many trainers, coaches, refs, NSOs, and non-skating members. The Dames became members of the Women's Flat \n    Track Derby Association (WFTDA) in December 2012.","The Dames are active in the local community and donate portions of the proceeds from their bouts and events to local charities and engage in other community events.","Timeline January 25, 2007: First interest meeting for a roller derby team held at Atomic Burrito.","November 14, 2007: First practice at the National Guard Armory","June 8, 2008: Three members of the Dames play in their first bout: Commotion by the Ocean","October 31, 2008: Dames host their first event: Masquerade Brawl","November 1, 2009: Dames host their first home bout: Daylight Slayings held at Augusta Expo in Fishersville, Va.","April 30, 2011: Dames host their first bout at the Main Street Arena, on Charlottesville's Downtown Mall: Brawl on the Mall","November 11, 2010:Dames featured on season premiere of Charlottesville Inside Out August 5, 2011: Dames host the first annual Virginia is for Shovers Tournament","December 13, 2012: Dames become members of the Women's Flat Track Derby Association after a year-long apprenticeship with the organization","The Charlottesville Derby Dames records include approximately 1,100 electronic documents, primarily in Word, Excel, PDF, and JPEG formats, outlining the formation of the team and its \n    operation. An additional 12,750 digital photographs and videos are also included, as well as captures of the Dames’ website and facebook circa December 2012.","The collection covers the earliest organizational efforts of this non-profit athletic organization in 2007 and include items like meeting minutes and event planning records, rosters, \n    flyers, programs and other promotional materials, bylaws and policies. All Dames use pseudonyms when referring to each other (\"derby names\"), therefore supplementary documentation of \n    actual names as well as a history of events are included.","In addition, the team has donated a small collection of physical flyers, programs, and any other media appearances (primarily newspaper or magazines with articles) from the years 2011 and 2012.","The electronic documents contained in this collection were transferred through multiple electronic systems before arriving in the custody of the University of Virginia. \n    Transfers prior to arriving at the archive have resulted in modifying the date of creation or last modification. In particular, many documents were copied from a Yahoo! \n    message board in January of 2011 to a shared GoogleDocs drive, resulting in a date of creation of January 27, 2011. In some cases the date of the electronic document will \n    appear to be out of the scope of the collection because of a file system characteristic (such as having been created in 1979) and should not be trusted. When the approximate \n    dates of the materials are known, these are indicated in the finding aid.","This series contains the organizational documents of the team. The Bylaws exist in the original 2008 document, as well as revisions from 2012. \n          Other documents describe proposed changes to the structure of the league into separate teams, changes required to join the WFTDA, and articles of incorporation required \n          to achieve non-profit status. Forms include those required by third-party insurers as well as those required by the league. Other documents pertain to the Dames' \n          Code of Conduct and Member's Handbook.","Copies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.","Policies primarily include the Code of Conduct and the member handbook.","The Dames have multiple sub-committees as well as monthly overall team meetings. This series contains meeting minutes and other documentation \n          produced by these committees. The original committees in 2008 were Membership, Public Relations (PR), Coaching, Fundraising, Community Service, and \n          Bout Production/Space. The committees were simplified into three major committees in 2010: Community Relations (including the former PR, \n          Fundraising and Community Services committees), Team Building (including the former Coaching and Membership Committees) and Productions. In addition, \n          the Dames vote in a Management Team every year consisting of a President, Vice President, Secretary, Treasurer, Two Skater Representatives, and the Heads of the three committees.","2011 is the only for which general Team Building meeting minutes exist. Minutes from general Team Building meetings were not saved as documents in 2012, instead they were \n            posted to the group's online message board which is not included in this collection. A large sub-committee of Team Building is Coaching and minutes exist for this \n            group going back to 2008 before it became a sub-committee of Team Building.","Documents related to the membership of the team including team members' names, taglines, profiles, and directions on registering \"derby names.\" The sub-series “Fresh Meat and Recruitment” contains documents used for recruiting new skaters into the introductory program known as \"Fresh Meat.\" During Fresh Meat, new members learn how to skate and the basic rules of roller derby. Documents in this series include promotional flyers as well as Fresh Meat membership packets.","Documents related to the planning, promotion, and execution of home bouts.","Contains bout contracts for 2012 bouts","Documents guidelining bout activities such as selling ads, task lists, and schedules.","Documents included in the creation of and selling of merchandise featuring the Dames, usually sold at bouts. Includes a merchandise price list, \n            artwork for buttons and trading cards, and ordering and inventory documentation","Documents related to the planing of the annual, state-wide roller derby tournament \"Virginia is for Shovers\" hosted by the Dames.","Documents pertaining to the planning and promotion of non-bout Events including fundraisers, promotional events, and charity events. The Dames first major public event was the \"Masquerade Brawl\" a party and derby demo event held in Charlottesville's IX building. Other events include the Belle of the Brawl fundraiser, car wash fundraisers, and participation in Charlottesville events such as parades, festivals, and charitable events.","Team logo in various formats","Audio captures from promotional spots on WCNR, 106.1 The Corner during the 2012 season.","Photos from the 2010, 2011, and 2012 season including posed photo shoots, events, practices, and bouts.","Captures of the Dames' website and facebook pages from September 2012. Includes a screenshot of the page, \n            as well as html and supporting files for each.","Electronic documents may not be shared online without prior consent of the copyright holder.","English"],"collection_title_tesim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"collection_ssim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["15490"],"unitid_tesim":["15490"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"has_online_content_ssim":["false"],"physdesc_tesim":["This collection\n     consists of ca. 12,700 items."],"accessrestrict_html_tesm":["\u003cp\u003eElectronic documents are available in the Reading Room of the Albert and Shirley Small Special Collections Library of the University of Virginia.\u003c/p\u003e\n   "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Electronic documents are available in the Reading Room of the Albert and Shirley Small Special Collections Library of the University of Virginia."],"bioghist_html_tesm":["\u003cp\u003eThe Charlottesville Derby Dames are Charlottesville’s first and only skater-run, flat track roller derby league. The Dames’ mission is to promote sportsmanship and community by \n    providing an alternative form of fitness and entertainment to the women and men of Charlottesville and surrounding counties.\u003c/p\u003e\n   ","\u003cp\u003eThe idea to form a derby team in Charlottesville began back in 2007 with founding members Jessika Daver and Phenol Barbie Doll. By October of that year the Dames had \n    recruited more team members and began to practice. The Dames made their public debut in 2008 when three CDD members (Little Miss Pissed, MatilDa Molish, Dark and Stormy) played in Commotion by the Ocean, a roller derby event in Virginia Beach. In 2009 the Dames hosted their first home bout, Daylight Slayings, featuring Charlottesville Derby Dames v. Northside Stranglers at Expoland.\u003c/p\u003e\n   ","\u003cp\u003eThe league has steadily grown to around 60 members. As of January 2011, the league grew to two bouting teams drafted for skill equality at the start of the \n    season, generally referred to as \"split teams\" (the Downtown Maulers and the Blue Ridge Bombshells), plus a travel team comprised of reliable, devoted, and skilled \n    skaters (the All-Stars). By the end of 2012, the team added a second travel team (now known as the Belmont Bruisers) and elected to keep the split teams primarily for \n    intraleague scrimmages. In addition, the league comprises many trainers, coaches, refs, NSOs, and non-skating members. The Dames became members of the Women's Flat \n    Track Derby Association (WFTDA) in December 2012.\u003c/p\u003e\n   ","\u003cp\u003eThe Dames are active in the local community and donate portions of the proceeds from their bouts and events to local charities and engage in other community events.\u003c/p\u003e\n   ","\u003cp\u003eTimeline January 25, 2007: First interest meeting for a roller derby team held at Atomic Burrito.\u003c/p\u003e\n   ","\u003cp\u003eNovember 14, 2007: First practice at the National Guard Armory\u003c/p\u003e\n   ","\u003cp\u003eJune 8, 2008: Three members of the Dames play in their first bout: Commotion by the Ocean\u003c/p\u003e\n   ","\u003cp\u003eOctober 31, 2008: Dames host their first event: Masquerade Brawl\u003c/p\u003e\n   ","\u003cp\u003eNovember 1, 2009: Dames host their first home bout: Daylight Slayings held at Augusta Expo in Fishersville, Va.\u003c/p\u003e\n   ","\u003cp\u003eApril 30, 2011: Dames host their first bout at the Main Street Arena, on Charlottesville's Downtown Mall: Brawl on the Mall\u003c/p\u003e\n   ","\u003cp\u003eNovember 11, 2010:Dames featured on season premiere of Charlottesville Inside Out August 5, 2011: Dames host the first annual Virginia is for Shovers Tournament\u003c/p\u003e\n   ","\u003cp\u003eDecember 13, 2012: Dames become members of the Women's Flat Track Derby Association after a year-long apprenticeship with the organization\u003c/p\u003e\n  "],"bioghist_heading_ssm":["Biographical/Historical Information"],"bioghist_tesim":["The Charlottesville Derby Dames are Charlottesville’s first and only skater-run, flat track roller derby league. The Dames’ mission is to promote sportsmanship and community by \n    providing an alternative form of fitness and entertainment to the women and men of Charlottesville and surrounding counties.","The idea to form a derby team in Charlottesville began back in 2007 with founding members Jessika Daver and Phenol Barbie Doll. By October of that year the Dames had \n    recruited more team members and began to practice. The Dames made their public debut in 2008 when three CDD members (Little Miss Pissed, MatilDa Molish, Dark and Stormy) played in Commotion by the Ocean, a roller derby event in Virginia Beach. In 2009 the Dames hosted their first home bout, Daylight Slayings, featuring Charlottesville Derby Dames v. Northside Stranglers at Expoland.","The league has steadily grown to around 60 members. As of January 2011, the league grew to two bouting teams drafted for skill equality at the start of the \n    season, generally referred to as \"split teams\" (the Downtown Maulers and the Blue Ridge Bombshells), plus a travel team comprised of reliable, devoted, and skilled \n    skaters (the All-Stars). By the end of 2012, the team added a second travel team (now known as the Belmont Bruisers) and elected to keep the split teams primarily for \n    intraleague scrimmages. In addition, the league comprises many trainers, coaches, refs, NSOs, and non-skating members. The Dames became members of the Women's Flat \n    Track Derby Association (WFTDA) in December 2012.","The Dames are active in the local community and donate portions of the proceeds from their bouts and events to local charities and engage in other community events.","Timeline January 25, 2007: First interest meeting for a roller derby team held at Atomic Burrito.","November 14, 2007: First practice at the National Guard Armory","June 8, 2008: Three members of the Dames play in their first bout: Commotion by the Ocean","October 31, 2008: Dames host their first event: Masquerade Brawl","November 1, 2009: Dames host their first home bout: Daylight Slayings held at Augusta Expo in Fishersville, Va.","April 30, 2011: Dames host their first bout at the Main Street Arena, on Charlottesville's Downtown Mall: Brawl on the Mall","November 11, 2010:Dames featured on season premiere of Charlottesville Inside Out August 5, 2011: Dames host the first annual Virginia is for Shovers Tournament","December 13, 2012: Dames become members of the Women's Flat Track Derby Association after a year-long apprenticeship with the organization"],"prefercite_html_tesm":["\u003cp\u003eCharlottesville Derby Dames Records, Accession #15490, Special Collections, University of Virginia Library, Charlottesville, Va.\u003c/p\u003e\n   "],"prefercite_tesim":["Charlottesville Derby Dames Records, Accession #15490, Special Collections, University of Virginia Library, Charlottesville, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe Charlottesville Derby Dames records include approximately 1,100 electronic documents, primarily in Word, Excel, PDF, and JPEG formats, outlining the formation of the team and its \n    operation. An additional 12,750 digital photographs and videos are also included, as well as captures of the Dames’ website and facebook circa December 2012.\u003c/p\u003e\n   ","\u003cp\u003eThe collection covers the earliest organizational efforts of this non-profit athletic organization in 2007 and include items like meeting minutes and event planning records, rosters, \n    flyers, programs and other promotional materials, bylaws and policies. All Dames use pseudonyms when referring to each other (\"derby names\"), therefore supplementary documentation of \n    actual names as well as a history of events are included.\u003c/p\u003e\n   ","\u003cp\u003eIn addition, the team has donated a small collection of physical flyers, programs, and any other media appearances (primarily newspaper or magazines with articles) from the years 2011 and 2012.\u003c/p\u003e\n   ","\u003cp\u003eThe electronic documents contained in this collection were transferred through multiple electronic systems before arriving in the custody of the University of Virginia. \n    Transfers prior to arriving at the archive have resulted in modifying the date of creation or last modification. In particular, many documents were copied from a Yahoo! \n    message board in January of 2011 to a shared GoogleDocs drive, resulting in a date of creation of January 27, 2011. In some cases the date of the electronic document will \n    appear to be out of the scope of the collection because of a file system characteristic (such as having been created in 1979) and should not be trusted. When the approximate \n    dates of the materials are known, these are indicated in the finding aid.\u003c/p\u003e\n  ","\u003cp\u003eThis series contains the organizational documents of the team. The Bylaws exist in the original 2008 document, as well as revisions from 2012. \n          Other documents describe proposed changes to the structure of the league into separate teams, changes required to join the WFTDA, and articles of incorporation required \n          to achieve non-profit status. Forms include those required by third-party insurers as well as those required by the league. Other documents pertain to the Dames' \n          Code of Conduct and Member's Handbook.\u003c/p\u003e\n      ","\u003cp\u003eCopies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.\u003c/p\u003e\n       ","\u003cp\u003ePolicies primarily include the Code of Conduct and the member handbook.\u003c/p\u003e\n       ","\u003cp\u003eThe Dames have multiple sub-committees as well as monthly overall team meetings. This series contains meeting minutes and other documentation \n          produced by these committees. The original committees in 2008 were Membership, Public Relations (PR), Coaching, Fundraising, Community Service, and \n          Bout Production/Space. The committees were simplified into three major committees in 2010: Community Relations (including the former PR, \n          Fundraising and Community Services committees), Team Building (including the former Coaching and Membership Committees) and Productions. In addition, \n          the Dames vote in a Management Team every year consisting of a President, Vice President, Secretary, Treasurer, Two Skater Representatives, and the Heads of the three committees.\u003c/p\u003e\n      ","\u003cp\u003e2011 is the only for which general Team Building meeting minutes exist. Minutes from general Team Building meetings were not saved as documents in 2012, instead they were \n            posted to the group's online message board which is not included in this collection. A large sub-committee of Team Building is Coaching and minutes exist for this \n            group going back to 2008 before it became a sub-committee of Team Building.\u003c/p\u003e\n        ","\u003cp\u003eDocuments related to the membership of the team including team members' names, taglines, profiles, and directions on registering \"derby names.\" The sub-series “Fresh Meat and Recruitment” contains documents used for recruiting new skaters into the introductory program known as \"Fresh Meat.\" During Fresh Meat, new members learn how to skate and the basic rules of roller derby. Documents in this series include promotional flyers as well as Fresh Meat membership packets.\u003c/p\u003e\n      ","\u003cp\u003eDocuments related to the planning, promotion, and execution of home bouts.\u003c/p\u003e\n      ","\u003cp\u003eContains bout contracts for 2012 bouts\u003c/p\u003e\n        ","\u003cp\u003eDocuments guidelining bout activities such as selling ads, task lists, and schedules.\u003c/p\u003e\n        ","\u003cp\u003eDocuments included in the creation of and selling of merchandise featuring the Dames, usually sold at bouts. Includes a merchandise price list, \n            artwork for buttons and trading cards, and ordering and inventory documentation\u003c/p\u003e\n        ","\u003cp\u003eDocuments related to the planing of the annual, state-wide roller derby tournament \"Virginia is for Shovers\" hosted by the Dames.\u003c/p\u003e\n      ","\u003cp\u003eDocuments pertaining to the planning and promotion of non-bout Events including fundraisers, promotional events, and charity events. The Dames first major public event was the \"Masquerade Brawl\" a party and derby demo event held in Charlottesville's IX building. Other events include the Belle of the Brawl fundraiser, car wash fundraisers, and participation in Charlottesville events such as parades, festivals, and charitable events.\u003c/p\u003e\n      ","\u003cp\u003eTeam logo in various formats\u003c/p\u003e\n        ","\u003cp\u003eAudio captures from promotional spots on WCNR, 106.1 The Corner during the 2012 season.\u003c/p\u003e\n        ","\u003cp\u003ePhotos from the 2010, 2011, and 2012 season including posed photo shoots, events, practices, and bouts.\u003c/p\u003e\n          ","\u003cp\u003eCaptures of the Dames' website and facebook pages from September 2012. Includes a screenshot of the page, \n            as well as html and supporting files for each.\u003c/p\u003e\n        "],"scopecontent_heading_ssm":["Scope and Content Information","Scope and Contents","Scope and Content","Scope and Content","Scope and Contents note","Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["The Charlottesville Derby Dames records include approximately 1,100 electronic documents, primarily in Word, Excel, PDF, and JPEG formats, outlining the formation of the team and its \n    operation. An additional 12,750 digital photographs and videos are also included, as well as captures of the Dames’ website and facebook circa December 2012.","The collection covers the earliest organizational efforts of this non-profit athletic organization in 2007 and include items like meeting minutes and event planning records, rosters, \n    flyers, programs and other promotional materials, bylaws and policies. All Dames use pseudonyms when referring to each other (\"derby names\"), therefore supplementary documentation of \n    actual names as well as a history of events are included.","In addition, the team has donated a small collection of physical flyers, programs, and any other media appearances (primarily newspaper or magazines with articles) from the years 2011 and 2012.","The electronic documents contained in this collection were transferred through multiple electronic systems before arriving in the custody of the University of Virginia. \n    Transfers prior to arriving at the archive have resulted in modifying the date of creation or last modification. In particular, many documents were copied from a Yahoo! \n    message board in January of 2011 to a shared GoogleDocs drive, resulting in a date of creation of January 27, 2011. In some cases the date of the electronic document will \n    appear to be out of the scope of the collection because of a file system characteristic (such as having been created in 1979) and should not be trusted. When the approximate \n    dates of the materials are known, these are indicated in the finding aid.","This series contains the organizational documents of the team. The Bylaws exist in the original 2008 document, as well as revisions from 2012. \n          Other documents describe proposed changes to the structure of the league into separate teams, changes required to join the WFTDA, and articles of incorporation required \n          to achieve non-profit status. Forms include those required by third-party insurers as well as those required by the league. Other documents pertain to the Dames' \n          Code of Conduct and Member's Handbook.","Copies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.","Policies primarily include the Code of Conduct and the member handbook.","The Dames have multiple sub-committees as well as monthly overall team meetings. This series contains meeting minutes and other documentation \n          produced by these committees. The original committees in 2008 were Membership, Public Relations (PR), Coaching, Fundraising, Community Service, and \n          Bout Production/Space. The committees were simplified into three major committees in 2010: Community Relations (including the former PR, \n          Fundraising and Community Services committees), Team Building (including the former Coaching and Membership Committees) and Productions. In addition, \n          the Dames vote in a Management Team every year consisting of a President, Vice President, Secretary, Treasurer, Two Skater Representatives, and the Heads of the three committees.","2011 is the only for which general Team Building meeting minutes exist. Minutes from general Team Building meetings were not saved as documents in 2012, instead they were \n            posted to the group's online message board which is not included in this collection. A large sub-committee of Team Building is Coaching and minutes exist for this \n            group going back to 2008 before it became a sub-committee of Team Building.","Documents related to the membership of the team including team members' names, taglines, profiles, and directions on registering \"derby names.\" The sub-series “Fresh Meat and Recruitment” contains documents used for recruiting new skaters into the introductory program known as \"Fresh Meat.\" During Fresh Meat, new members learn how to skate and the basic rules of roller derby. Documents in this series include promotional flyers as well as Fresh Meat membership packets.","Documents related to the planning, promotion, and execution of home bouts.","Contains bout contracts for 2012 bouts","Documents guidelining bout activities such as selling ads, task lists, and schedules.","Documents included in the creation of and selling of merchandise featuring the Dames, usually sold at bouts. Includes a merchandise price list, \n            artwork for buttons and trading cards, and ordering and inventory documentation","Documents related to the planing of the annual, state-wide roller derby tournament \"Virginia is for Shovers\" hosted by the Dames.","Documents pertaining to the planning and promotion of non-bout Events including fundraisers, promotional events, and charity events. The Dames first major public event was the \"Masquerade Brawl\" a party and derby demo event held in Charlottesville's IX building. Other events include the Belle of the Brawl fundraiser, car wash fundraisers, and participation in Charlottesville events such as parades, festivals, and charitable events.","Team logo in various formats","Audio captures from promotional spots on WCNR, 106.1 The Corner during the 2012 season.","Photos from the 2010, 2011, and 2012 season including posed photo shoots, events, practices, and bouts.","Captures of the Dames' website and facebook pages from September 2012. Includes a screenshot of the page, \n            as well as html and supporting files for each."],"userestrict_html_tesm":["\u003cp\u003eElectronic documents may not be shared online without prior consent of the copyright holder.\u003c/p\u003e\n   "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Electronic documents may not be shared online without prior consent of the copyright holder."],"language_ssim":["English"],"total_component_count_is":114,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:37:54.120Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_viu03374_c07_c03_c12_c02"}},{"id":"viu_viu03374_c01_c01","type":"Sub-Series","attributes":{"title":"Bylaws, 2008/2012","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_viu03374_c01_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eCopies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_viu03374_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_viu03374_c01_c01","ref_ssm":["viu_viu03374_c01_c01"],"id":"viu_viu03374_c01_c01","ead_ssi":"viu_viu03374","_root_":"viu_viu03374","_nest_parent_":"viu_viu03374_c01","parent_ssi":"viu_viu03374_c01","parent_ssim":["Charlottesville Derby Dames Records \n     \n     20078-2012","Series I: Bylaws, Policies, and Forms"],"parent_ids_ssim":["viu_viu03374","viu_viu03374_c01"],"title_filing_ssi":"Bylaws","title_ssm":["Bylaws"],"title_tesim":["Bylaws"],"normalized_title_ssm":["Bylaws, 2008/2012"],"text":["Bylaws, 2008/2012","Charlottesville Derby Dames Records \n     \n     20078-2012","Series I: Bylaws, Policies, and Forms","Copies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria."],"parent_unittitles_ssm":["Charlottesville Derby Dames Records \n     \n     20078-2012","Series I: Bylaws, Policies, and Forms"],"parent_unittitles_tesim":["Charlottesville Derby Dames Records \n     \n     20078-2012","Series I: Bylaws, Policies, and Forms"],"normalized_date_ssm":["2008/2012"],"unitdate_inclusive_ssm":["2008-2012"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":2,"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"extent_ssm":["31 digital files"],"extent_tesim":["31 digital files"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"date_range_isim":[2008,2009,2010,2011,2012],"scopecontent_html_tesm":["\u003cp\u003eCopies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.\u003c/p\u003e\n       "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Copies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria."],"_nest_path_":"/components#0/components#0","timestamp":"2026-06-23T07:37:54.120Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_viu03374","ead_ssi":"viu_viu03374","_root_":"viu_viu03374","_nest_parent_":"viu_viu03374","ead_source_url_ssi":"data/uva-sc/viu03374.xml","title_ssm":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"title_tesim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"normalized_title_ssm":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"text":["Charlottesville Derby Dames Records \n     \n     20078-2012","15490","This collection\n     consists of ca. 12,700 items.","Electronic documents are available in the Reading Room of the Albert and Shirley Small Special Collections Library of the University of Virginia.","The Charlottesville Derby Dames are Charlottesville’s first and only skater-run, flat track roller derby league. The Dames’ mission is to promote sportsmanship and community by \n    providing an alternative form of fitness and entertainment to the women and men of Charlottesville and surrounding counties.","The idea to form a derby team in Charlottesville began back in 2007 with founding members Jessika Daver and Phenol Barbie Doll. By October of that year the Dames had \n    recruited more team members and began to practice. The Dames made their public debut in 2008 when three CDD members (Little Miss Pissed, MatilDa Molish, Dark and Stormy) played in Commotion by the Ocean, a roller derby event in Virginia Beach. In 2009 the Dames hosted their first home bout, Daylight Slayings, featuring Charlottesville Derby Dames v. Northside Stranglers at Expoland.","The league has steadily grown to around 60 members. As of January 2011, the league grew to two bouting teams drafted for skill equality at the start of the \n    season, generally referred to as \"split teams\" (the Downtown Maulers and the Blue Ridge Bombshells), plus a travel team comprised of reliable, devoted, and skilled \n    skaters (the All-Stars). By the end of 2012, the team added a second travel team (now known as the Belmont Bruisers) and elected to keep the split teams primarily for \n    intraleague scrimmages. In addition, the league comprises many trainers, coaches, refs, NSOs, and non-skating members. The Dames became members of the Women's Flat \n    Track Derby Association (WFTDA) in December 2012.","The Dames are active in the local community and donate portions of the proceeds from their bouts and events to local charities and engage in other community events.","Timeline January 25, 2007: First interest meeting for a roller derby team held at Atomic Burrito.","November 14, 2007: First practice at the National Guard Armory","June 8, 2008: Three members of the Dames play in their first bout: Commotion by the Ocean","October 31, 2008: Dames host their first event: Masquerade Brawl","November 1, 2009: Dames host their first home bout: Daylight Slayings held at Augusta Expo in Fishersville, Va.","April 30, 2011: Dames host their first bout at the Main Street Arena, on Charlottesville's Downtown Mall: Brawl on the Mall","November 11, 2010:Dames featured on season premiere of Charlottesville Inside Out August 5, 2011: Dames host the first annual Virginia is for Shovers Tournament","December 13, 2012: Dames become members of the Women's Flat Track Derby Association after a year-long apprenticeship with the organization","The Charlottesville Derby Dames records include approximately 1,100 electronic documents, primarily in Word, Excel, PDF, and JPEG formats, outlining the formation of the team and its \n    operation. An additional 12,750 digital photographs and videos are also included, as well as captures of the Dames’ website and facebook circa December 2012.","The collection covers the earliest organizational efforts of this non-profit athletic organization in 2007 and include items like meeting minutes and event planning records, rosters, \n    flyers, programs and other promotional materials, bylaws and policies. All Dames use pseudonyms when referring to each other (\"derby names\"), therefore supplementary documentation of \n    actual names as well as a history of events are included.","In addition, the team has donated a small collection of physical flyers, programs, and any other media appearances (primarily newspaper or magazines with articles) from the years 2011 and 2012.","The electronic documents contained in this collection were transferred through multiple electronic systems before arriving in the custody of the University of Virginia. \n    Transfers prior to arriving at the archive have resulted in modifying the date of creation or last modification. In particular, many documents were copied from a Yahoo! \n    message board in January of 2011 to a shared GoogleDocs drive, resulting in a date of creation of January 27, 2011. In some cases the date of the electronic document will \n    appear to be out of the scope of the collection because of a file system characteristic (such as having been created in 1979) and should not be trusted. When the approximate \n    dates of the materials are known, these are indicated in the finding aid.","This series contains the organizational documents of the team. The Bylaws exist in the original 2008 document, as well as revisions from 2012. \n          Other documents describe proposed changes to the structure of the league into separate teams, changes required to join the WFTDA, and articles of incorporation required \n          to achieve non-profit status. Forms include those required by third-party insurers as well as those required by the league. Other documents pertain to the Dames' \n          Code of Conduct and Member's Handbook.","Copies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.","Policies primarily include the Code of Conduct and the member handbook.","The Dames have multiple sub-committees as well as monthly overall team meetings. This series contains meeting minutes and other documentation \n          produced by these committees. The original committees in 2008 were Membership, Public Relations (PR), Coaching, Fundraising, Community Service, and \n          Bout Production/Space. The committees were simplified into three major committees in 2010: Community Relations (including the former PR, \n          Fundraising and Community Services committees), Team Building (including the former Coaching and Membership Committees) and Productions. In addition, \n          the Dames vote in a Management Team every year consisting of a President, Vice President, Secretary, Treasurer, Two Skater Representatives, and the Heads of the three committees.","2011 is the only for which general Team Building meeting minutes exist. Minutes from general Team Building meetings were not saved as documents in 2012, instead they were \n            posted to the group's online message board which is not included in this collection. A large sub-committee of Team Building is Coaching and minutes exist for this \n            group going back to 2008 before it became a sub-committee of Team Building.","Documents related to the membership of the team including team members' names, taglines, profiles, and directions on registering \"derby names.\" The sub-series “Fresh Meat and Recruitment” contains documents used for recruiting new skaters into the introductory program known as \"Fresh Meat.\" During Fresh Meat, new members learn how to skate and the basic rules of roller derby. Documents in this series include promotional flyers as well as Fresh Meat membership packets.","Documents related to the planning, promotion, and execution of home bouts.","Contains bout contracts for 2012 bouts","Documents guidelining bout activities such as selling ads, task lists, and schedules.","Documents included in the creation of and selling of merchandise featuring the Dames, usually sold at bouts. Includes a merchandise price list, \n            artwork for buttons and trading cards, and ordering and inventory documentation","Documents related to the planing of the annual, state-wide roller derby tournament \"Virginia is for Shovers\" hosted by the Dames.","Documents pertaining to the planning and promotion of non-bout Events including fundraisers, promotional events, and charity events. The Dames first major public event was the \"Masquerade Brawl\" a party and derby demo event held in Charlottesville's IX building. Other events include the Belle of the Brawl fundraiser, car wash fundraisers, and participation in Charlottesville events such as parades, festivals, and charitable events.","Team logo in various formats","Audio captures from promotional spots on WCNR, 106.1 The Corner during the 2012 season.","Photos from the 2010, 2011, and 2012 season including posed photo shoots, events, practices, and bouts.","Captures of the Dames' website and facebook pages from September 2012. Includes a screenshot of the page, \n            as well as html and supporting files for each.","Electronic documents may not be shared online without prior consent of the copyright holder.","English"],"collection_title_tesim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"collection_ssim":["Charlottesville Derby Dames Records \n     \n     20078-2012"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["15490"],"unitid_tesim":["15490"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"has_online_content_ssim":["false"],"physdesc_tesim":["This collection\n     consists of ca. 12,700 items."],"accessrestrict_html_tesm":["\u003cp\u003eElectronic documents are available in the Reading Room of the Albert and Shirley Small Special Collections Library of the University of Virginia.\u003c/p\u003e\n   "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Electronic documents are available in the Reading Room of the Albert and Shirley Small Special Collections Library of the University of Virginia."],"bioghist_html_tesm":["\u003cp\u003eThe Charlottesville Derby Dames are Charlottesville’s first and only skater-run, flat track roller derby league. The Dames’ mission is to promote sportsmanship and community by \n    providing an alternative form of fitness and entertainment to the women and men of Charlottesville and surrounding counties.\u003c/p\u003e\n   ","\u003cp\u003eThe idea to form a derby team in Charlottesville began back in 2007 with founding members Jessika Daver and Phenol Barbie Doll. By October of that year the Dames had \n    recruited more team members and began to practice. The Dames made their public debut in 2008 when three CDD members (Little Miss Pissed, MatilDa Molish, Dark and Stormy) played in Commotion by the Ocean, a roller derby event in Virginia Beach. In 2009 the Dames hosted their first home bout, Daylight Slayings, featuring Charlottesville Derby Dames v. Northside Stranglers at Expoland.\u003c/p\u003e\n   ","\u003cp\u003eThe league has steadily grown to around 60 members. As of January 2011, the league grew to two bouting teams drafted for skill equality at the start of the \n    season, generally referred to as \"split teams\" (the Downtown Maulers and the Blue Ridge Bombshells), plus a travel team comprised of reliable, devoted, and skilled \n    skaters (the All-Stars). By the end of 2012, the team added a second travel team (now known as the Belmont Bruisers) and elected to keep the split teams primarily for \n    intraleague scrimmages. In addition, the league comprises many trainers, coaches, refs, NSOs, and non-skating members. The Dames became members of the Women's Flat \n    Track Derby Association (WFTDA) in December 2012.\u003c/p\u003e\n   ","\u003cp\u003eThe Dames are active in the local community and donate portions of the proceeds from their bouts and events to local charities and engage in other community events.\u003c/p\u003e\n   ","\u003cp\u003eTimeline January 25, 2007: First interest meeting for a roller derby team held at Atomic Burrito.\u003c/p\u003e\n   ","\u003cp\u003eNovember 14, 2007: First practice at the National Guard Armory\u003c/p\u003e\n   ","\u003cp\u003eJune 8, 2008: Three members of the Dames play in their first bout: Commotion by the Ocean\u003c/p\u003e\n   ","\u003cp\u003eOctober 31, 2008: Dames host their first event: Masquerade Brawl\u003c/p\u003e\n   ","\u003cp\u003eNovember 1, 2009: Dames host their first home bout: Daylight Slayings held at Augusta Expo in Fishersville, Va.\u003c/p\u003e\n   ","\u003cp\u003eApril 30, 2011: Dames host their first bout at the Main Street Arena, on Charlottesville's Downtown Mall: Brawl on the Mall\u003c/p\u003e\n   ","\u003cp\u003eNovember 11, 2010:Dames featured on season premiere of Charlottesville Inside Out August 5, 2011: Dames host the first annual Virginia is for Shovers Tournament\u003c/p\u003e\n   ","\u003cp\u003eDecember 13, 2012: Dames become members of the Women's Flat Track Derby Association after a year-long apprenticeship with the organization\u003c/p\u003e\n  "],"bioghist_heading_ssm":["Biographical/Historical Information"],"bioghist_tesim":["The Charlottesville Derby Dames are Charlottesville’s first and only skater-run, flat track roller derby league. The Dames’ mission is to promote sportsmanship and community by \n    providing an alternative form of fitness and entertainment to the women and men of Charlottesville and surrounding counties.","The idea to form a derby team in Charlottesville began back in 2007 with founding members Jessika Daver and Phenol Barbie Doll. By October of that year the Dames had \n    recruited more team members and began to practice. The Dames made their public debut in 2008 when three CDD members (Little Miss Pissed, MatilDa Molish, Dark and Stormy) played in Commotion by the Ocean, a roller derby event in Virginia Beach. In 2009 the Dames hosted their first home bout, Daylight Slayings, featuring Charlottesville Derby Dames v. Northside Stranglers at Expoland.","The league has steadily grown to around 60 members. As of January 2011, the league grew to two bouting teams drafted for skill equality at the start of the \n    season, generally referred to as \"split teams\" (the Downtown Maulers and the Blue Ridge Bombshells), plus a travel team comprised of reliable, devoted, and skilled \n    skaters (the All-Stars). By the end of 2012, the team added a second travel team (now known as the Belmont Bruisers) and elected to keep the split teams primarily for \n    intraleague scrimmages. In addition, the league comprises many trainers, coaches, refs, NSOs, and non-skating members. The Dames became members of the Women's Flat \n    Track Derby Association (WFTDA) in December 2012.","The Dames are active in the local community and donate portions of the proceeds from their bouts and events to local charities and engage in other community events.","Timeline January 25, 2007: First interest meeting for a roller derby team held at Atomic Burrito.","November 14, 2007: First practice at the National Guard Armory","June 8, 2008: Three members of the Dames play in their first bout: Commotion by the Ocean","October 31, 2008: Dames host their first event: Masquerade Brawl","November 1, 2009: Dames host their first home bout: Daylight Slayings held at Augusta Expo in Fishersville, Va.","April 30, 2011: Dames host their first bout at the Main Street Arena, on Charlottesville's Downtown Mall: Brawl on the Mall","November 11, 2010:Dames featured on season premiere of Charlottesville Inside Out August 5, 2011: Dames host the first annual Virginia is for Shovers Tournament","December 13, 2012: Dames become members of the Women's Flat Track Derby Association after a year-long apprenticeship with the organization"],"prefercite_html_tesm":["\u003cp\u003eCharlottesville Derby Dames Records, Accession #15490, Special Collections, University of Virginia Library, Charlottesville, Va.\u003c/p\u003e\n   "],"prefercite_tesim":["Charlottesville Derby Dames Records, Accession #15490, Special Collections, University of Virginia Library, Charlottesville, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe Charlottesville Derby Dames records include approximately 1,100 electronic documents, primarily in Word, Excel, PDF, and JPEG formats, outlining the formation of the team and its \n    operation. An additional 12,750 digital photographs and videos are also included, as well as captures of the Dames’ website and facebook circa December 2012.\u003c/p\u003e\n   ","\u003cp\u003eThe collection covers the earliest organizational efforts of this non-profit athletic organization in 2007 and include items like meeting minutes and event planning records, rosters, \n    flyers, programs and other promotional materials, bylaws and policies. All Dames use pseudonyms when referring to each other (\"derby names\"), therefore supplementary documentation of \n    actual names as well as a history of events are included.\u003c/p\u003e\n   ","\u003cp\u003eIn addition, the team has donated a small collection of physical flyers, programs, and any other media appearances (primarily newspaper or magazines with articles) from the years 2011 and 2012.\u003c/p\u003e\n   ","\u003cp\u003eThe electronic documents contained in this collection were transferred through multiple electronic systems before arriving in the custody of the University of Virginia. \n    Transfers prior to arriving at the archive have resulted in modifying the date of creation or last modification. In particular, many documents were copied from a Yahoo! \n    message board in January of 2011 to a shared GoogleDocs drive, resulting in a date of creation of January 27, 2011. In some cases the date of the electronic document will \n    appear to be out of the scope of the collection because of a file system characteristic (such as having been created in 1979) and should not be trusted. When the approximate \n    dates of the materials are known, these are indicated in the finding aid.\u003c/p\u003e\n  ","\u003cp\u003eThis series contains the organizational documents of the team. The Bylaws exist in the original 2008 document, as well as revisions from 2012. \n          Other documents describe proposed changes to the structure of the league into separate teams, changes required to join the WFTDA, and articles of incorporation required \n          to achieve non-profit status. Forms include those required by third-party insurers as well as those required by the league. Other documents pertain to the Dames' \n          Code of Conduct and Member's Handbook.\u003c/p\u003e\n      ","\u003cp\u003eCopies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.\u003c/p\u003e\n       ","\u003cp\u003ePolicies primarily include the Code of Conduct and the member handbook.\u003c/p\u003e\n       ","\u003cp\u003eThe Dames have multiple sub-committees as well as monthly overall team meetings. This series contains meeting minutes and other documentation \n          produced by these committees. The original committees in 2008 were Membership, Public Relations (PR), Coaching, Fundraising, Community Service, and \n          Bout Production/Space. The committees were simplified into three major committees in 2010: Community Relations (including the former PR, \n          Fundraising and Community Services committees), Team Building (including the former Coaching and Membership Committees) and Productions. In addition, \n          the Dames vote in a Management Team every year consisting of a President, Vice President, Secretary, Treasurer, Two Skater Representatives, and the Heads of the three committees.\u003c/p\u003e\n      ","\u003cp\u003e2011 is the only for which general Team Building meeting minutes exist. Minutes from general Team Building meetings were not saved as documents in 2012, instead they were \n            posted to the group's online message board which is not included in this collection. A large sub-committee of Team Building is Coaching and minutes exist for this \n            group going back to 2008 before it became a sub-committee of Team Building.\u003c/p\u003e\n        ","\u003cp\u003eDocuments related to the membership of the team including team members' names, taglines, profiles, and directions on registering \"derby names.\" The sub-series “Fresh Meat and Recruitment” contains documents used for recruiting new skaters into the introductory program known as \"Fresh Meat.\" During Fresh Meat, new members learn how to skate and the basic rules of roller derby. Documents in this series include promotional flyers as well as Fresh Meat membership packets.\u003c/p\u003e\n      ","\u003cp\u003eDocuments related to the planning, promotion, and execution of home bouts.\u003c/p\u003e\n      ","\u003cp\u003eContains bout contracts for 2012 bouts\u003c/p\u003e\n        ","\u003cp\u003eDocuments guidelining bout activities such as selling ads, task lists, and schedules.\u003c/p\u003e\n        ","\u003cp\u003eDocuments included in the creation of and selling of merchandise featuring the Dames, usually sold at bouts. Includes a merchandise price list, \n            artwork for buttons and trading cards, and ordering and inventory documentation\u003c/p\u003e\n        ","\u003cp\u003eDocuments related to the planing of the annual, state-wide roller derby tournament \"Virginia is for Shovers\" hosted by the Dames.\u003c/p\u003e\n      ","\u003cp\u003eDocuments pertaining to the planning and promotion of non-bout Events including fundraisers, promotional events, and charity events. The Dames first major public event was the \"Masquerade Brawl\" a party and derby demo event held in Charlottesville's IX building. Other events include the Belle of the Brawl fundraiser, car wash fundraisers, and participation in Charlottesville events such as parades, festivals, and charitable events.\u003c/p\u003e\n      ","\u003cp\u003eTeam logo in various formats\u003c/p\u003e\n        ","\u003cp\u003eAudio captures from promotional spots on WCNR, 106.1 The Corner during the 2012 season.\u003c/p\u003e\n        ","\u003cp\u003ePhotos from the 2010, 2011, and 2012 season including posed photo shoots, events, practices, and bouts.\u003c/p\u003e\n          ","\u003cp\u003eCaptures of the Dames' website and facebook pages from September 2012. Includes a screenshot of the page, \n            as well as html and supporting files for each.\u003c/p\u003e\n        "],"scopecontent_heading_ssm":["Scope and Content Information","Scope and Contents","Scope and Content","Scope and Content","Scope and Contents note","Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["The Charlottesville Derby Dames records include approximately 1,100 electronic documents, primarily in Word, Excel, PDF, and JPEG formats, outlining the formation of the team and its \n    operation. An additional 12,750 digital photographs and videos are also included, as well as captures of the Dames’ website and facebook circa December 2012.","The collection covers the earliest organizational efforts of this non-profit athletic organization in 2007 and include items like meeting minutes and event planning records, rosters, \n    flyers, programs and other promotional materials, bylaws and policies. All Dames use pseudonyms when referring to each other (\"derby names\"), therefore supplementary documentation of \n    actual names as well as a history of events are included.","In addition, the team has donated a small collection of physical flyers, programs, and any other media appearances (primarily newspaper or magazines with articles) from the years 2011 and 2012.","The electronic documents contained in this collection were transferred through multiple electronic systems before arriving in the custody of the University of Virginia. \n    Transfers prior to arriving at the archive have resulted in modifying the date of creation or last modification. In particular, many documents were copied from a Yahoo! \n    message board in January of 2011 to a shared GoogleDocs drive, resulting in a date of creation of January 27, 2011. In some cases the date of the electronic document will \n    appear to be out of the scope of the collection because of a file system characteristic (such as having been created in 1979) and should not be trusted. When the approximate \n    dates of the materials are known, these are indicated in the finding aid.","This series contains the organizational documents of the team. The Bylaws exist in the original 2008 document, as well as revisions from 2012. \n          Other documents describe proposed changes to the structure of the league into separate teams, changes required to join the WFTDA, and articles of incorporation required \n          to achieve non-profit status. Forms include those required by third-party insurers as well as those required by the league. Other documents pertain to the Dames' \n          Code of Conduct and Member's Handbook.","Copies of the approved Bylaws of the Dames from both 2008 and 2012, as well as documents drafting changes to the Bylaws and outlining membership tiers and criteria.","Policies primarily include the Code of Conduct and the member handbook.","The Dames have multiple sub-committees as well as monthly overall team meetings. This series contains meeting minutes and other documentation \n          produced by these committees. The original committees in 2008 were Membership, Public Relations (PR), Coaching, Fundraising, Community Service, and \n          Bout Production/Space. The committees were simplified into three major committees in 2010: Community Relations (including the former PR, \n          Fundraising and Community Services committees), Team Building (including the former Coaching and Membership Committees) and Productions. In addition, \n          the Dames vote in a Management Team every year consisting of a President, Vice President, Secretary, Treasurer, Two Skater Representatives, and the Heads of the three committees.","2011 is the only for which general Team Building meeting minutes exist. Minutes from general Team Building meetings were not saved as documents in 2012, instead they were \n            posted to the group's online message board which is not included in this collection. A large sub-committee of Team Building is Coaching and minutes exist for this \n            group going back to 2008 before it became a sub-committee of Team Building.","Documents related to the membership of the team including team members' names, taglines, profiles, and directions on registering \"derby names.\" The sub-series “Fresh Meat and Recruitment” contains documents used for recruiting new skaters into the introductory program known as \"Fresh Meat.\" During Fresh Meat, new members learn how to skate and the basic rules of roller derby. Documents in this series include promotional flyers as well as Fresh Meat membership packets.","Documents related to the planning, promotion, and execution of home bouts.","Contains bout contracts for 2012 bouts","Documents guidelining bout activities such as selling ads, task lists, and schedules.","Documents included in the creation of and selling of merchandise featuring the Dames, usually sold at bouts. Includes a merchandise price list, \n            artwork for buttons and trading cards, and ordering and inventory documentation","Documents related to the planing of the annual, state-wide roller derby tournament \"Virginia is for Shovers\" hosted by the Dames.","Documents pertaining to the planning and promotion of non-bout Events including fundraisers, promotional events, and charity events. The Dames first major public event was the \"Masquerade Brawl\" a party and derby demo event held in Charlottesville's IX building. Other events include the Belle of the Brawl fundraiser, car wash fundraisers, and participation in Charlottesville events such as parades, festivals, and charitable events.","Team logo in various formats","Audio captures from promotional spots on WCNR, 106.1 The Corner during the 2012 season.","Photos from the 2010, 2011, and 2012 season including posed photo shoots, events, practices, and bouts.","Captures of the Dames' website and facebook pages from September 2012. Includes a screenshot of the page, \n            as well as html and supporting files for each."],"userestrict_html_tesm":["\u003cp\u003eElectronic documents may not be shared online without prior consent of the copyright holder.\u003c/p\u003e\n   "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Electronic documents may not be shared online without prior consent of the copyright holder."],"language_ssim":["English"],"total_component_count_is":114,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:37:54.120Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_viu03374_c01_c01"}},{"id":"viw_repositories_2_resources_695_c04_c12","type":"Sub-Series","attributes":{"title":"Cabell Family Papers (Mss. Acc. 2012.193), 2012","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_695_c04_c12#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eContains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_695_c04_c12#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_695_c04_c12","ref_ssm":["viw_repositories_2_resources_695_c04_c12"],"id":"viw_repositories_2_resources_695_c04_c12","ead_ssi":"viw_repositories_2_resources_695","_root_":"viw_repositories_2_resources_695","_nest_parent_":"viw_repositories_2_resources_695_c04","parent_ssi":"viw_repositories_2_resources_695_c04","parent_ssim":["Manuscripts Audiovisual Collection, 1920/2013","Digital Video Discs (DVD)"],"parent_ids_ssim":["viw_repositories_2_resources_695","viw_repositories_2_resources_695_c04"],"title_filing_ssi":"Cabell Family Papers (Mss. Acc. 2012.193)","title_ssm":["Cabell Family Papers (Mss. Acc. 2012.193)"],"title_tesim":["Cabell Family Papers (Mss. Acc. 2012.193)"],"normalized_title_ssm":["Cabell Family Papers (Mss. Acc. 2012.193), 2012"],"text":["Cabell Family Papers (Mss. Acc. 2012.193), 2012","Manuscripts Audiovisual Collection, 1920/2013","Digital Video Discs (DVD)","Contains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus."],"parent_unittitles_ssm":["Manuscripts Audiovisual Collection, 1920/2013","Digital Video Discs (DVD)"],"parent_unittitles_tesim":["Manuscripts Audiovisual Collection, 1920/2013","Digital Video Discs (DVD)"],"normalized_date_ssm":["2012"],"unitdate_inclusive_ssm":["2012"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":806,"repository_ssim":["College of William and Mary"],"collection_ssim":["Manuscripts Audiovisual Collection, 1920/2013"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"date_range_isim":[2012],"scopecontent_html_tesm":["\u003cp\u003eContains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Contains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus."],"_nest_path_":"/components#3/components#11","timestamp":"2026-06-23T07:44:41.677Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_695","ead_ssi":"viw_repositories_2_resources_695","_root_":"viw_repositories_2_resources_695","_nest_parent_":"viw_repositories_2_resources_695","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_695.xml","title_filing_ssi":"Audiovisual, Manuscripts Collection","title_ssm":["Manuscripts Audiovisual Collection"],"title_tesim":["Manuscripts Audiovisual Collection"],"unitdate_ssm":["1920-2013"],"unitdate_inclusive_ssm":["1920-2013"],"normalized_date_ssm":["1920/2013"],"normalized_title_ssm":["Manuscripts Audiovisual Collection, 1920/2013"],"text":["Manuscripts Audiovisual Collection, 1920/2013","01/Mss. 1.04","/repositories/2/resources/695","Audiocassettes","DVDs","Video recordings","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Additions are being made to this collection on an ongoing basis.","Many of the audiovisual recordings inventoried in this collection came to the Special Collections Research Center as part of a collection of personal papers or organizational records. Those relationships are documented when known.","The physical condition of some audiovisual formats may restrict access to the original recordings.","Special equipment is required to listen to or view audiovisual recordings.","The Manuscripts Audiovisual Collection includes audiovisual formats from a variety of personal papers and organizational records collections.","Contains videocassete tapes that were pulled from the Vincent DeVita Papers (Mss. 84 D49).","One VHS tape.","One VHS tape","One VHS tape","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","Two VHS tapes.","One VHS tape","One VHS tape","One VHS tape","Contains videocassette tapes that were pulled from the Richard J. Davis Papers (Mss. 86 D27).","One VHS tape","Contains videocassette tapes that were pulled from the Glenn Close Papers (Mss. 93 C62). See Mss. Acc. 2010.601 below for more videocassette tapes from the Glenn Close Papers.","One VHS tape","One VHS Tape","One VHS tape","One Betamax tape.","One VHS tape.","One VHS tape.","One VHS show.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape, performed at Deutsches Theater, Berlin.","One VHS tape.","One VHS tape.","One VHS tape.","Two VHS tapes.","One oversize VHS tape.  Stored at the end of Series 1.","Running time 13:34. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from the Henry Chapin Papers (Mss. 1993.005).","Three VHS tapes.","Contains videocassette tapes that were pulled from the Lee Family Papers (Mss. 1993.006-01).","One VHS tape.","1930. The Geddy Family of Williamsburg 1931. The Yorktown Sesquicentennial 1933. Miami No date. Arizona Desert School - Tuscon","Contains videocassette tapes that were pulled from the Rosa Marie and James A. Fuller Papers (Mss. 2001 F95).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2001.50 of the Louis E. Catron Papers. For more, see also Sub-Series 9.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.034 of the Woman's Club of Williamsburg Records.","Two U-matic tapes.","One VHS tape.","Running time 30 min. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.039 of the Louis E. Catron Papers. For more, see Sub-Series 7.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from the James A. Bill Papers (Mss. Acc. 2003.066).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","For more, see audio cassette tapes.","One VHS tape of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Jive.  C-SPAN.  One VHS tape.","Berlin, NYC.  One VHS tape.","One VHS tape of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Contains videocassette tapes that were pulled from the Art Song of Williamsburg Records (Mss. Acc. 2007.058).","One VHS tape.","One VHS tape.","One VHS tape.","Marketing video with cassette tape which was to be placed with video. One VHS tape.","Contains videocassette tapes that were pulled from the Williamsburg Regional Commission on Growth and Historic Triangle Growth Management Group Papers (Mss. 2008.077).","One VHS tape.","One VHS tape.","One VHS tape.","For more, see Sub-Series 17. There are also audio cassettes and computer discs from this collection.","One VHS tape.","Tape features a health program, a continual candidates forum, Williamsburg City Council meeting.  One VHS tape.","1 VHS tape, running time 18 min.","One VHS tape, running time 12 min.","One VHS Tape.","One VHS tape.","One VHS tape.","Virginia Senate District 3, VA Delegates District 96 \u0026 97, Candidates Forum, Stryker Building, Williamsburg. One VHS tape.","One VHS tape.","One VHS tape.","Produced by the Alliance for Better Campaigns, running time 9 minutes, 1 VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.114 of the Claudia Stevens Papers. For more, see Sub-Series 16.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Three VHS tapes.","One VHS tape.","Two VHS tapes.","One VHS tape.","One oversized VHS tape.  Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.139 of the Hamilton Family Papers.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.601 of the Claudia Stevens Papers. For more, see Sub-Series 14.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2010.342 of the League of Women Voters of the Williamsburg Area Records. For more, see Sub-Series 13. There are also audio cassettes and computer disks from this collection.","Two VHS tapes.","One Betacam tape with two WWE wrestlers.","This accession also includes an oversize video tape and a cassette tape.","Running time 63 minutes. One VHS tape.","Redford. One VHS tape.","The Kanew Company. Tape Dub. One VHS tape.","One VHS tape. 1 hr 37 min.","Length: 11:30. One VHS tape.","Starring Gloria Swanson, Lionel Barrymore, and Raoul Walsh.  One VHS tape.","One VHS tape.","Roughcut. Viewing cassette. One VHS tape.","One VHS tape.","Sesame Street. One VHS tape.","The Lifetime Channel. One VHS tape.","One VHS tape.","Dub. One VHS tape.","Greta Cammermeyer - Prime Time Live. One VHS tape.","Walt Disney Pictures. 60 sec. One VHS tape.","Rough Publicity Clip. TRT: 1:04. Glenn Close Clip. One VHS tape.","Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Los Angeles Coverage. One VHS tape.","One VHS tape.","Guests: Glenn Close, Vanessa Mae, Martin Sheen, Malik Yoba. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. One VHS tape.","One VHS tape.","TCA Highlights. One VHS tape.","TCA Highlights. One VHS tape.","Avid Cut. RT: 11:03. One VHS tape.","TRT - 45:00. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Includes Tribute Speeches by Jane Seymour and Glenn Close. One VHS tape.","Trailers. One VHS tape.","Columbia Pictures. Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Nightline. One VHS tape.","Columbia Pictures. Featurette. Length: 5:59. One VHS tape.","Hosted by Glenn Close. Starring Aaliyah, Shirley Caesar, Deana Carter, Hanson and Thomas Hampson. One VHS tape.","Winner Communications. 105:00. One VHS tape.","Sarajevo Package. One VHS tape.","Subject - Sarajevo. One VHS tape.","Columbia Tristar Home Video. 1. Access Hollywood. KNBC TV (NBC) Los Angeles. 3:32. 1 October 1998. 2. Entertainment Tonight. KCBS TV (CBS) Los Angeles. :27. 2 November 1998. 3. Good Morning America. ABC-TV Network. 6:58. 3 November 1998. One VHS tape.","Walt Disney Pictures. EPK Materials. 9:40. 1. Character Voices 2. Kala and Kerchak 3. Terk and Tantor One VHS tape.","One VHS tape.","Sizzle Piece v. 5. TRT: 3:00. One VHS tape.","Walt Disney Pictures. Select B-Roll. Revised V 2.1. TRT: 54:37. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. Select Soundbites Cut #3. TRT 36:42. One VHS tape.","Walt Disney Pictures. Rough Clips #2. TRT 23:10. One VHS tape.","ABC Entertainment. Press Tour Clip. Version 1. 20 min. TRT 21:54. One VHS tape.","One VHS tape.","ABC Hollywood. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","TRT : 59:30. One VHS tape.","B-Roll selects. One VHS tape.","Master Dub. One VHS tape.","Press Tour. One VHS tape.","One VHS tape.","B-Roll selects. One VHS tape.","B-Roll. Running Time 9:00. One VHS tape.","Rabbit Ears Productions. 30 mins. One VHS tape.","One VHS tape.","One VHS tape.","1. 213ST - Bravo Logo 2. #2 PSA - Reggie Rivers/Denver Arts PSA One VHS tape.","Scott Mauro Entertainment. 12:36. One VHS tape.","EP # 1083. For Talent. Stereo TRT 20:49. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Videocassette tape of a piano solo by Claudia Stevens of Schumann's Piano Concerto with The Richmond Symphony conducted by Jacques Houtmann. The performance was from a live broadcast by the Public Broadcasting Service affiliate. The video also features an interview with Stevens.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long. A DVD version of the video is avaiable in Series 4.","Three Cassette Tapes.","Basil Rathbone.  Dupont Theatre.  Two Cassette Tapes.","One Cassette Tape.","Nine Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One cassette tape.","Nine Cassette Tapes. For more, see Sub-Series 6.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Chapel of the Wren Building, at the College of William and Mary. One Cassette Tape.","Accession number 1990-36. One cassette tape.","One Cassette Tape.","One Cassette Tape.","Recorded interviews on James City County history.","One cassette tape.","One cassette tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","Four Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. See Doris Wildenburger.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. No transcripts, cassette dated 12/8/87.","Three Cassette Tapes.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","For more, see Sub-Series 3.","One Cassette Tape.","Jeremiah Clarke - The Prince of Denmark's March; Trumpet Tune; Almand in D; Round O in a; Jigg in A. From Choice Lessons. One cassette tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","80 min. One Cassette Tape.","One Cassette Tape.","40 min. One Cassette Tape.","Svec was a neighbor of Aleksandr Solzhenitsyn, the Nobel Prize Winning Russian dissident writer. Interview by Frank Shatz. 10 min. One Cassette Tape.","Frank Shatz is the interviewer. Run time 20 min. One Cassette Tape.","Running time 20 minutes. One Cassette Tape.","Running times 20min and 30 min, respectively. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Interviewer is Frank Shatz. Running Time 25 min. One Cassette Tape.","Interviewer Frank Shatz. 15 minutes. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Six Cassette Tapes.","Jack \u0026 Catherine Morpurgo. Community Arts Programme, Caldwell Idaho. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. 5-6 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer. 15 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 20 min. One Cassette Tape.","Fifty-four audio cassette tapes of interviews by James A. Bill.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","New York. One Cassette Tape.","Austin, TX. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","One Cassette Tape.","Princeton. One Cassette Tape.","One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","New York. One Cassette Tape.","New York City. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Washington, D.C. One Cassette Tape.","Cambridge, MA. One Cassette Tape.","One audio cassette tape.","One audio cassette tape.","One audio cassette tape interview possibly covering the Iran-Contra affair.","Tapes are CLOSED.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Frank Shatz is the Interviewer. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Tapes are CLOSED.","Reves Center Global Forum, 40 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Read by Scott Martin. Two cassette tapes.","Tapes are CLOSED.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. 15 min. One cassette tape.","Frank Shatz is the interviewer.  20 min.  One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Recorded by Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Frank Shatz, Gene Nichol, Paul Verkuil, Tim Sullivan, and Dr. Kern Wildenthal. One cassette tape.","Tapes are CLOSED.","Telephone Interview by Frank Shatz. One cassette tape.","Interview by Frank Shatz. One cassette tape.","Interviews on cassette tapes.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape. For more, see B side of tape 52.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Two cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Two cassette tapes.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape. More of Laurence (Larry) Deutsch on the B Side.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Three cassette tapes.","Two cassette tapes.","Three cassette tapes.","One cassette tape.","One cassette tape.","By League of Women Voters. Williamsburg Public Library. One cassette tape.","Four cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Five cassette tapes with music for common year (?).","One cassette tape.","One cassette tape.","Three cassette tape.","GC-4089 and GC-4088. One cassette tape.","GC-4107 and GC-4085. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Tapes are CLOSED. Nine cassette tapes.","Interview at the Reves Center with Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 40 min. One cassette tape.","Interview by Frank Shatz. 25 min. One cassette tape.","Interview by Frank Shatz. 35 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Audio cassettes relating to the Berkeley Art Center Production of \"A Very Large Mole,\" October 17, 2009.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","The radio broadcast for \"NPR Playhouse.\"  One cassette tape.","Tapes are CLOSED. Thirteen tapes.","Frank Shatz is the interviewer. 25 min. One cassette tape.","Frank Shatz is the interviewer. 35 min. One cassette tape.","One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer.  Running time 10 min.  One cassette tape.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 45 min. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Tapes are CLOSED.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 20 minutes long. One audiocassette tape.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 10 minutes long. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Fank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Audiocassette tapes of piano performances by Claudia Stevens.","One audiocassette tape of a live concert with piano music by Clauida Stevens. The program was also repeated on March 12, 1981 at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts and on March 13, 1981 at Bennington College. The program included the following pieces: Beethoven, Bagatelles, Opus 126 Copland, Piano Fantasy Schumann, Sonata in F minor, Opus 14","Audiocassette tape of a piano recital by Claudia Stevens performing the Elliott Carter Piano Concerto that was recorded and broadcasted on KERA (an National Public Radio affiliate).","Scope and Contents Audiocassette tape of a piano concert by Claudia Stevens issued by \"Perspectives of New Music, 1983-1984\" . Includes short pieces by Ellen Taaffe Zwilich, Jeffery Mumford, Ira Taxin, Claudia Stevens (\"Widmung\" ), Joel Chadabe, and Betsy Jolas.","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featuring the Currents New Music Ensemble with Fred Cohen as director. Stevens brought the performance to Phi Beta Kappa Hall at William and Mary the following week. It was the only William and Mary performance of \"Pierrot Lunaire\" .","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featured on the hour-long live broadcast on National Public Radio's \"Performance Today.\" Included are \"Piano Fantasy\" and \"Piano Variations\" by Copland. The first broadcast was in 1981 at the National Gallery which was attended by Copland.","Tapes are closed.","Interview by Frank Shatz. The tape is approximately 30 minutes in length.","Interview by Frank Shatz of Colin Campbell, president of Colonial Williamsburg. Tape length is approximately 20 minutes in length.","Interview by Frank Shatz with Tim O'Brien, writer. Tape lenght is approximately 20 minutes in length.","One CD.","Three CDs of first, second, and final transcription of selected letters by Lonnie Dobbs.","One CD.","One CD.","One CD.","Piano, 1816, owned by William \u0026 Mary, 2003. Conservation by John Watson \u0026 Louis Dolive, Colonial Williamsburg. One CD.","Recordings of Claudia Stevens' piano concerts, including programs.","One CD.","One CD.","One CD.","Two CDs related to Jamestown Commemorative Postage Stamp.","One CD.","One CD.","Inaugural concert. With Lisa Edwards-Burrs, soprano, and Ruth Easterling Winters, pianist. One CD.","With Will Crutchfield, lecturer/pianist, and Steven Tharp, tenor. One CD.","With Michael Posey, tenor, and Ruth Easterling Winters, pianist. Two CDs.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. Five CDs.","With Pamela Armstrong, soprano, and Melanie Day, pianist. Four CDs.","Branch Fields, with Ruth Easterling Winters. One CD.","With Martha Slay, mezzo-soprano, and Charles Staples, pianist. One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  Two CDs.","With Stephen Tharp, tenor, and Will Crutchfield, pianist. One CD.","With Georgeann Paddock, soprano, Jonathan Hays, baritone, and Ruth Easterling Winters, pianist. Two CDs.","With Robynne Redmon, mezzo-soprano, and Charles Woodward, pianist. Four CDs.","With Lisa Edwards-Burrs, soprano, and Melanie Day, pianist. One CD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One CD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. One CD.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Four CDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two CDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three CDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. One CD.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Four CDs.","CD-roms of Bucktrout and Draughtsman map imaged by Colonial Williamsburg.","One CD.","One CD.","One CD.","One CD.","One CD.","One CD.","Five Seasons, as performed at Atlanta Memorial Arts Center, Atlanta, GA. First performed February 6, 1979, recorded February 27, 1979. By Merritt Ierley, Lavinia Phillips, Soprano, and Judith Shulz, Pianist. One CD.","Two unopened CDs.","One CD.","One CD.","One CD.","One CD.","One CD.","In PDF format. One CD.","April 2005, February 2005, Flag Day 2005, January 2005, May 2005. One CD.","Veterans' Day, 2007. One CD.","Veterans' Day, 2010. One CD.","Memorial Day, 2010. One CD.","One CD.","One CD.","Performed live (mostly) at the Celebration of William Cabbell's 300th Birthday, October 21-22, 2000 at the Williasmburg Lodge.","Recording of a campaign rally for state Senator Garland Gray. Speakers include Russell M. Carneal, Robert Hornsby, H. W. Stryker, Fred M. Flanary, Davis Y. Paschall, and Garland Gray.","One compact disc of digital transcripts of letters from Julia Cherney (Bateman) to Clara Walde (Lawrence) while serving as a missionary in China from 1909 to 1923. From the Clara Lawrence Papers, Mss. Acc. 2009.299, series 1, box 3.","Played on the organ of Bruton Parish Church by James Darling, organist.","Two copies of a DVD on John Marshall. Running time 29 min.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","One DVD of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD case.","One DVD.","Hightlights from Queen Elizabeth II and Prince Philip's visit to Jamestown and Williamsburg, commemorating the 400th anniversary of the Jamestown settlement. One DVD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One DVD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. Four DVDs.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Three DVDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two DVDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three DVDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. Five DVDs.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Seven DVDs.","One DVD.","Two DVDs.","One DVD.","Meredith College Convocation. Series 14. This live performance included original intro and two endings. Later, both were revised. One DVD.","Ida Green Arena Theater. Item 12. One DVD.","One DVD.","Herbst Theater, War Memorial and Performing Arts Center, San Francisco. One DVD.","Recorded at Berkeley Art Center. One DVD.","A solo play in one act, written and performed by Claudia Stevens, with music composed by Allen Shearer. One DVD.","Baltimore Theater. One DVD.","Charlotte Kaufman, director. An Opera in Two Acts, being Mr. Doggett's farce of The Country Wake altered after the manner of The Beggar's Opera. By John Hippisley, 1729. Harvard Unitarian Church, Harvard, Mass. One DVD.","Charlotte Kaufman, Director. A Ballad Opera Farce. Remis Auditorium. One DVD.","Charlotte Kaufman, director and harpsichord. Staged by Craig Wich. Remis Auditorian. One DVD.","One DVD.","Two DVDs.","One DVD.","A film by Julia Melchoir and Sebastian Denhardt. One DVD.","At St. John's Kirk, Perth, Scotland. One DVD.","Contains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Contains three files relating to the Cabell Family homes and graveyards in Nelson, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Format is Word Perfect 5.1. One 3.5 inch floppy disk.","WHRA","Two 3.5 inch floppy disks.","One disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","FS- 95/96, 96/97, 97/98; Dues 97/98; Treasurer's Job; Envelope. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Four disks with office files.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Pictures, files. Four 3.5 inch floppy disks","President's files.","Brochure, handbook, letterhead, fax form, agenda, invoice, membership renewal form. One 3.5 inch floppy disk.","LWVWA 2000-2001 Education proposal, Education positions, LWVWA Education study proposal, working on a LWV study (P. Kent). One 3.5 inch floppy disk.","Newsletter and labels, invitations and flyers. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Board meetings, agenda, letter. One 3.5 inch floppy disk.","Policies, by-laws, positions, annual meeting handout, grant applications. One 3.5 inch floppy disk.","Scope and Contents Must be played with wooden \"Kacti\" needle. One record.","An example of material distributed during political campaigns. One 33 rpm disk.","By R. B. Tisdale. One 33 1/3 rpm disk.","Songs: Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Eyes.  One 33 1/3 rpm disk.","Dunmore - Bouree - Fireworks. One 33 1/3 rpm disk.","Country dance. Reserve copy. Two cuttings. One 33 1/3 rpm disk.","Dunmore Ballet, Scarlotti, Allemande, Gallop, Country Dance. \"Too fast!\" One disk.","Dunmore Ballet, Allemande, Gallop, Country Dance, Scarlotti. One disk.","Sowers \u0026 Reapers - plus (?) Diggers - Orch. Band I + II - Yankee Doodle Band III + IV - One disk.","One disk.","One 33 1/3 rpm disk.","One disk.","Side 1: Music from The Common Glory (Musical Synopsis) Side 2: Common Glory Concert Choir One 33 1/3 rpm disk.","Dunmore Ballet, Rainy Night. One 33 1/3 rpm disk.","Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Ones. One 33 1/3 rpm disk.","Recorded by Ray Charles Singers with orchestra. Three Ships, Pocahontas, The Old Church Tower, Jamestown. One disk.","One disk.","One 33 1/3 rpm disk.","One disk. Damaged.","Dave Remington Quartet. Lyrics by P. Quinto, S. Spilmon, M. Vallo. Music by Vincent Chiarelli. One 45 rpm disk.","One 78 rpm disk.","One disk.","One 33 1/3 rpm disk.","George Passage News.  Recorded in Richmond, Va.  Three 78 rpm disks.","Roanoke, Va.  One 33 1/3 rpm disk.","Richmond, Va.  Three 78 rpm disks.","Three 33 1/3 rpm disks.","Political Anns. Open \u0026 Closing included.  One 33 1/3 rpm disk.","José Iturbi, pianist.  One disk.","Scope and Contents Record (78 rpm) of \"Sing-out 66,\" a group Glenn Close sang with sponsored by the Moral Majority. Featured on the record are two songs by Ms. Close: \"The Happy Song\" and \"Run and Catch the Wind.\" This album sold at a performance in Phi Beta Kappa Hall, 1966. The traveling show was called \"Up with People.\" Ms. Close was a featured soloist before entering the College of William and Mary.","Two records. Includes note from Glenn Close to Howard Scammon, May 31, 1985.","Transferred from the music library.","Soundtrack to the musical by Stephen Sondheim and directed by Harold Prince. With Angela Lansbury and Len Cariou. Case is signed by the cast members. Two records.","Scope and Contents A \"back-alley opera\" narrated by David Wayne. With Carol Channing and Eddie Bracken. One record.","A musical by Cy Coleman and Michael Stewart. With Glenn Close and Jim Dale. In original case signed by cast members. One record.","Eleven songs performed by Dudley Moore (piano) and Cleo Laine (vocals). Case signed by Cleo and the producer. One record.","Soundtrack of the musical by Jerry Herman and Harvey Firestein. With George Hearn and Gene Barry. Record case signed by cast. One record.","Album by Perry Como. Case signed by the artist. One record.","The Common Glory orchestra and soloists from the Common Glory choir (including members of the William and Mary choir) in a concert performace of Act 1 of \"The Marriage of Figaro.\" Monday, August 20, 1956, in Blow Gymnasium at the College of William and Mary. Program and two 33 1/3 LP records.","Recording of the musical program presented by WVEC-TV on January 29, 1960, honoring the 350th anniversary of the city of Hampton, Virginia.","\"A report to all Armstrong men and women of our operating results.\" Stockholders address from Armstrong Cork Company. One 7 inch 45 rpm record and booklet.","Directed by Mr. C. W. Moore. Four tracks. One 33 1/3 rpm record","Narrated by Ralph Cooper. Recorded in Washington D.C., August 28, 1963. One 33 1/3 rpm record.","Performed by J. S. Darling on the Wren Chapel Organ at the College of William and Mary. Produced by Colonial Williamsburg Foundation.","State Capitol. One 1/4 inch audio reel.","Audio tape, along with a letter from Governor Godwin's office and a transcript of the tape.  The tape was broadcast by 50 stations on September 6, 1968.  One 1/4 inch reel.","Two 1/4 inch audio reels.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audio recording of the 1952 program \"At Home with Lindy,\" sponsored by the Colonial Dames of Lexington, VA. Probably belonging to Mary Meares Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Probably belonging to Mary M. Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Radford, VA. 5 min overall length. Two copies, 1/4 inch audio reels.","One 1/4 inch audio reel.","Reel #41, Machine #2. Program time 29:30. Tape speed 7 1/2. Recorded by Bill. One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audiotape of a lecture in which Dr. Koontz participated. One 1/4 inch audio tape. Folder includes typed information on lecture.","Box 1. Tape 14, letter number 61. Contents unknown. One 1/4 inch audio reel.","Box 2. Contents unknown. One 1/4 inch audio reel.","Box 3. Contents unknown. One 1/4 inch audio reel.","Box 4. Contents unknown. One 1/4 inch audio reel.","Box 5. Contents unknown. One 1/4 inch audio reel.","Box 6. Contents unknown. One 1/4 inch audio reel.","Box 7. Contents unknown. One 1/4 inch audio reel.","Box 8. Contents unknown. One 1/4 inch audio reel.","Box 9. Contents unknown. One 1/4 inch audio reel.","Box 10. Contents unknown. One 1/4 inch audio reel.","Collection is CLOSED.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","Fives Pieces: Roger Sessions. Four Short Pieces: Gamer, Imbrie, Fine, Diamond. Mouromata: Becker. Six short pieces: Martino, Babbit, Cansky, Spies, Weisgall, Lewin. Sonta #1: Sessions. One audio reel. Includes CD and program.","One sixty second radio spot. 7 1/2 ips - mono, one reel.","One sixty second radio spot.  7 1/2 ips - mono, one reel.","One sixty second radio spot. One reel.","One sixty second radio spot. 7 1/2 ips - mono master, one reel.","Reel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.","The program was presented on October 7, 1977 at the Library and Museum of the Performing Arts at Lincoln Center, New York and on October 2, 1977 at Keller Hall, University of Richmond. Includes Beethoven, Sonata, Opus 101; Mozart, Rondo in A minor, K511; Sessions, Sonata no. 1; and Schumann, Humoreske, Opus 29.","Portions of this program were included in Stevens' recital on the guest artist series of the University of California, Berkeley (Committee for Arts and Lectures) at Hertz Hall, summer, 1978. The program includes Brahms, Klavierstucke, Opus 119 (complete); Schubert, Sonata in C minor, Opus posth.; Mozart, sonata in B flat Major, K570; and Berg, Sonata, Opus 1.","Scope and Contents Portions of this program were included in the recital by Stevens at Jordan Hall in Boston, Massachusetts on October 23, 1979, on the \"Enchanted Circle\" new music series, and on a recital at Virginia Commonwealth University on March 18, 1980, presented by the Virginia Music Teachers Association. The program includes Piano Variations by Aaron Copland; Schumann, Sonata in F minor, Concerto Without Orchestra; and twelve recently composed pieces (1976-1979) by Donald Martino, Vivian Fine, Carlton, Gamer, David Diamond, Leon Kirchner, Andrew imlorie, Hugo Weisgall, Paul Lansky, Claudio Spies, Milton Babbitt, David Lewin, and Richard Becker.","Program includes new pieces by Vivian Fine, Shulamit Ran, Andrew Imbrie, Allen Shearer, and Robert Xavier Rodriguez. A week earlier (October 23, 1983), Stevens gave the program on a guest artist recital at Old Cabell Hall, University of Virginia - the world premieres of the five new pieces. On December 5, 1983, the Composers Forum of New York presented the recital, with the addition of six miniatures composed for the occasion in their world premiers, at Carnegie Recital Hall. The program then toured Virginia under a grant from the Virginia Commission for the Arts, Claudia Stevens, pianist.","Program includes Schumann Humoreske, Opus 20; Beethoven, Sonata, Opus 111 in C minor; Berg, Sonata, Opus 1; and short, contemporary pieces by Carlton Gamer, David Diamond, Vivian Fine, David Lewin, and Hugo Weisgall.","Conducted by Peter Black. Program includes Brahms Piano Concerto in D minor, Opus 15.","Program includes Brahms Variations on an Original Theme, Opus 21; Schumann Kreisleriana; Elliott Carter Piano Sonata; Chopin Ballade in F minor.","Program includes Schumann Fantasy in C, Opus 17; Roger Sessions: Five Pieces for Piano, 1975 (premiere in Virginia); and Sessions Sonata no. 1.","Program includes Brahms, Sonata in F minor, Opus 5; Mozart, Sonata in F major, K533-494; and Schoenberg, Five Pieces, Opus 23.","Scope and Contents Program includes Beethoven, Sonata in A Major, Opus 2, no. 2; Debussy, Preludes, including \"Feux d'artifice\" (\"Fireworks\" ). The program was also presented at Camp Theater, University of Richmond, on November 23, 1975.","Contains three reel-to-reel audiotapes of theater productions including \"Fairy Stones,\" \"Greek Rhapsody,\" and a tape labelled \"Chapman Tape I.\"","Scope and Contents One 7\" reel-to-reel audiotape of a production called \"Family Stones\" that was once owned by William and Mary Theatre Director Howard Scammon. The tape speed is 3 3/4.","One 2500 ft. reel-to-reel audiotape that is labeled \"Chapman Tape I.\" The audiotape was once owned by William and Mary Theatre Director Howard Scammon.","Scope and Contents One 2500 ft. reel-to-reel audiotape from a production entitled \"Chapman II\" that was once owned by William and Mary Theatre Director Howard Scammon. The audiotape was recorded at 7 1/2 inches per second. The approximate lenght of the tape is one hour.","One reel-to-reel audiotape labeled Mine workers monologues...European History.","Could have been filmed by CW or the VA Chamber of Commerce. No sound, black and white. One oversize video reel.","No sound, black and white. Raw footage. Lathen Zimmer, Virginia Bray, Zeke Friedman. One video reel.","Run time approximately 10 minutes. No sound, full color. Collage of scenes and dances. One video reel.","Run time 1 minute. One color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 60 seconds. Filmed by Colonial Williamsburg. One color video reel with sound.","One 16mm video reel.","Run time 30 seconds. One 16mm color video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Presented to Governor Mills E. Godwin, Jr. by the Virginia Association of Electric Cooperatives.  One oversize 16mm video reel with audio.","TV video reel, black and white with sound.  One 50 mm oversize video reel.","One 16mm video reel with audio.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","Running time 15 minutes.  One 1/2 inch audio and video reel.","No good - damaged. One oversize 1/2 inch audio and video reel.","Shipped to Lutheran TV Productions in St. Louis, Missouri. One oversize 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","From 2005.38 addition. One small reel to reel video tape in plastic case.","Audiovisual material from Acc. 2013.246 was pulled from the Bruton Parish Church (Williamsburg, Virginia) Records and was added to this collection on 10/11/2013.","Mss. Acc. 2014.003 were previously described under Acc. 2009.252 (\"Fairy Stones), Acc. 2009.253 (\"Chapman 1), and Acc. 2009.254 (\"Chapman II\") in the University Archives Audiovisual Collection.","Mss. Acc. 2003.66.044-.046 were previously part of the James Bill Papers and were added to this collection on 3/6/2014.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Manuscripts Audiovisual Collection, 1920/2013"],"collection_ssim":["Manuscripts Audiovisual Collection, 1920/2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["01/Mss. 1.04","/repositories/2/resources/695"],"unitid_tesim":["01/Mss. 1.04","/repositories/2/resources/695"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"access_subjects_ssim":["Audiocassettes","DVDs","Video recordings"],"access_subjects_ssm":["Audiocassettes","DVDs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["20.0 Linear Feet"],"extent_tesim":["20.0 Linear Feet"],"genreform_ssim":["Audiocassettes","DVDs","Video recordings"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"accruals_html_tesm":["\u003cp\u003eAdditions are being made to this collection on an ongoing basis.\u003c/p\u003e  "],"accruals_heading_ssm":["Accruals:"],"accruals_tesim":["Additions are being made to this collection on an ongoing basis."],"custodhist_html_tesm":["\u003cp\u003eMany of the audiovisual recordings inventoried in this collection came to the Special Collections Research Center as part of a collection of personal papers or organizational records. Those relationships are documented when known.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History:"],"custodhist_tesim":["Many of the audiovisual recordings inventoried in this collection came to the Special Collections Research Center as part of a collection of personal papers or organizational records. Those relationships are documented when known."],"phystech_html_tesm":["\u003cp\u003eThe physical condition of some audiovisual formats may restrict access to the original recordings.\u003c/p\u003e","\u003cp\u003e Special equipment is required to listen to or view audiovisual recordings.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics or Technical Requirements:"],"phystech_tesim":["The physical condition of some audiovisual formats may restrict access to the original recordings.","Special equipment is required to listen to or view audiovisual recordings."],"prefercite_html_tesm":["\u003cp\u003eManuscripts Audiovisual Collection, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Manuscripts Audiovisual Collection, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003eThe Manuscripts Audiovisual Collection includes audiovisual formats from a variety of personal papers and organizational records collections.\u003c/p\u003e  ","\u003cp\u003eContains videocassete tapes that were pulled from the Vincent DeVita Papers (Mss. 84 D49).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Richard J. Davis Papers (Mss. 86 D27).\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Glenn Close Papers (Mss. 93 C62). See Mss. Acc. 2010.601 below for more videocassette tapes from the Glenn Close Papers.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS Tape\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne Betamax tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS show.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape, performed at Deutsches Theater, Berlin.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne oversize VHS tape.  Stored at the end of Series 1.\u003c/p\u003e","\u003cp\u003eRunning time 13:34. One oversize VHS tape. Stored at the end of the series.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Henry Chapin Papers (Mss. 1993.005).\u003c/p\u003e","\u003cp\u003eThree VHS tapes.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Lee Family Papers (Mss. 1993.006-01).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003e1930. The Geddy Family of Williamsburg 1931. The Yorktown Sesquicentennial 1933. Miami No date. Arizona Desert School - Tuscon\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Rosa Marie and James A. Fuller Papers (Mss. 2001 F95).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2001.50 of the Louis E. Catron Papers. For more, see also Sub-Series 9.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2002.034 of the Woman's Club of Williamsburg Records.\u003c/p\u003e","\u003cp\u003eTwo U-matic tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eRunning time 30 min. One oversize VHS tape. Stored at the end of the series.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2002.039 of the Louis E. Catron Papers. For more, see Sub-Series 7.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the James A. Bill Papers (Mss. Acc. 2003.066).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eFor more, see audio cassette tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).\u003c/p\u003e","\u003cp\u003eJive.  C-SPAN.  One VHS tape.\u003c/p\u003e","\u003cp\u003eBerlin, NYC.  One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Art Song of Williamsburg Records (Mss. Acc. 2007.058).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eMarketing video with cassette tape which was to be placed with video. One VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from the Williamsburg Regional Commission on Growth and Historic Triangle Growth Management Group Papers (Mss. 2008.077).\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eFor more, see Sub-Series 17. There are also audio cassettes and computer discs from this collection.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTape features a health program, a continual candidates forum, Williamsburg City Council meeting.  One VHS tape.\u003c/p\u003e","\u003cp\u003e1 VHS tape, running time 18 min.\u003c/p\u003e","\u003cp\u003eOne VHS tape, running time 12 min.\u003c/p\u003e","\u003cp\u003eOne VHS Tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eVirginia Senate District 3, VA Delegates District 96 \u0026amp; 97, Candidates Forum, Stryker Building, Williamsburg. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eProduced by the Alliance for Better Campaigns, running time 9 minutes, 1 VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2009.114 of the Claudia Stevens Papers. For more, see Sub-Series 16.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eThree VHS tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne oversized VHS tape.  Stored at the end of the series.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2009.139 of the Hamilton Family Papers.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2009.601 of the Claudia Stevens Papers. For more, see Sub-Series 14.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eContains videocassette tapes that were pulled from Mss. Acc. 2010.342 of the League of Women Voters of the Williamsburg Area Records. For more, see Sub-Series 13. There are also audio cassettes and computer disks from this collection.\u003c/p\u003e","\u003cp\u003eTwo VHS tapes.\u003c/p\u003e","\u003cp\u003eOne Betacam tape with two WWE wrestlers.\u003c/p\u003e","\u003cp\u003eThis accession also includes an oversize video tape and a cassette tape.\u003c/p\u003e","\u003cp\u003eRunning time 63 minutes. One VHS tape.\u003c/p\u003e","\u003cp\u003eRedford. One VHS tape.\u003c/p\u003e","\u003cp\u003eThe Kanew Company. Tape Dub. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape. 1 hr 37 min.\u003c/p\u003e","\u003cp\u003eLength: 11:30. One VHS tape.\u003c/p\u003e","\u003cp\u003eStarring Gloria Swanson, Lionel Barrymore, and Raoul Walsh.  One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eRoughcut. Viewing cassette. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eSesame Street. One VHS tape.\u003c/p\u003e","\u003cp\u003eThe Lifetime Channel. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eDub. One VHS tape.\u003c/p\u003e","\u003cp\u003eGreta Cammermeyer - Prime Time Live. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. 60 sec. One VHS tape.\u003c/p\u003e","\u003cp\u003eRough Publicity Clip. TRT: 1:04. Glenn Close Clip. One VHS tape.\u003c/p\u003e","\u003cp\u003eEntertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.\u003c/p\u003e","\u003cp\u003eLos Angeles Coverage. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eGuests: Glenn Close, Vanessa Mae, Martin Sheen, Malik Yoba. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Electronic Press Kit. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTCA Highlights. One VHS tape.\u003c/p\u003e","\u003cp\u003eTCA Highlights. One VHS tape.\u003c/p\u003e","\u003cp\u003eAvid Cut. RT: 11:03. One VHS tape.\u003c/p\u003e","\u003cp\u003eTRT - 45:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Length 1:54. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Length 1:54. One VHS tape.\u003c/p\u003e","\u003cp\u003eIncludes Tribute Speeches by Jane Seymour and Glenn Close. One VHS tape.\u003c/p\u003e","\u003cp\u003eTrailers. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.\u003c/p\u003e","\u003cp\u003eNightline. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Pictures. Featurette. Length: 5:59. One VHS tape.\u003c/p\u003e","\u003cp\u003eHosted by Glenn Close. Starring Aaliyah, Shirley Caesar, Deana Carter, Hanson and Thomas Hampson. One VHS tape.\u003c/p\u003e","\u003cp\u003eWinner Communications. 105:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eSarajevo Package. One VHS tape.\u003c/p\u003e","\u003cp\u003eSubject - Sarajevo. One VHS tape.\u003c/p\u003e","\u003cp\u003eColumbia Tristar Home Video. 1. Access Hollywood. KNBC TV (NBC) Los Angeles. 3:32. 1 October 1998. 2. Entertainment Tonight. KCBS TV (CBS) Los Angeles. :27. 2 November 1998. 3. Good Morning America. ABC-TV Network. 6:58. 3 November 1998. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. EPK Materials. 9:40. 1. Character Voices 2. Kala and Kerchak 3. Terk and Tantor One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eSizzle Piece v. 5. TRT: 3:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Select B-Roll. Revised V 2.1. TRT: 54:37. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Electronic Press Kit. Select Soundbites Cut #3. TRT 36:42. One VHS tape.\u003c/p\u003e","\u003cp\u003eWalt Disney Pictures. Rough Clips #2. TRT 23:10. One VHS tape.\u003c/p\u003e","\u003cp\u003eABC Entertainment. Press Tour Clip. Version 1. 20 min. TRT 21:54. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eABC Hollywood. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eTRT : 59:30. One VHS tape.\u003c/p\u003e","\u003cp\u003eB-Roll selects. One VHS tape.\u003c/p\u003e","\u003cp\u003eMaster Dub. One VHS tape.\u003c/p\u003e","\u003cp\u003ePress Tour. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eB-Roll selects. One VHS tape.\u003c/p\u003e","\u003cp\u003eB-Roll. Running Time 9:00. One VHS tape.\u003c/p\u003e","\u003cp\u003eRabbit Ears Productions. 30 mins. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003e1. 213ST - Bravo Logo 2. #2 PSA - Reggie Rivers/Denver Arts PSA One VHS tape.\u003c/p\u003e","\u003cp\u003eScott Mauro Entertainment. 12:36. One VHS tape.\u003c/p\u003e","\u003cp\u003eEP # 1083. For Talent. Stereo TRT 20:49. One VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eOne VHS tape.\u003c/p\u003e","\u003cp\u003eVideocassette tape of a piano solo by Claudia Stevens of Schumann's Piano Concerto with The Richmond Symphony conducted by Jacques Houtmann. The performance was from a live broadcast by the Public Broadcasting Service affiliate. The video also features an interview with Stevens.\u003c/p\u003e","\u003cp\u003eVideo exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long. A DVD version of the video is avaiable in Series 4.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eBasil Rathbone.  Dupont Theatre.  Two Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eNine Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eNine Cassette Tapes. For more, see Sub-Series 6.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eChapel of the Wren Building, at the College of William and Mary. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eAccession number 1990-36. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eRecorded interviews on James City County history.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eFour Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape. See Doris Wildenburger.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape. No transcripts, cassette dated 12/8/87.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eFor more, see Sub-Series 3.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eJeremiah Clarke - The Prince of Denmark's March; Trumpet Tune; Almand in D; Round O in a; Jigg in A. From Choice Lessons. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003e80 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003e40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eSvec was a neighbor of Aleksandr Solzhenitsyn, the Nobel Prize Winning Russian dissident writer. Interview by Frank Shatz. 10 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Run time 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eRunning time 20 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eRunning times 20min and 30 min, respectively. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. Running Time 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer Frank Shatz. 15 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eSix Cassette Tapes.\u003c/p\u003e","\u003cp\u003eJack \u0026amp; Catherine Morpurgo. Community Arts Programme, Caldwell Idaho. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 5-6 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 15 minutes. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 25 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One Cassette Tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFifty-four audio cassette tapes of interviews by James A. Bill.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eThree Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eTwo Cassette Tapes.\u003c/p\u003e","\u003cp\u003eNew York. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eAustin, TX. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eWashington, D.C. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eWashington, D.C. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eWilliamsburg, VA. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003ePrinceton. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eWilliamsburg, VA. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eNew York. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eNew York City. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne Cassette Tape.\u003c/p\u003e","\u003cp\u003eWashington, D.C. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eCambridge, MA. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eOne audio cassette tape.\u003c/p\u003e","\u003cp\u003eOne audio cassette tape.\u003c/p\u003e","\u003cp\u003eOne audio cassette tape interview possibly covering the Iran-Contra affair.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 30 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eReves Center Global Forum, 40 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the Interviewer, 20 min. One Cassette Tape.\u003c/p\u003e","\u003cp\u003eRead by Scott Martin. Two cassette tapes.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 15 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  20 min.  One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One cassette tape.\u003c/p\u003e","\u003cp\u003eRecorded by Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviewer is Frank Shatz.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz, Gene Nichol, Paul Verkuil, Tim Sullivan, and Dr. Kern Wildenthal. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eTelephone Interview by Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterviews on cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape. For more, see B side of tape 52.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTwo cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTwo cassette tapes.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape. More of Laurence (Larry) Deutsch on the B Side.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eRestricted. One cassette tape.\u003c/p\u003e","\u003cp\u003eThree cassette tapes.\u003c/p\u003e","\u003cp\u003eTwo cassette tapes.\u003c/p\u003e","\u003cp\u003eThree cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eBy League of Women Voters. Williamsburg Public Library. One cassette tape.\u003c/p\u003e","\u003cp\u003eFour cassette tapes.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eFive cassette tapes with music for common year (?).\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eThree cassette tape.\u003c/p\u003e","\u003cp\u003eGC-4089 and GC-4088. One cassette tape.\u003c/p\u003e","\u003cp\u003eGC-4107 and GC-4085. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED. Nine cassette tapes.\u003c/p\u003e","\u003cp\u003eInterview at the Reves Center with Frank Shatz. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 15 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 15 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 40 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 25 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 35 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eAudio cassettes relating to the Berkeley Art Center Production of \"A Very Large Mole,\" October 17, 2009.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eThe radio broadcast for \"NPR Playhouse.\"  One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED. Thirteen tapes.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 25 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 35 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eOne cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer.  Running time 10 min.  One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 40 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 45 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 40 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. Running time 20 min. One cassette tape.\u003c/p\u003e","\u003cp\u003eTapes are CLOSED.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 20 minutes long. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 10 minutes long. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eFrank Shatz is the interviewer. One audiocassette tape.\u003c/p\u003e","\u003cp\u003eAudiocassette tapes of piano performances by Claudia Stevens.\u003c/p\u003e","\u003cp\u003eOne audiocassette tape of a live concert with piano music by Clauida Stevens. The program was also repeated on March 12, 1981 at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts and on March 13, 1981 at Bennington College. The program included the following pieces: Beethoven, Bagatelles, Opus 126 Copland, Piano Fantasy Schumann, Sonata in F minor, Opus 14\u003c/p\u003e","\u003cp\u003eAudiocassette tape of a piano recital by Claudia Stevens performing the Elliott Carter Piano Concerto that was recorded and broadcasted on KERA (an National Public Radio affiliate).\u003c/p\u003e","\u003cp\u003eScope and Contents Audiocassette tape of a piano concert by Claudia Stevens issued by \"Perspectives of New Music, 1983-1984\" . Includes short pieces by Ellen Taaffe Zwilich, Jeffery Mumford, Ira Taxin, Claudia Stevens (\"Widmung\" ), Joel Chadabe, and Betsy Jolas.\u003c/p\u003e","\u003cp\u003eScope and Contents Audiocassette tape of a piano performance by Claudia Stevens featuring the Currents New Music Ensemble with Fred Cohen as director. Stevens brought the performance to Phi Beta Kappa Hall at William and Mary the following week. It was the only William and Mary performance of \"Pierrot Lunaire\" .\u003c/p\u003e","\u003cp\u003eScope and Contents Audiocassette tape of a piano performance by Claudia Stevens featured on the hour-long live broadcast on National Public Radio's \"Performance Today.\" Included are \"Piano Fantasy\" and \"Piano Variations\" by Copland. The first broadcast was in 1981 at the National Gallery which was attended by Copland.\u003c/p\u003e","\u003cp\u003eTapes are closed.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz. The tape is approximately 30 minutes in length.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz of Colin Campbell, president of Colonial Williamsburg. Tape length is approximately 20 minutes in length.\u003c/p\u003e","\u003cp\u003eInterview by Frank Shatz with Tim O'Brien, writer. Tape lenght is approximately 20 minutes in length.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eThree CDs of first, second, and final transcription of selected letters by Lonnie Dobbs.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003ePiano, 1816, owned by William \u0026amp; Mary, 2003. Conservation by John Watson \u0026amp; Louis Dolive, Colonial Williamsburg. One CD.\u003c/p\u003e","\u003cp\u003eRecordings of Claudia Stevens' piano concerts, including programs.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eTwo CDs related to Jamestown Commemorative Postage Stamp.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eInaugural concert. With Lisa Edwards-Burrs, soprano, and Ruth Easterling Winters, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Will Crutchfield, lecturer/pianist, and Steven Tharp, tenor. One CD.\u003c/p\u003e","\u003cp\u003eWith Michael Posey, tenor, and Ruth Easterling Winters, pianist. Two CDs.\u003c/p\u003e","\u003cp\u003eWith Barbara Quintiliani, soprano, and Charles Woodward, pianist. Five CDs.\u003c/p\u003e","\u003cp\u003eWith Pamela Armstrong, soprano, and Melanie Day, pianist. Four CDs.\u003c/p\u003e","\u003cp\u003eBranch Fields, with Ruth Easterling Winters. One CD.\u003c/p\u003e","\u003cp\u003eWith Martha Slay, mezzo-soprano, and Charles Staples, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Branch Fields, bass, and Ruth Easterling Winters, pianist.  One CD.\u003c/p\u003e","\u003cp\u003eWith Branch Fields, bass, and Ruth Easterling Winters, pianist.  Two CDs.\u003c/p\u003e","\u003cp\u003eWith Stephen Tharp, tenor, and Will Crutchfield, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Georgeann Paddock, soprano, Jonathan Hays, baritone, and Ruth Easterling Winters, pianist. Two CDs.\u003c/p\u003e","\u003cp\u003eWith Robynne Redmon, mezzo-soprano, and Charles Woodward, pianist. Four CDs.\u003c/p\u003e","\u003cp\u003eWith Lisa Edwards-Burrs, soprano, and Melanie Day, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Barbara Quintiliani, soprano, and Charles Woodward, pianist. One CD.\u003c/p\u003e","\u003cp\u003eWith Tracey Welborn, Tenor, and Tamara Sanikidze, piano. One CD.\u003c/p\u003e","\u003cp\u003eWith Matthew Burns, bass-baritone, and Melanie Day, piano. Four CDs.\u003c/p\u003e","\u003cp\u003eWith Catarina Lundgren, soprano, Heikki Pellinen, piano. Two CDs.\u003c/p\u003e","\u003cp\u003eWith Andrew Garland, baritone, and Donna Loewy, pianist. Three CDs.\u003c/p\u003e","\u003cp\u003eWith Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. One CD.\u003c/p\u003e","\u003cp\u003eWith Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Four CDs.\u003c/p\u003e","\u003cp\u003eCD-roms of Bucktrout and Draughtsman map imaged by Colonial Williamsburg.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eFive Seasons, as performed at Atlanta Memorial Arts Center, Atlanta, GA. First performed February 6, 1979, recorded February 27, 1979. By Merritt Ierley, Lavinia Phillips, Soprano, and Judith Shulz, Pianist. One CD.\u003c/p\u003e","\u003cp\u003eTwo unopened CDs.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eIn PDF format. One CD.\u003c/p\u003e","\u003cp\u003eApril 2005, February 2005, Flag Day 2005, January 2005, May 2005. One CD.\u003c/p\u003e","\u003cp\u003eVeterans' Day, 2007. One CD.\u003c/p\u003e","\u003cp\u003eVeterans' Day, 2010. One CD.\u003c/p\u003e","\u003cp\u003eMemorial Day, 2010. One CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003eOne CD.\u003c/p\u003e","\u003cp\u003ePerformed live (mostly) at the Celebration of William Cabbell's 300th Birthday, October 21-22, 2000 at the Williasmburg Lodge.\u003c/p\u003e","\u003cp\u003eRecording of a campaign rally for state Senator Garland Gray. Speakers include Russell M. Carneal, Robert Hornsby, H. W. Stryker, Fred M. Flanary, Davis Y. Paschall, and Garland Gray.\u003c/p\u003e","\u003cp\u003eOne compact disc of digital transcripts of letters from Julia Cherney (Bateman) to Clara Walde (Lawrence) while serving as a missionary in China from 1909 to 1923. From the Clara Lawrence Papers, Mss. Acc. 2009.299, series 1, box 3.\u003c/p\u003e","\u003cp\u003ePlayed on the organ of Bruton Parish Church by James Darling, organist.\u003c/p\u003e","\u003cp\u003eTwo copies of a DVD on John Marshall. Running time 29 min.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eDigitized daybook and ledger.  UVA Library RMDS.  One DVD.\u003c/p\u003e","\u003cp\u003eOne DVD of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.\u003c/p\u003e","\u003cp\u003eOne DVD of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.\u003c/p\u003e","\u003cp\u003eOne DVD case.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eHightlights from Queen Elizabeth II and Prince Philip's visit to Jamestown and Williamsburg, commemorating the 400th anniversary of the Jamestown settlement. One DVD.\u003c/p\u003e","\u003cp\u003eWith Barbara Quintiliani, soprano, and Charles Woodward, pianist. One DVD.\u003c/p\u003e","\u003cp\u003eWith Tracey Welborn, Tenor, and Tamara Sanikidze, piano. Four DVDs.\u003c/p\u003e","\u003cp\u003eWith Matthew Burns, bass-baritone, and Melanie Day, piano. Three DVDs.\u003c/p\u003e","\u003cp\u003eWith Catarina Lundgren, soprano, Heikki Pellinen, piano. Two DVDs.\u003c/p\u003e","\u003cp\u003eWith Andrew Garland, baritone, and Donna Loewy, pianist. Three DVDs.\u003c/p\u003e","\u003cp\u003eWith Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. Five DVDs.\u003c/p\u003e","\u003cp\u003eWith Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Seven DVDs.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eTwo DVDs.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eMeredith College Convocation. Series 14. This live performance included original intro and two endings. Later, both were revised. One DVD.\u003c/p\u003e","\u003cp\u003eIda Green Arena Theater. Item 12. One DVD.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eHerbst Theater, War Memorial and Performing Arts Center, San Francisco. One DVD.\u003c/p\u003e","\u003cp\u003eRecorded at Berkeley Art Center. One DVD.\u003c/p\u003e","\u003cp\u003eA solo play in one act, written and performed by Claudia Stevens, with music composed by Allen Shearer. One DVD.\u003c/p\u003e","\u003cp\u003eBaltimore Theater. One DVD.\u003c/p\u003e","\u003cp\u003eCharlotte Kaufman, director. An Opera in Two Acts, being Mr. Doggett's farce of The Country Wake altered after the manner of The Beggar's Opera. By John Hippisley, 1729. Harvard Unitarian Church, Harvard, Mass. One DVD.\u003c/p\u003e","\u003cp\u003eCharlotte Kaufman, Director. A Ballad Opera Farce. Remis Auditorium. One DVD.\u003c/p\u003e","\u003cp\u003eCharlotte Kaufman, director and harpsichord. Staged by Craig Wich. Remis Auditorian. One DVD.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eTwo DVDs.\u003c/p\u003e","\u003cp\u003eOne DVD.\u003c/p\u003e","\u003cp\u003eA film by Julia Melchoir and Sebastian Denhardt. One DVD.\u003c/p\u003e","\u003cp\u003eAt St. John's Kirk, Perth, Scotland. One DVD.\u003c/p\u003e","\u003cp\u003eContains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.\u003c/p\u003e","\u003cp\u003eContains three files relating to the Cabell Family homes and graveyards in Nelson, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.\u003c/p\u003e","\u003cp\u003eVideo exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eFormat is Word Perfect 5.1. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eWHRA\u003c/p\u003e","\u003cp\u003eTwo 3.5 inch floppy disks.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eFS- 95/96, 96/97, 97/98; Dues 97/98; Treasurer's Job; Envelope. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eFour disks with office files.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003ePictures, files. Four 3.5 inch floppy disks\u003c/p\u003e","\u003cp\u003ePresident's files.\u003c/p\u003e","\u003cp\u003eBrochure, handbook, letterhead, fax form, agenda, invoice, membership renewal form. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eLWVWA 2000-2001 Education proposal, Education positions, LWVWA Education study proposal, working on a LWV study (P. Kent). One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eNewsletter and labels, invitations and flyers. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eOne 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eBoard meetings, agenda, letter. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003ePolicies, by-laws, positions, annual meeting handout, grant applications. One 3.5 inch floppy disk.\u003c/p\u003e","\u003cp\u003eScope and Contents Must be played with wooden \"Kacti\" needle. One record.\u003c/p\u003e","\u003cp\u003eAn example of material distributed during political campaigns. One 33 rpm disk.\u003c/p\u003e","\u003cp\u003eBy R. B. Tisdale. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eSongs: Ballet, Allemande, Country Dance, Reap \u0026amp; Sow, Diggers, Weary Eyes.  One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eDunmore - Bouree - Fireworks. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eCountry dance. Reserve copy. Two cuttings. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eDunmore Ballet, Scarlotti, Allemande, Gallop, Country Dance. \"Too fast!\" One disk.\u003c/p\u003e","\u003cp\u003eDunmore Ballet, Allemande, Gallop, Country Dance, Scarlotti. One disk.\u003c/p\u003e","\u003cp\u003eSowers \u0026amp; Reapers - plus (?) Diggers - Orch. Band I + II - Yankee Doodle Band III + IV - One disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eSide 1: Music from The Common Glory (Musical Synopsis) Side 2: Common Glory Concert Choir One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eDunmore Ballet, Rainy Night. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eBallet, Allemande, Country Dance, Reap \u0026amp; Sow, Diggers, Weary Ones. One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eRecorded by Ray Charles Singers with orchestra. Three Ships, Pocahontas, The Old Church Tower, Jamestown. One disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eOne disk. Damaged.\u003c/p\u003e","\u003cp\u003eDave Remington Quartet. Lyrics by P. Quinto, S. Spilmon, M. Vallo. Music by Vincent Chiarelli. One 45 rpm disk.\u003c/p\u003e","\u003cp\u003eOne 78 rpm disk.\u003c/p\u003e","\u003cp\u003eOne disk.\u003c/p\u003e","\u003cp\u003eOne 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eGeorge Passage News.  Recorded in Richmond, Va.  Three 78 rpm disks.\u003c/p\u003e","\u003cp\u003eRoanoke, Va.  One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eRichmond, Va.  Three 78 rpm disks.\u003c/p\u003e","\u003cp\u003eThree 33 1/3 rpm disks.\u003c/p\u003e","\u003cp\u003ePolitical Anns. Open \u0026amp; Closing included.  One 33 1/3 rpm disk.\u003c/p\u003e","\u003cp\u003eJosé Iturbi, pianist.  One disk.\u003c/p\u003e","\u003cp\u003eScope and Contents Record (78 rpm) of \"Sing-out 66,\" a group Glenn Close sang with sponsored by the Moral Majority. Featured on the record are two songs by Ms. Close: \"The Happy Song\" and \"Run and Catch the Wind.\" This album sold at a performance in Phi Beta Kappa Hall, 1966. The traveling show was called \"Up with People.\" Ms. Close was a featured soloist before entering the College of William and Mary.\u003c/p\u003e","\u003cp\u003eTwo records. Includes note from Glenn Close to Howard Scammon, May 31, 1985.\u003c/p\u003e","\u003cp\u003eTransferred from the music library.\u003c/p\u003e","\u003cp\u003eSoundtrack to the musical by Stephen Sondheim and directed by Harold Prince. With Angela Lansbury and Len Cariou. Case is signed by the cast members. Two records.\u003c/p\u003e","\u003cp\u003eScope and Contents A \"back-alley opera\" narrated by David Wayne. With Carol Channing and Eddie Bracken. One record.\u003c/p\u003e","\u003cp\u003eA musical by Cy Coleman and Michael Stewart. With Glenn Close and Jim Dale. In original case signed by cast members. One record.\u003c/p\u003e","\u003cp\u003eEleven songs performed by Dudley Moore (piano) and Cleo Laine (vocals). Case signed by Cleo and the producer. One record.\u003c/p\u003e","\u003cp\u003eSoundtrack of the musical by Jerry Herman and Harvey Firestein. With George Hearn and Gene Barry. Record case signed by cast. One record.\u003c/p\u003e","\u003cp\u003eAlbum by Perry Como. Case signed by the artist. One record.\u003c/p\u003e","\u003cp\u003eThe Common Glory orchestra and soloists from the Common Glory choir (including members of the William and Mary choir) in a concert performace of Act 1 of \"The Marriage of Figaro.\" Monday, August 20, 1956, in Blow Gymnasium at the College of William and Mary. Program and two 33 1/3 LP records.\u003c/p\u003e","\u003cp\u003eRecording of the musical program presented by WVEC-TV on January 29, 1960, honoring the 350th anniversary of the city of Hampton, Virginia.\u003c/p\u003e","\u003cp\u003e\"A report to all Armstrong men and women of our operating results.\" Stockholders address from Armstrong Cork Company. One 7 inch 45 rpm record and booklet.\u003c/p\u003e","\u003cp\u003eDirected by Mr. C. W. Moore. Four tracks. One 33 1/3 rpm record\u003c/p\u003e","\u003cp\u003eNarrated by Ralph Cooper. Recorded in Washington D.C., August 28, 1963. One 33 1/3 rpm record.\u003c/p\u003e","\u003cp\u003ePerformed by J. S. Darling on the Wren Chapel Organ at the College of William and Mary. Produced by Colonial Williamsburg Foundation.\u003c/p\u003e","\u003cp\u003eState Capitol. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eAudio tape, along with a letter from Governor Godwin's office and a transcript of the tape.  The tape was broadcast by 50 stations on September 6, 1968.  One 1/4 inch reel.\u003c/p\u003e","\u003cp\u003eTwo 1/4 inch audio reels.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eAudio recording of the 1952 program \"At Home with Lindy,\" sponsored by the Colonial Dames of Lexington, VA. Probably belonging to Mary Meares Galt. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eProbably belonging to Mary M. Galt. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eRadford, VA. 5 min overall length. Two copies, 1/4 inch audio reels.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eReel #41, Machine #2. Program time 29:30. Tape speed 7 1/2. Recorded by Bill. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eAudiotape of a lecture in which Dr. Koontz participated. One 1/4 inch audio tape. Folder includes typed information on lecture.\u003c/p\u003e","\u003cp\u003eBox 1. Tape 14, letter number 61. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 2. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 3. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 4. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 5. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 6. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 7. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 8. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 9. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eBox 10. Contents unknown. One 1/4 inch audio reel.\u003c/p\u003e","\u003cp\u003eCollection is CLOSED.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eOne 1/4 inch reel to reel tape. Closed.\u003c/p\u003e","\u003cp\u003eFives Pieces: Roger Sessions. Four Short Pieces: Gamer, Imbrie, Fine, Diamond. Mouromata: Becker. Six short pieces: Martino, Babbit, Cansky, Spies, Weisgall, Lewin. Sonta #1: Sessions. One audio reel. Includes CD and program.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot. 7 1/2 ips - mono, one reel.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot.  7 1/2 ips - mono, one reel.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot. One reel.\u003c/p\u003e","\u003cp\u003eOne sixty second radio spot. 7 1/2 ips - mono master, one reel.\u003c/p\u003e","\u003cp\u003eReel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.\u003c/p\u003e","\u003cp\u003eThe program was presented on October 7, 1977 at the Library and Museum of the Performing Arts at Lincoln Center, New York and on October 2, 1977 at Keller Hall, University of Richmond. Includes Beethoven, Sonata, Opus 101; Mozart, Rondo in A minor, K511; Sessions, Sonata no. 1; and Schumann, Humoreske, Opus 29.\u003c/p\u003e","\u003cp\u003ePortions of this program were included in Stevens' recital on the guest artist series of the University of California, Berkeley (Committee for Arts and Lectures) at Hertz Hall, summer, 1978. The program includes Brahms, Klavierstucke, Opus 119 (complete); Schubert, Sonata in C minor, Opus posth.; Mozart, sonata in B flat Major, K570; and Berg, Sonata, Opus 1.\u003c/p\u003e","\u003cp\u003eScope and Contents Portions of this program were included in the recital by Stevens at Jordan Hall in Boston, Massachusetts on October 23, 1979, on the \"Enchanted Circle\" new music series, and on a recital at Virginia Commonwealth University on March 18, 1980, presented by the Virginia Music Teachers Association. The program includes Piano Variations by Aaron Copland; Schumann, Sonata in F minor, Concerto Without Orchestra; and twelve recently composed pieces (1976-1979) by Donald Martino, Vivian Fine, Carlton, Gamer, David Diamond, Leon Kirchner, Andrew imlorie, Hugo Weisgall, Paul Lansky, Claudio Spies, Milton Babbitt, David Lewin, and Richard Becker.\u003c/p\u003e","\u003cp\u003eProgram includes new pieces by Vivian Fine, Shulamit Ran, Andrew Imbrie, Allen Shearer, and Robert Xavier Rodriguez. A week earlier (October 23, 1983), Stevens gave the program on a guest artist recital at Old Cabell Hall, University of Virginia - the world premieres of the five new pieces. On December 5, 1983, the Composers Forum of New York presented the recital, with the addition of six miniatures composed for the occasion in their world premiers, at Carnegie Recital Hall. The program then toured Virginia under a grant from the Virginia Commission for the Arts, Claudia Stevens, pianist.\u003c/p\u003e","\u003cp\u003eProgram includes Schumann Humoreske, Opus 20; Beethoven, Sonata, Opus 111 in C minor; Berg, Sonata, Opus 1; and short, contemporary pieces by Carlton Gamer, David Diamond, Vivian Fine, David Lewin, and Hugo Weisgall.\u003c/p\u003e","\u003cp\u003eConducted by Peter Black. Program includes Brahms Piano Concerto in D minor, Opus 15.\u003c/p\u003e","\u003cp\u003eProgram includes Brahms Variations on an Original Theme, Opus 21; Schumann Kreisleriana; Elliott Carter Piano Sonata; Chopin Ballade in F minor.\u003c/p\u003e","\u003cp\u003eProgram includes Schumann Fantasy in C, Opus 17; Roger Sessions: Five Pieces for Piano, 1975 (premiere in Virginia); and Sessions Sonata no. 1.\u003c/p\u003e","\u003cp\u003eProgram includes Brahms, Sonata in F minor, Opus 5; Mozart, Sonata in F major, K533-494; and Schoenberg, Five Pieces, Opus 23.\u003c/p\u003e","\u003cp\u003eScope and Contents Program includes Beethoven, Sonata in A Major, Opus 2, no. 2; Debussy, Preludes, including \"Feux d'artifice\" (\"Fireworks\" ). The program was also presented at Camp Theater, University of Richmond, on November 23, 1975.\u003c/p\u003e","\u003cp\u003eContains three reel-to-reel audiotapes of theater productions including \"Fairy Stones,\" \"Greek Rhapsody,\" and a tape labelled \"Chapman Tape I.\"\u003c/p\u003e","\u003cp\u003eScope and Contents One 7\" reel-to-reel audiotape of a production called \"Family Stones\" that was once owned by William and Mary Theatre Director Howard Scammon. The tape speed is 3 3/4.\u003c/p\u003e","\u003cp\u003eOne 2500 ft. reel-to-reel audiotape that is labeled \"Chapman Tape I.\" The audiotape was once owned by William and Mary Theatre Director Howard Scammon.\u003c/p\u003e","\u003cp\u003eScope and Contents One 2500 ft. reel-to-reel audiotape from a production entitled \"Chapman II\" that was once owned by William and Mary Theatre Director Howard Scammon. The audiotape was recorded at 7 1/2 inches per second. The approximate lenght of the tape is one hour.\u003c/p\u003e","\u003cp\u003eOne reel-to-reel audiotape labeled Mine workers monologues...European History.\u003c/p\u003e","\u003cp\u003eCould have been filmed by CW or the VA Chamber of Commerce. No sound, black and white. One oversize video reel.\u003c/p\u003e","\u003cp\u003eNo sound, black and white. Raw footage. Lathen Zimmer, Virginia Bray, Zeke Friedman. One video reel.\u003c/p\u003e","\u003cp\u003eRun time approximately 10 minutes. No sound, full color. Collage of scenes and dances. One video reel.\u003c/p\u003e","\u003cp\u003eRun time 1 minute. One color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 28 seconds. One 16mm color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 28 seconds. One 16mm color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 28 seconds. One 16mm color video reel with sound.\u003c/p\u003e","\u003cp\u003eRun time 60 seconds. Filmed by Colonial Williamsburg. One color video reel with sound.\u003c/p\u003e","\u003cp\u003eOne 16mm video reel.\u003c/p\u003e","\u003cp\u003eRun time 30 seconds. One 16mm color video reel.\u003c/p\u003e","\u003cp\u003ePromo film, run time 60 seconds. Retired March 1976. One 16mm video reel.\u003c/p\u003e","\u003cp\u003ePromo film, run time 60 seconds. Retired March 1976. One 16mm video reel.\u003c/p\u003e","\u003cp\u003ePresented to Governor Mills E. Godwin, Jr. by the Virginia Association of Electric Cooperatives.  One oversize 16mm video reel with audio.\u003c/p\u003e","\u003cp\u003eTV video reel, black and white with sound.  One 50 mm oversize video reel.\u003c/p\u003e","\u003cp\u003eOne 16mm video reel with audio.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eRunning time 15 minutes.  One 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eNo good - damaged. One oversize 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eShipped to Lutheran TV Productions in St. Louis, Missouri. One oversize 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eOne 1/2 inch audio and video reel.\u003c/p\u003e","\u003cp\u003eFrom 2005.38 addition. One small reel to reel video tape in plastic case.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Manuscripts Audiovisual Collection includes audiovisual formats from a variety of personal papers and organizational records collections.","Contains videocassete tapes that were pulled from the Vincent DeVita Papers (Mss. 84 D49).","One VHS tape.","One VHS tape","One VHS tape","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","Two VHS tapes.","One VHS tape","One VHS tape","One VHS tape","Contains videocassette tapes that were pulled from the Richard J. Davis Papers (Mss. 86 D27).","One VHS tape","Contains videocassette tapes that were pulled from the Glenn Close Papers (Mss. 93 C62). See Mss. Acc. 2010.601 below for more videocassette tapes from the Glenn Close Papers.","One VHS tape","One VHS Tape","One VHS tape","One Betamax tape.","One VHS tape.","One VHS tape.","One VHS show.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape, performed at Deutsches Theater, Berlin.","One VHS tape.","One VHS tape.","One VHS tape.","Two VHS tapes.","One oversize VHS tape.  Stored at the end of Series 1.","Running time 13:34. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from the Henry Chapin Papers (Mss. 1993.005).","Three VHS tapes.","Contains videocassette tapes that were pulled from the Lee Family Papers (Mss. 1993.006-01).","One VHS tape.","1930. The Geddy Family of Williamsburg 1931. The Yorktown Sesquicentennial 1933. Miami No date. Arizona Desert School - Tuscon","Contains videocassette tapes that were pulled from the Rosa Marie and James A. Fuller Papers (Mss. 2001 F95).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2001.50 of the Louis E. Catron Papers. For more, see also Sub-Series 9.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.034 of the Woman's Club of Williamsburg Records.","Two U-matic tapes.","One VHS tape.","Running time 30 min. One oversize VHS tape. Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2002.039 of the Louis E. Catron Papers. For more, see Sub-Series 7.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from the James A. Bill Papers (Mss. Acc. 2003.066).","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","For more, see audio cassette tapes.","One VHS tape of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Jive.  C-SPAN.  One VHS tape.","Berlin, NYC.  One VHS tape.","One VHS tape of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A DVD of this video is also avialable in Series 4: Digital Video Discs (DVD).","Contains videocassette tapes that were pulled from the Art Song of Williamsburg Records (Mss. Acc. 2007.058).","One VHS tape.","One VHS tape.","One VHS tape.","Marketing video with cassette tape which was to be placed with video. One VHS tape.","Contains videocassette tapes that were pulled from the Williamsburg Regional Commission on Growth and Historic Triangle Growth Management Group Papers (Mss. 2008.077).","One VHS tape.","One VHS tape.","One VHS tape.","For more, see Sub-Series 17. There are also audio cassettes and computer discs from this collection.","One VHS tape.","Tape features a health program, a continual candidates forum, Williamsburg City Council meeting.  One VHS tape.","1 VHS tape, running time 18 min.","One VHS tape, running time 12 min.","One VHS Tape.","One VHS tape.","One VHS tape.","Virginia Senate District 3, VA Delegates District 96 \u0026 97, Candidates Forum, Stryker Building, Williamsburg. One VHS tape.","One VHS tape.","One VHS tape.","Produced by the Alliance for Better Campaigns, running time 9 minutes, 1 VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.114 of the Claudia Stevens Papers. For more, see Sub-Series 16.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Three VHS tapes.","One VHS tape.","Two VHS tapes.","One VHS tape.","One oversized VHS tape.  Stored at the end of the series.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.139 of the Hamilton Family Papers.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2009.601 of the Claudia Stevens Papers. For more, see Sub-Series 14.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Contains videocassette tapes that were pulled from Mss. Acc. 2010.342 of the League of Women Voters of the Williamsburg Area Records. For more, see Sub-Series 13. There are also audio cassettes and computer disks from this collection.","Two VHS tapes.","One Betacam tape with two WWE wrestlers.","This accession also includes an oversize video tape and a cassette tape.","Running time 63 minutes. One VHS tape.","Redford. One VHS tape.","The Kanew Company. Tape Dub. One VHS tape.","One VHS tape. 1 hr 37 min.","Length: 11:30. One VHS tape.","Starring Gloria Swanson, Lionel Barrymore, and Raoul Walsh.  One VHS tape.","One VHS tape.","Roughcut. Viewing cassette. One VHS tape.","One VHS tape.","Sesame Street. One VHS tape.","The Lifetime Channel. One VHS tape.","One VHS tape.","Dub. One VHS tape.","Greta Cammermeyer - Prime Time Live. One VHS tape.","Walt Disney Pictures. 60 sec. One VHS tape.","Rough Publicity Clip. TRT: 1:04. Glenn Close Clip. One VHS tape.","Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Los Angeles Coverage. One VHS tape.","One VHS tape.","Guests: Glenn Close, Vanessa Mae, Martin Sheen, Malik Yoba. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. One VHS tape.","One VHS tape.","TCA Highlights. One VHS tape.","TCA Highlights. One VHS tape.","Avid Cut. RT: 11:03. One VHS tape.","TRT - 45:00. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Columbia Pictures. Length 1:54. One VHS tape.","Includes Tribute Speeches by Jane Seymour and Glenn Close. One VHS tape.","Trailers. One VHS tape.","Columbia Pictures. Entertainment Tonight (SYN). KCBS-TV (CBS). Los Angeles. One VHS tape.","Nightline. One VHS tape.","Columbia Pictures. Featurette. Length: 5:59. One VHS tape.","Hosted by Glenn Close. Starring Aaliyah, Shirley Caesar, Deana Carter, Hanson and Thomas Hampson. One VHS tape.","Winner Communications. 105:00. One VHS tape.","Sarajevo Package. One VHS tape.","Subject - Sarajevo. One VHS tape.","Columbia Tristar Home Video. 1. Access Hollywood. KNBC TV (NBC) Los Angeles. 3:32. 1 October 1998. 2. Entertainment Tonight. KCBS TV (CBS) Los Angeles. :27. 2 November 1998. 3. Good Morning America. ABC-TV Network. 6:58. 3 November 1998. One VHS tape.","Walt Disney Pictures. EPK Materials. 9:40. 1. Character Voices 2. Kala and Kerchak 3. Terk and Tantor One VHS tape.","One VHS tape.","Sizzle Piece v. 5. TRT: 3:00. One VHS tape.","Walt Disney Pictures. Select B-Roll. Revised V 2.1. TRT: 54:37. One VHS tape.","Walt Disney Pictures. Electronic Press Kit. Select Soundbites Cut #3. TRT 36:42. One VHS tape.","Walt Disney Pictures. Rough Clips #2. TRT 23:10. One VHS tape.","ABC Entertainment. Press Tour Clip. Version 1. 20 min. TRT 21:54. One VHS tape.","One VHS tape.","ABC Hollywood. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","TRT : 59:30. One VHS tape.","B-Roll selects. One VHS tape.","Master Dub. One VHS tape.","Press Tour. One VHS tape.","One VHS tape.","B-Roll selects. One VHS tape.","B-Roll. Running Time 9:00. One VHS tape.","Rabbit Ears Productions. 30 mins. One VHS tape.","One VHS tape.","One VHS tape.","1. 213ST - Bravo Logo 2. #2 PSA - Reggie Rivers/Denver Arts PSA One VHS tape.","Scott Mauro Entertainment. 12:36. One VHS tape.","EP # 1083. For Talent. Stereo TRT 20:49. One VHS tape.","One VHS tape.","One VHS tape.","One VHS tape.","Videocassette tape of a piano solo by Claudia Stevens of Schumann's Piano Concerto with The Richmond Symphony conducted by Jacques Houtmann. The performance was from a live broadcast by the Public Broadcasting Service affiliate. The video also features an interview with Stevens.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long. A DVD version of the video is avaiable in Series 4.","Three Cassette Tapes.","Basil Rathbone.  Dupont Theatre.  Two Cassette Tapes.","One Cassette Tape.","Nine Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One cassette tape.","Nine Cassette Tapes. For more, see Sub-Series 6.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Chapel of the Wren Building, at the College of William and Mary. One Cassette Tape.","Accession number 1990-36. One cassette tape.","One Cassette Tape.","One Cassette Tape.","Recorded interviews on James City County history.","One cassette tape.","One cassette tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","Four Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. See Doris Wildenburger.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape. No transcripts, cassette dated 12/8/87.","Three Cassette Tapes.","One Cassette Tape.","Three Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Three Cassette Tapes.","For more, see Sub-Series 3.","One Cassette Tape.","Jeremiah Clarke - The Prince of Denmark's March; Trumpet Tune; Almand in D; Round O in a; Jigg in A. From Choice Lessons. One cassette tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","80 min. One Cassette Tape.","One Cassette Tape.","40 min. One Cassette Tape.","Svec was a neighbor of Aleksandr Solzhenitsyn, the Nobel Prize Winning Russian dissident writer. Interview by Frank Shatz. 10 min. One Cassette Tape.","Frank Shatz is the interviewer. Run time 20 min. One Cassette Tape.","Running time 20 minutes. One Cassette Tape.","Running times 20min and 30 min, respectively. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Interviewer is Frank Shatz. Running Time 25 min. One Cassette Tape.","Interviewer Frank Shatz. 15 minutes. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Six Cassette Tapes.","Jack \u0026 Catherine Morpurgo. Community Arts Programme, Caldwell Idaho. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. 5-6 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Frank Shatz is the interviewer. 40 min. One Cassette Tape.","Frank Shatz is the interviewer. 15 minutes. One Cassette Tape.","Frank Shatz is the interviewer. 30 min. One Cassette Tape.","Frank Shatz is the interviewer. One Cassette Tape.","Frank Shatz is the interviewer.  One Cassette Tape.","Frank Shatz is the interviewer. 25 min. One Cassette Tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 30 min. One Cassette Tape.","Interviewer is Frank Shatz. 25 min. One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz.  One Cassette Tape.","Interviewer is Frank Shatz. 20 min. One Cassette Tape.","Fifty-four audio cassette tapes of interviews by James A. Bill.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","Three Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Two Cassette Tapes.","Two Cassette Tapes.","Two Cassette Tapes.","New York. One Cassette Tape.","Austin, TX. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Washington, D.C. One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","One Cassette Tape.","Princeton. One Cassette Tape.","One Cassette Tape.","Williamsburg, VA. One Cassette Tape.","New York. One Cassette Tape.","New York City. One Cassette Tape.","One Cassette Tape.","One Cassette Tape.","Washington, D.C. One Cassette Tape.","Cambridge, MA. One Cassette Tape.","One audio cassette tape.","One audio cassette tape.","One audio cassette tape interview possibly covering the Iran-Contra affair.","Tapes are CLOSED.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Frank Shatz is the Interviewer. One Cassette Tape.","Frank Shatz is the Interviewer, 30 min. One Cassette Tape.","Tapes are CLOSED.","Reves Center Global Forum, 40 min. One Cassette Tape.","Frank Shatz is the Interviewer, 20 min. One Cassette Tape.","Read by Scott Martin. Two cassette tapes.","Tapes are CLOSED.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. 15 min. One cassette tape.","Frank Shatz is the interviewer.  20 min.  One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Tapes are CLOSED.","Interviewer is Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Recorded by Frank Shatz. One cassette tape.","Interviewer is Frank Shatz.  One cassette tape.","Frank Shatz, Gene Nichol, Paul Verkuil, Tim Sullivan, and Dr. Kern Wildenthal. One cassette tape.","Tapes are CLOSED.","Telephone Interview by Frank Shatz. One cassette tape.","Interview by Frank Shatz. One cassette tape.","Interviews on cassette tapes.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape. For more, see B side of tape 52.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Two cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Two cassette tapes.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape. More of Laurence (Larry) Deutsch on the B Side.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Restricted. One cassette tape.","One cassette tape.","One cassette tape.","Restricted. One cassette tape.","One cassette tape.","Restricted. One cassette tape.","Three cassette tapes.","Two cassette tapes.","Three cassette tapes.","One cassette tape.","One cassette tape.","By League of Women Voters. Williamsburg Public Library. One cassette tape.","Four cassette tapes.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Five cassette tapes with music for common year (?).","One cassette tape.","One cassette tape.","Three cassette tape.","GC-4089 and GC-4088. One cassette tape.","GC-4107 and GC-4085. One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","Tapes are CLOSED. Nine cassette tapes.","Interview at the Reves Center with Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 15 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Interview by Frank Shatz. 40 min. One cassette tape.","Interview by Frank Shatz. 25 min. One cassette tape.","Interview by Frank Shatz. 35 min. One cassette tape.","Interview by Frank Shatz. 20 min. One cassette tape.","Audio cassettes relating to the Berkeley Art Center Production of \"A Very Large Mole,\" October 17, 2009.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","One cassette tape.","The radio broadcast for \"NPR Playhouse.\"  One cassette tape.","Tapes are CLOSED. Thirteen tapes.","Frank Shatz is the interviewer. 25 min. One cassette tape.","Frank Shatz is the interviewer. 35 min. One cassette tape.","One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. 20 min. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer.  One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Frank Shatz is the interviewer. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer.  Running time 10 min.  One cassette tape.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 45 min. One cassette tape.","Tapes are CLOSED.","Frank Shatz is the interviewer. Running time 40 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Frank Shatz is the interviewer. Running time 20 min. One cassette tape.","Tapes are CLOSED.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 20 minutes long. One audiocassette tape.","Interview by Frank Shatz with former Secretary of Defense Robert Gates as Chancellor of William and Mary during Charter Day exercises in 2012. The tape is approximately 10 minutes long. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Fank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Frank Shatz is the interviewer. One audiocassette tape.","Audiocassette tapes of piano performances by Claudia Stevens.","One audiocassette tape of a live concert with piano music by Clauida Stevens. The program was also repeated on March 12, 1981 at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts and on March 13, 1981 at Bennington College. The program included the following pieces: Beethoven, Bagatelles, Opus 126 Copland, Piano Fantasy Schumann, Sonata in F minor, Opus 14","Audiocassette tape of a piano recital by Claudia Stevens performing the Elliott Carter Piano Concerto that was recorded and broadcasted on KERA (an National Public Radio affiliate).","Scope and Contents Audiocassette tape of a piano concert by Claudia Stevens issued by \"Perspectives of New Music, 1983-1984\" . Includes short pieces by Ellen Taaffe Zwilich, Jeffery Mumford, Ira Taxin, Claudia Stevens (\"Widmung\" ), Joel Chadabe, and Betsy Jolas.","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featuring the Currents New Music Ensemble with Fred Cohen as director. Stevens brought the performance to Phi Beta Kappa Hall at William and Mary the following week. It was the only William and Mary performance of \"Pierrot Lunaire\" .","Scope and Contents Audiocassette tape of a piano performance by Claudia Stevens featured on the hour-long live broadcast on National Public Radio's \"Performance Today.\" Included are \"Piano Fantasy\" and \"Piano Variations\" by Copland. The first broadcast was in 1981 at the National Gallery which was attended by Copland.","Tapes are closed.","Interview by Frank Shatz. The tape is approximately 30 minutes in length.","Interview by Frank Shatz of Colin Campbell, president of Colonial Williamsburg. Tape length is approximately 20 minutes in length.","Interview by Frank Shatz with Tim O'Brien, writer. Tape lenght is approximately 20 minutes in length.","One CD.","Three CDs of first, second, and final transcription of selected letters by Lonnie Dobbs.","One CD.","One CD.","One CD.","Piano, 1816, owned by William \u0026 Mary, 2003. Conservation by John Watson \u0026 Louis Dolive, Colonial Williamsburg. One CD.","Recordings of Claudia Stevens' piano concerts, including programs.","One CD.","One CD.","One CD.","Two CDs related to Jamestown Commemorative Postage Stamp.","One CD.","One CD.","Inaugural concert. With Lisa Edwards-Burrs, soprano, and Ruth Easterling Winters, pianist. One CD.","With Will Crutchfield, lecturer/pianist, and Steven Tharp, tenor. One CD.","With Michael Posey, tenor, and Ruth Easterling Winters, pianist. Two CDs.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. Five CDs.","With Pamela Armstrong, soprano, and Melanie Day, pianist. Four CDs.","Branch Fields, with Ruth Easterling Winters. One CD.","With Martha Slay, mezzo-soprano, and Charles Staples, pianist. One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  One CD.","With Branch Fields, bass, and Ruth Easterling Winters, pianist.  Two CDs.","With Stephen Tharp, tenor, and Will Crutchfield, pianist. One CD.","With Georgeann Paddock, soprano, Jonathan Hays, baritone, and Ruth Easterling Winters, pianist. Two CDs.","With Robynne Redmon, mezzo-soprano, and Charles Woodward, pianist. Four CDs.","With Lisa Edwards-Burrs, soprano, and Melanie Day, pianist. One CD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One CD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. One CD.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Four CDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two CDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three CDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. One CD.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Four CDs.","CD-roms of Bucktrout and Draughtsman map imaged by Colonial Williamsburg.","One CD.","One CD.","One CD.","One CD.","One CD.","One CD.","Five Seasons, as performed at Atlanta Memorial Arts Center, Atlanta, GA. First performed February 6, 1979, recorded February 27, 1979. By Merritt Ierley, Lavinia Phillips, Soprano, and Judith Shulz, Pianist. One CD.","Two unopened CDs.","One CD.","One CD.","One CD.","One CD.","One CD.","In PDF format. One CD.","April 2005, February 2005, Flag Day 2005, January 2005, May 2005. One CD.","Veterans' Day, 2007. One CD.","Veterans' Day, 2010. One CD.","Memorial Day, 2010. One CD.","One CD.","One CD.","Performed live (mostly) at the Celebration of William Cabbell's 300th Birthday, October 21-22, 2000 at the Williasmburg Lodge.","Recording of a campaign rally for state Senator Garland Gray. Speakers include Russell M. Carneal, Robert Hornsby, H. W. Stryker, Fred M. Flanary, Davis Y. Paschall, and Garland Gray.","One compact disc of digital transcripts of letters from Julia Cherney (Bateman) to Clara Walde (Lawrence) while serving as a missionary in China from 1909 to 1923. From the Clara Lawrence Papers, Mss. Acc. 2009.299, series 1, box 3.","Played on the organ of Bruton Parish Church by James Darling, organist.","Two copies of a DVD on John Marshall. Running time 29 min.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","Digitized daybook and ledger.  UVA Library RMDS.  One DVD.","One DVD of the program \"The Last Nazi,\" featuring an interview with Albert Speer who was a German architecht and, for part of World War II, Minister of Armaments and War Production for the Third Reich. The program was written and directed by Brian Nolan, and was produced by Global Television Network and Lakeville Group, LTD. Conn. It is approximately, 1 hour, 8 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD of the Frontline episode \"The Spy Hunter,\" a biography about CIA agent James Jesus Angleton from May 14, 1991. The video was produced by the Corporation for Public Broadcasting and is approximately 56 minutes long. A VHS version of this program is also available in Series 1, Sub-Series 12.","One DVD case.","One DVD.","Hightlights from Queen Elizabeth II and Prince Philip's visit to Jamestown and Williamsburg, commemorating the 400th anniversary of the Jamestown settlement. One DVD.","With Barbara Quintiliani, soprano, and Charles Woodward, pianist. One DVD.","With Tracey Welborn, Tenor, and Tamara Sanikidze, piano. Four DVDs.","With Matthew Burns, bass-baritone, and Melanie Day, piano. Three DVDs.","With Catarina Lundgren, soprano, Heikki Pellinen, piano. Two DVDs.","With Andrew Garland, baritone, and Donna Loewy, pianist. Three DVDs.","With Kerry Alkema, mezzo-soprano, and Michael Baitzer, piano. Five DVDs.","With Georgeann Paddock, soprano, Christopher Mooney, baritone, Ruth Easterling Winters, pianist, and Genevieve McGiffert, lecturer. Seven DVDs.","One DVD.","Two DVDs.","One DVD.","Meredith College Convocation. Series 14. This live performance included original intro and two endings. Later, both were revised. One DVD.","Ida Green Arena Theater. Item 12. One DVD.","One DVD.","Herbst Theater, War Memorial and Performing Arts Center, San Francisco. One DVD.","Recorded at Berkeley Art Center. One DVD.","A solo play in one act, written and performed by Claudia Stevens, with music composed by Allen Shearer. One DVD.","Baltimore Theater. One DVD.","Charlotte Kaufman, director. An Opera in Two Acts, being Mr. Doggett's farce of The Country Wake altered after the manner of The Beggar's Opera. By John Hippisley, 1729. Harvard Unitarian Church, Harvard, Mass. One DVD.","Charlotte Kaufman, Director. A Ballad Opera Farce. Remis Auditorium. One DVD.","Charlotte Kaufman, director and harpsichord. Staged by Craig Wich. Remis Auditorian. One DVD.","One DVD.","Two DVDs.","One DVD.","A film by Julia Melchoir and Sebastian Denhardt. One DVD.","At St. John's Kirk, Perth, Scotland. One DVD.","Contains three files relating to the Cabell Family homes and graveyards in Neslon, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Contains three files relating to the Cabell Family homes and graveyards in Nelson, Buckingham and Amherst Counties in Virginia. The original documents were received as PDF files on a CD (compact disc) from the donor. Electronic access is available to users on the College of William and Mary campus.","Video exploring the inside of the Bruton Parish Church steeple that was made for PBS. The video is approximately 55 minutes long.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Format is Word Perfect 5.1. One 3.5 inch floppy disk.","WHRA","Two 3.5 inch floppy disks.","One disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","FS- 95/96, 96/97, 97/98; Dues 97/98; Treasurer's Job; Envelope. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Four disks with office files.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Pictures, files. Four 3.5 inch floppy disks","President's files.","Brochure, handbook, letterhead, fax form, agenda, invoice, membership renewal form. One 3.5 inch floppy disk.","LWVWA 2000-2001 Education proposal, Education positions, LWVWA Education study proposal, working on a LWV study (P. Kent). One 3.5 inch floppy disk.","Newsletter and labels, invitations and flyers. One 3.5 inch floppy disk.","One 3.5 inch floppy disk.","Board meetings, agenda, letter. One 3.5 inch floppy disk.","Policies, by-laws, positions, annual meeting handout, grant applications. One 3.5 inch floppy disk.","Scope and Contents Must be played with wooden \"Kacti\" needle. One record.","An example of material distributed during political campaigns. One 33 rpm disk.","By R. B. Tisdale. One 33 1/3 rpm disk.","Songs: Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Eyes.  One 33 1/3 rpm disk.","Dunmore - Bouree - Fireworks. One 33 1/3 rpm disk.","Country dance. Reserve copy. Two cuttings. One 33 1/3 rpm disk.","Dunmore Ballet, Scarlotti, Allemande, Gallop, Country Dance. \"Too fast!\" One disk.","Dunmore Ballet, Allemande, Gallop, Country Dance, Scarlotti. One disk.","Sowers \u0026 Reapers - plus (?) Diggers - Orch. Band I + II - Yankee Doodle Band III + IV - One disk.","One disk.","One 33 1/3 rpm disk.","One disk.","Side 1: Music from The Common Glory (Musical Synopsis) Side 2: Common Glory Concert Choir One 33 1/3 rpm disk.","Dunmore Ballet, Rainy Night. One 33 1/3 rpm disk.","Ballet, Allemande, Country Dance, Reap \u0026 Sow, Diggers, Weary Ones. One 33 1/3 rpm disk.","Recorded by Ray Charles Singers with orchestra. Three Ships, Pocahontas, The Old Church Tower, Jamestown. One disk.","One disk.","One 33 1/3 rpm disk.","One disk. Damaged.","Dave Remington Quartet. Lyrics by P. Quinto, S. Spilmon, M. Vallo. Music by Vincent Chiarelli. One 45 rpm disk.","One 78 rpm disk.","One disk.","One 33 1/3 rpm disk.","George Passage News.  Recorded in Richmond, Va.  Three 78 rpm disks.","Roanoke, Va.  One 33 1/3 rpm disk.","Richmond, Va.  Three 78 rpm disks.","Three 33 1/3 rpm disks.","Political Anns. Open \u0026 Closing included.  One 33 1/3 rpm disk.","José Iturbi, pianist.  One disk.","Scope and Contents Record (78 rpm) of \"Sing-out 66,\" a group Glenn Close sang with sponsored by the Moral Majority. Featured on the record are two songs by Ms. Close: \"The Happy Song\" and \"Run and Catch the Wind.\" This album sold at a performance in Phi Beta Kappa Hall, 1966. The traveling show was called \"Up with People.\" Ms. Close was a featured soloist before entering the College of William and Mary.","Two records. Includes note from Glenn Close to Howard Scammon, May 31, 1985.","Transferred from the music library.","Soundtrack to the musical by Stephen Sondheim and directed by Harold Prince. With Angela Lansbury and Len Cariou. Case is signed by the cast members. Two records.","Scope and Contents A \"back-alley opera\" narrated by David Wayne. With Carol Channing and Eddie Bracken. One record.","A musical by Cy Coleman and Michael Stewart. With Glenn Close and Jim Dale. In original case signed by cast members. One record.","Eleven songs performed by Dudley Moore (piano) and Cleo Laine (vocals). Case signed by Cleo and the producer. One record.","Soundtrack of the musical by Jerry Herman and Harvey Firestein. With George Hearn and Gene Barry. Record case signed by cast. One record.","Album by Perry Como. Case signed by the artist. One record.","The Common Glory orchestra and soloists from the Common Glory choir (including members of the William and Mary choir) in a concert performace of Act 1 of \"The Marriage of Figaro.\" Monday, August 20, 1956, in Blow Gymnasium at the College of William and Mary. Program and two 33 1/3 LP records.","Recording of the musical program presented by WVEC-TV on January 29, 1960, honoring the 350th anniversary of the city of Hampton, Virginia.","\"A report to all Armstrong men and women of our operating results.\" Stockholders address from Armstrong Cork Company. One 7 inch 45 rpm record and booklet.","Directed by Mr. C. W. Moore. Four tracks. One 33 1/3 rpm record","Narrated by Ralph Cooper. Recorded in Washington D.C., August 28, 1963. One 33 1/3 rpm record.","Performed by J. S. Darling on the Wren Chapel Organ at the College of William and Mary. Produced by Colonial Williamsburg Foundation.","State Capitol. One 1/4 inch audio reel.","Audio tape, along with a letter from Governor Godwin's office and a transcript of the tape.  The tape was broadcast by 50 stations on September 6, 1968.  One 1/4 inch reel.","Two 1/4 inch audio reels.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audio recording of the 1952 program \"At Home with Lindy,\" sponsored by the Colonial Dames of Lexington, VA. Probably belonging to Mary Meares Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Probably belonging to Mary M. Galt. One 1/4 inch audio reel.","One 1/4 inch audio reel.","Radford, VA. 5 min overall length. Two copies, 1/4 inch audio reels.","One 1/4 inch audio reel.","Reel #41, Machine #2. Program time 29:30. Tape speed 7 1/2. Recorded by Bill. One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","One 1/4 inch audio reel.","Audiotape of a lecture in which Dr. Koontz participated. One 1/4 inch audio tape. Folder includes typed information on lecture.","Box 1. Tape 14, letter number 61. Contents unknown. One 1/4 inch audio reel.","Box 2. Contents unknown. One 1/4 inch audio reel.","Box 3. Contents unknown. One 1/4 inch audio reel.","Box 4. Contents unknown. One 1/4 inch audio reel.","Box 5. Contents unknown. One 1/4 inch audio reel.","Box 6. Contents unknown. One 1/4 inch audio reel.","Box 7. Contents unknown. One 1/4 inch audio reel.","Box 8. Contents unknown. One 1/4 inch audio reel.","Box 9. Contents unknown. One 1/4 inch audio reel.","Box 10. Contents unknown. One 1/4 inch audio reel.","Collection is CLOSED.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","One 1/4 inch reel to reel tape. Closed.","Fives Pieces: Roger Sessions. Four Short Pieces: Gamer, Imbrie, Fine, Diamond. Mouromata: Becker. Six short pieces: Martino, Babbit, Cansky, Spies, Weisgall, Lewin. Sonta #1: Sessions. One audio reel. Includes CD and program.","One sixty second radio spot. 7 1/2 ips - mono, one reel.","One sixty second radio spot.  7 1/2 ips - mono, one reel.","One sixty second radio spot. One reel.","One sixty second radio spot. 7 1/2 ips - mono master, one reel.","Reel-to-reel audiotapes of various piano performances by Claudia Stevens around the United States, including Carnegie Hall, Harvard University, National Public Radio, and the College of William and Mary.","The program was presented on October 7, 1977 at the Library and Museum of the Performing Arts at Lincoln Center, New York and on October 2, 1977 at Keller Hall, University of Richmond. Includes Beethoven, Sonata, Opus 101; Mozart, Rondo in A minor, K511; Sessions, Sonata no. 1; and Schumann, Humoreske, Opus 29.","Portions of this program were included in Stevens' recital on the guest artist series of the University of California, Berkeley (Committee for Arts and Lectures) at Hertz Hall, summer, 1978. The program includes Brahms, Klavierstucke, Opus 119 (complete); Schubert, Sonata in C minor, Opus posth.; Mozart, sonata in B flat Major, K570; and Berg, Sonata, Opus 1.","Scope and Contents Portions of this program were included in the recital by Stevens at Jordan Hall in Boston, Massachusetts on October 23, 1979, on the \"Enchanted Circle\" new music series, and on a recital at Virginia Commonwealth University on March 18, 1980, presented by the Virginia Music Teachers Association. The program includes Piano Variations by Aaron Copland; Schumann, Sonata in F minor, Concerto Without Orchestra; and twelve recently composed pieces (1976-1979) by Donald Martino, Vivian Fine, Carlton, Gamer, David Diamond, Leon Kirchner, Andrew imlorie, Hugo Weisgall, Paul Lansky, Claudio Spies, Milton Babbitt, David Lewin, and Richard Becker.","Program includes new pieces by Vivian Fine, Shulamit Ran, Andrew Imbrie, Allen Shearer, and Robert Xavier Rodriguez. A week earlier (October 23, 1983), Stevens gave the program on a guest artist recital at Old Cabell Hall, University of Virginia - the world premieres of the five new pieces. On December 5, 1983, the Composers Forum of New York presented the recital, with the addition of six miniatures composed for the occasion in their world premiers, at Carnegie Recital Hall. The program then toured Virginia under a grant from the Virginia Commission for the Arts, Claudia Stevens, pianist.","Program includes Schumann Humoreske, Opus 20; Beethoven, Sonata, Opus 111 in C minor; Berg, Sonata, Opus 1; and short, contemporary pieces by Carlton Gamer, David Diamond, Vivian Fine, David Lewin, and Hugo Weisgall.","Conducted by Peter Black. Program includes Brahms Piano Concerto in D minor, Opus 15.","Program includes Brahms Variations on an Original Theme, Opus 21; Schumann Kreisleriana; Elliott Carter Piano Sonata; Chopin Ballade in F minor.","Program includes Schumann Fantasy in C, Opus 17; Roger Sessions: Five Pieces for Piano, 1975 (premiere in Virginia); and Sessions Sonata no. 1.","Program includes Brahms, Sonata in F minor, Opus 5; Mozart, Sonata in F major, K533-494; and Schoenberg, Five Pieces, Opus 23.","Scope and Contents Program includes Beethoven, Sonata in A Major, Opus 2, no. 2; Debussy, Preludes, including \"Feux d'artifice\" (\"Fireworks\" ). The program was also presented at Camp Theater, University of Richmond, on November 23, 1975.","Contains three reel-to-reel audiotapes of theater productions including \"Fairy Stones,\" \"Greek Rhapsody,\" and a tape labelled \"Chapman Tape I.\"","Scope and Contents One 7\" reel-to-reel audiotape of a production called \"Family Stones\" that was once owned by William and Mary Theatre Director Howard Scammon. The tape speed is 3 3/4.","One 2500 ft. reel-to-reel audiotape that is labeled \"Chapman Tape I.\" The audiotape was once owned by William and Mary Theatre Director Howard Scammon.","Scope and Contents One 2500 ft. reel-to-reel audiotape from a production entitled \"Chapman II\" that was once owned by William and Mary Theatre Director Howard Scammon. The audiotape was recorded at 7 1/2 inches per second. The approximate lenght of the tape is one hour.","One reel-to-reel audiotape labeled Mine workers monologues...European History.","Could have been filmed by CW or the VA Chamber of Commerce. No sound, black and white. One oversize video reel.","No sound, black and white. Raw footage. Lathen Zimmer, Virginia Bray, Zeke Friedman. One video reel.","Run time approximately 10 minutes. No sound, full color. Collage of scenes and dances. One video reel.","Run time 1 minute. One color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 28 seconds. One 16mm color video reel with sound.","Run time 60 seconds. Filmed by Colonial Williamsburg. One color video reel with sound.","One 16mm video reel.","Run time 30 seconds. One 16mm color video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Promo film, run time 60 seconds. Retired March 1976. One 16mm video reel.","Presented to Governor Mills E. Godwin, Jr. by the Virginia Association of Electric Cooperatives.  One oversize 16mm video reel with audio.","TV video reel, black and white with sound.  One 50 mm oversize video reel.","One 16mm video reel with audio.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","Running time 15 minutes.  One 1/2 inch audio and video reel.","No good - damaged. One oversize 1/2 inch audio and video reel.","Shipped to Lutheran TV Productions in St. Louis, Missouri. One oversize 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","One 1/2 inch audio and video reel.","From 2005.38 addition. One small reel to reel video tape in plastic case."],"separatedmaterial_html_tesm":["\u003cp\u003eAudiovisual material from Acc. 2013.246 was pulled from the Bruton Parish Church (Williamsburg, Virginia) Records and was added to this collection on 10/11/2013.\u003c/p\u003e","\u003cp\u003e Mss. Acc. 2014.003 were previously described under Acc. 2009.252 (\"Fairy Stones), Acc. 2009.253 (\"Chapman 1), and Acc. 2009.254 (\"Chapman II\") in the University Archives Audiovisual Collection.\u003c/p\u003e","\u003cp\u003e Mss. Acc. 2003.66.044-.046 were previously part of the James Bill Papers and were added to this collection on 3/6/2014.\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials:"],"separatedmaterial_tesim":["Audiovisual material from Acc. 2013.246 was pulled from the Bruton Parish Church (Williamsburg, Virginia) Records and was added to this collection on 10/11/2013.","Mss. Acc. 2014.003 were previously described under Acc. 2009.252 (\"Fairy Stones), Acc. 2009.253 (\"Chapman 1), and Acc. 2009.254 (\"Chapman II\") in the University Archives Audiovisual Collection.","Mss. Acc. 2003.66.044-.046 were previously part of the James Bill Papers and were added to this collection on 3/6/2014."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"total_component_count_is":1000,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:44:41.677Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_695_c04_c12"}},{"id":"wvmturhc_repositories_2_resources_1202_c13_c01","type":"Sub-Series","attributes":{"title":"Charleston Gazette Scrapbooks, 1900/2017","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1202_c13_c01","ref_ssm":["wvmturhc_repositories_2_resources_1202_c13_c01"],"id":"wvmturhc_repositories_2_resources_1202_c13_c01","ead_ssi":"wvmturhc_repositories_2_resources_1202","_root_":"wvmturhc_repositories_2_resources_1202","_nest_parent_":"wvmturhc_repositories_2_resources_1202_c13","parent_ssi":"wvmturhc_repositories_2_resources_1202_c13","parent_ssim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials, 1900/2018"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1202","wvmturhc_repositories_2_resources_1202_c13"],"title_filing_ssi":"Charleston Gazette Scrapbooks","title_ssm":["Charleston Gazette Scrapbooks"],"title_tesim":["Charleston Gazette Scrapbooks"],"normalized_title_ssm":["Charleston Gazette Scrapbooks, 1900/2017"],"text":["Charleston Gazette Scrapbooks, 1900/2017","Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials, 1900/2018","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date."],"parent_unittitles_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials, 1900/2018"],"parent_unittitles_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018","Addendum of 2018 July 24 -- Charleston Gazette Business and Commemorative Materials, 1900/2018"],"normalized_date_ssm":["1900/2017"],"unitdate_inclusive_ssm":["1900-2017"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":443,"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"parent_access_restrict_tesm":["The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"scopecontent_html_tesm":["\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date."],"_nest_path_":"/components#12/components#0","timestamp":"2026-06-23T07:53:14.141Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1202","ead_ssi":"wvmturhc_repositories_2_resources_1202","_root_":"wvmturhc_repositories_2_resources_1202","_nest_parent_":"wvmturhc_repositories_2_resources_1202","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1202.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195570","title_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"title_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"unitdate_ssm":["1884-2018"],"unitdate_inclusive_ssm":["1884-2018"],"normalized_date_ssm":["1884/2018"],"normalized_title_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"text":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018","A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202","Braxton County (W. Va.)","Webster County (W. Va.)","World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors","The coloring book in box 23 is restricted until it can be cleaned.\n\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","William Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia.  Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16.  He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893.  He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs.  He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917.  He was recognized as an orator and writer of unusual power and force.  After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette.  He married Mary Louise Tarr in 1892, and had four children:  William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray.  Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.","William Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia.  He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia.  He became managing editor of the Charleston Gazette in 1924.  He married Louise Schoonmaker in 1920, and had two children:  William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.","Source:  West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.","William Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr.  He grew up in Charleston, West Virginia, and was educated in the public schools.  After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950.  Chilton married Elizabeth \"Betty\" Early in 1952.  They have one daughter, Susan Carroll.  He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958.  He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee.  In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature.   After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987.  The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International.  He also served as a member of the Pulitzer Prize Awards committee.  Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations.","Source:  State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.","Elizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University.","Source: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000.","Scrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette.  There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III.  The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.","The initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for:  general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts.  For details see inventory in control folder at the library.","Rare signatures in the initial acquisition of W. E. Chilton, Sr., include:  Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.","The addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for:  biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize.  For details see inventory in control folder at the library.","The addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company.  The author's name does not appear in this book.  Dunne was a newspaper columnist, and this book features 49 of his writings.","The addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","The addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","The addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","This series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.]  As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.","This series includes signatures of prominent celebrities and historical figures collected by the Chiltons.  (Access to rare signatures requires the permission of a WVC curator.)","This series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.","This series includes land papers for coal and timber lands in Braxton and Webster counties.","This series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.","This series includes copies of the Yale Daily News for 1914-1915.","This series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.","This series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.","This series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century.  The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.","All boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.","This series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985.    These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..","This series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.","This series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy.  More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.","This series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos.  This series also contains autographed photos collected by Chilton.","This series includes a variety of artifacts collected by Ned Chilton.","This series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics.  Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.","This series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.","This series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.","This series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.","This series includes oversize photos, drawings, cartoons, blueprints and certificates.","This addendum includes one folder containing a book owned by Ned Chilton titled Mr. Dooley: In Peace and in War by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","This addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","This sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.","This sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.","This sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.","This addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.","This box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.","This box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.","This sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.","This box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.","This partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.","This partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.","This partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.","This sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.","This sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.","This sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.","This partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.","This partial box includes court case documentation, correspondence, and other Gazette related materials.","This partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.","This addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","Pearson, Drew.","Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","English\n."],"collection_title_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"collection_ssim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202"],"unitid_tesim":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Braxton County (W. Va.)","Webster County (W. Va.)"],"geogname_ssim":["Braxton County (W. Va.)","Webster County (W. Va.)"],"places_ssim":["Braxton County (W. Va.)","Webster County (W. Va.)"],"creator_ssm":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creator_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creator_persname_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"creator_corpname_ssim":["West Virginia and Regional History Center"],"creator_famname_ssim":["Pearson, Drew."],"creators_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","West Virginia and Regional History Center","Pearson, Drew."],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Multiple gifts of Chilton, Elizabeth \"Betty\" Early, 1992 April 9, 2001 July 24, 2004 November 16, 2018 April 4, 2018 July 24, and 2018 November 29."],"access_subjects_ssim":["World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors"],"access_subjects_ssm":["World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors"],"has_online_content_ssim":["false"],"extent_ssm":["18.75 Linear Feet 18 ft. 9 in. (5 document cases, 5 in. each); (2 document case, 2 1/2 in.); (8 records cartons, 15 in. each); (3 records carton, 17 in. each); (4 flat storage boxes, 3 in. each); (2 flat storage boxes, 4 in. each); (1 flat storage box, 1 in.); (1 clamshell box, 3 in.)"],"extent_tesim":["18.75 Linear Feet 18 ft. 9 in. (5 document cases, 5 in. each); (2 document case, 2 1/2 in.); (8 records cartons, 15 in. each); (3 records carton, 17 in. each); (4 flat storage boxes, 3 in. each); (2 flat storage boxes, 4 in. each); (1 flat storage box, 1 in.); (1 clamshell box, 3 in.)"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003clb\u003e\u003c/lb\u003e\n\u003clb\u003e\u003c/lb\u003e\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003ethe West Virginia \u0026amp; Regional History Center reference department.\u003c/a\u003e\u003c/p\u003e  ","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access","Conditions Governing Access","Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The coloring book in box 23 is restricted until it can be cleaned.\n\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"bioghist_html_tesm":["\u003cp\u003eWilliam Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia.  Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16.  He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893.  He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs.  He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917.  He was recognized as an orator and writer of unusual power and force.  After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette.  He married Mary Louise Tarr in 1892, and had four children:  William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray.  Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.\u003c/p\u003e","\u003cp\u003eWilliam Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia.  He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia.  He became managing editor of the Charleston Gazette in 1924.  He married Louise Schoonmaker in 1920, and had two children:  William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.\u003c/p\u003e","\u003cp\u003eSource:  West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.\u003c/p\u003e","\u003cp\u003e\nWilliam Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr.  He grew up in Charleston, West Virginia, and was educated in the public schools.  After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950.  Chilton married Elizabeth \"Betty\" Early in 1952.  They have one daughter, Susan Carroll.  He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958.  He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee.  In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature.   After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987.  The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International.  He also served as a member of the Pulitzer Prize Awards committee.  Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations.  \u003c/p\u003e","\u003cp\u003eSource:  State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.\u003c/p\u003e","\u003cp\u003e\nElizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University. \u003c/p\u003e","\u003cp\u003eSource: \"\u003ca href=\"http://wvutoday-archive.wvu.edu/n/2000/05/01/2862.html\" target=\"_blank\"\u003eCharleston Gazette Co. president to receive WVU Distinguished Service Award,\u003c/a\u003e\" WVU Today, May 1, 2000. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia.  Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16.  He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893.  He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs.  He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917.  He was recognized as an orator and writer of unusual power and force.  After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette.  He married Mary Louise Tarr in 1892, and had four children:  William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray.  Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.","William Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia.  He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia.  He became managing editor of the Charleston Gazette in 1924.  He married Louise Schoonmaker in 1920, and had two children:  William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.","Source:  West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.","William Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr.  He grew up in Charleston, West Virginia, and was educated in the public schools.  After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950.  Chilton married Elizabeth \"Betty\" Early in 1952.  They have one daughter, Susan Carroll.  He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958.  He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee.  In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature.   After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987.  The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International.  He also served as a member of the Pulitzer Prize Awards committee.  Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations.","Source:  State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.","Elizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University.","Source: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Charleston Gazette Publishing Company Records and Chilton Family Papers, A\u0026amp;M 3020, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e  "],"prefercite_tesim":["[Description and date of item], [Box/folder number], Charleston Gazette Publishing Company Records and Chilton Family Papers, A\u0026M 3020, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eScrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette.  There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III.  The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.\u003c/p\u003e","\u003cp\u003eThe initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for:  general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts.  For details see inventory in control folder at the library.\u003c/p\u003e","\u003cp\u003eRare signatures in the initial acquisition of W. E. Chilton, Sr., include:  Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.\u003c/p\u003e","\u003cp\u003eThe addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for:  biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize.  For details see inventory in control folder at the library.\u003c/p\u003e","\u003cp\u003eThe addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company.  The author's name does not appear in this book.  Dunne was a newspaper columnist, and this book features 49 of his writings.\u003c/p\u003e","\u003cp\u003eThe addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office. \u003c/p\u003e","\u003cp\u003eThe addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items. \u003c/p\u003e","\u003cp\u003eThe addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.\u003c/p\u003e  ","\u003cp\u003eThis series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.]  As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.\u003c/p\u003e","\u003cp\u003eThis series includes signatures of prominent celebrities and historical figures collected by the Chiltons.  (Access to rare signatures requires the permission of a WVC curator.)\u003c/p\u003e","\u003cp\u003eThis series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.\u003c/p\u003e","\u003cp\u003eThis series includes land papers for coal and timber lands in Braxton and Webster counties.\u003c/p\u003e","\u003cp\u003eThis series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.\u003c/p\u003e","\u003cp\u003eThis series includes copies of the Yale Daily News for 1914-1915.\u003c/p\u003e","\u003cp\u003eThis series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.\u003c/p\u003e","\u003cp\u003eThis series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.\u003c/p\u003e","\u003cp\u003eThis series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century.  The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.\u003c/p\u003e","\u003cp\u003eAll boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.\u003c/p\u003e","\u003cp\u003eThis series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985.    These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..\u003c/p\u003e","\u003cp\u003eThis series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.\u003c/p\u003e","\u003cp\u003eThis series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026amp;T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy.  More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.\u003c/p\u003e","\u003cp\u003eThis series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos.  This series also contains autographed photos collected by Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes a variety of artifacts collected by Ned Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics.  Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.\u003c/p\u003e","\u003cp\u003eThis series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.\u003c/p\u003e","\u003cp\u003eThis series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.\u003c/p\u003e","\u003cp\u003eThis series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.\u003c/p\u003e","\u003cp\u003eThis series includes oversize photos, drawings, cartoons, blueprints and certificates.\u003c/p\u003e","\u003cp\u003eThis addendum includes one folder containing a book owned by Ned Chilton titled \u003ctitle\u003e\u003cpart\u003eMr. Dooley: In Peace and in War\u003c/part\u003e\u003c/title\u003e by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.\u003c/p\u003e","\u003cp\u003eThis addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.\u003c/p\u003e","\u003cp\u003eThis sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.\u003c/p\u003e","\u003cp\u003eThis sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.\u003c/p\u003e","\u003cp\u003eThis sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.\u003c/p\u003e","\u003cp\u003eThis addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e","\u003cp\u003eThis box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.\u003c/p\u003e","\u003cp\u003eThis box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.\u003c/p\u003e","\u003cp\u003eThis box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.\u003c/p\u003e","\u003cp\u003eThis partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.\u003c/p\u003e","\u003cp\u003eThis partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.\u003c/p\u003e","\u003cp\u003eThis partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.\u003c/p\u003e","\u003cp\u003eThis partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.\u003c/p\u003e","\u003cp\u003eThis sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.\u003c/p\u003e","\u003cp\u003eThis box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.\u003c/p\u003e","\u003cp\u003eThis partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.\u003c/p\u003e","\u003cp\u003eThis sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.\u003c/p\u003e","\u003cp\u003eThis partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.\u003c/p\u003e","\u003cp\u003eThis partial box includes court case documentation, correspondence, and other Gazette related materials.\u003c/p\u003e","\u003cp\u003eThis partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.\u003c/p\u003e","\u003cp\u003eThis partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.\u003c/p\u003e","\u003cp\u003eThis addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Scrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette.  There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III.  The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.","The initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for:  general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts.  For details see inventory in control folder at the library.","Rare signatures in the initial acquisition of W. E. Chilton, Sr., include:  Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.","The addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for:  biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize.  For details see inventory in control folder at the library.","The addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company.  The author's name does not appear in this book.  Dunne was a newspaper columnist, and this book features 49 of his writings.","The addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","The addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","The addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","This series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.]  As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.","This series includes signatures of prominent celebrities and historical figures collected by the Chiltons.  (Access to rare signatures requires the permission of a WVC curator.)","This series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.","This series includes land papers for coal and timber lands in Braxton and Webster counties.","This series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.","This series includes copies of the Yale Daily News for 1914-1915.","This series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.","This series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.","This series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century.  The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.","All boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.","This series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985.    These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..","This series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.","This series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy.  More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.","This series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos.  This series also contains autographed photos collected by Chilton.","This series includes a variety of artifacts collected by Ned Chilton.","This series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics.  Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.","This series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.","This series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.","This series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.","This series includes oversize photos, drawings, cartoons, blueprints and certificates.","This addendum includes one folder containing a book owned by Ned Chilton titled Mr. Dooley: In Peace and in War by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","This addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","This sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.","This sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.","This sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.","This addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.","This box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.","This box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.","This sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.","This box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.","This partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.","This partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.","This partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.","This sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.","This sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.","This sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.","This partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.","This partial box includes court case documentation, correspondence, and other Gazette related materials.","This partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.","This addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4833b10941e14ac77c2df571c3b6fe38\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: \u003ca href=\"https://wvrhc.lib.wvu.edu/\"\u003eWest Virginia \u0026amp; Regional History Center\u003c/a\u003e\u003c/physloc\u003e\n    "],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center"],"corpname_ssim":["West Virginia and Regional History Center"],"famname_ssim":["Pearson, Drew."],"names_coll_ssim":["Pearson, Drew.","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1858-1939","Chilton, William E. (William Edwin), 1858-1939","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","Chilton, Betty","Chilton, Betty"],"persname_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"names_ssim":["West Virginia and Regional History Center","Pearson, Drew.","Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"language_ssim":["English\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":461,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:53:14.141Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c01"}},{"id":"vihart_repositories_4_resources_488_c03_c13","type":"Sub-Series","attributes":{"title":"Children's Poetry Camp, 2005/2016","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_488_c03_c13#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vihart_repositories_4_resources_488_c03_c13","ref_ssm":["vihart_repositories_4_resources_488_c03_c13"],"id":"vihart_repositories_4_resources_488_c03_c13","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488_c03","parent_ssi":"vihart_repositories_4_resources_488_c03","parent_ssim":["Furious Flower Poetry Center Records, 1970/2024","Events, Programs, and Workshops, 1990/2019"],"parent_ids_ssim":["vihart_repositories_4_resources_488","vihart_repositories_4_resources_488_c03"],"title_filing_ssi":"Children's Poetry Camp","title_ssm":["Children's Poetry Camp"],"title_tesim":["Children's Poetry Camp"],"normalized_title_ssm":["Children's Poetry Camp, 2005/2016"],"text":["Children's Poetry Camp, 2005/2016","Furious Flower Poetry Center Records, 1970/2024","Events, Programs, and Workshops, 1990/2019"],"parent_unittitles_ssm":["Furious Flower Poetry Center Records, 1970/2024","Events, Programs, and Workshops, 1990/2019"],"parent_unittitles_tesim":["Furious Flower Poetry Center Records, 1970/2024","Events, Programs, and Workshops, 1990/2019"],"normalized_date_ssm":["2005/2016"],"unitdate_inclusive_ssm":["2005-2016"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":124,"repository_ssim":["James Madison University"],"collection_ssim":["Furious Flower Poetry Center Records, 1970/2024"],"has_online_content_ssim":["false"],"child_component_count_isi":134,"parent_access_restrict_tesm":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"parent_access_terms_tesm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"date_range_isim":[2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016],"_nest_path_":"/components#2/components#12","timestamp":"2026-06-23T06:57:34.491Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_488","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_488.xml","aspace_url_ssi":"https://aspace.lib.jmu.edu/repositories/4/resources/488","title_ssm":["Furious Flower Poetry Center Records"],"title_tesim":["Furious Flower Poetry Center Records"],"unitdate_ssm":["1970-2024"],"unitdate_inclusive_ssm":["1970-2024"],"normalized_date_ssm":["1970/2024"],"normalized_title_ssm":["Furious Flower Poetry Center Records, 1970/2024"],"text":["Furious Flower Poetry Center Records, 1970/2024","UA 0017","/repositories/4/resources/488","United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century","American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)","Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting.","It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.","The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021\n      Publications and Manuscripts, 1993-2012\n      Events, Programs, and Workshops, 1990-2019\n      Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009Sub-series 4.2: 2004 Conference, 2002-2007Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.","\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.","The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event.","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.","Additional information on the Dark Room Collective can be found here.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.","See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically.","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m.","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\"","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m.","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m.","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\"","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994.","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m.","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark.","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m.","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix.","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett).","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez).","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks.","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond).","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet.","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry.","This footage was originally recorded on a MII videocassette.","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux).","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading.","This footage was originally recorded on a MII videocassette.","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale.","This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m.","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m.","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m.","This footage was originally recorded on 4 DVCAM videocassettes.","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m.","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m.","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection.","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. 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Jazz Ensemble","Berry Media Group"],"access_terms_ssm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Furious Flower Poetry Center transferred these materials to Special Collections on May 16 and June 29, 2016. Subsequent transfers occurred in September 2017, September 2019, April 2023, and October 2024."],"access_subjects_ssim":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"access_subjects_ssm":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"extent_tesim":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"genreform_ssim":["Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e  ","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital 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Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003erunning time:\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eOriginal audiovisual and media are in process and not available pending reformatting.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting."],"accruals_html_tesm":["\u003cp\u003eIt is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.\u003c/p\u003e  "],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis."],"altformavail_html_tesm":["\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e  "],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions."],"appraisal_html_tesm":["\u003cp\u003eSmall Purchase Credit Card Statements were discarded due to lack of research value.\u003c/p\u003e","\u003cp\u003eDue to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.\u003c/p\u003e  "],"appraisal_heading_ssm":["Appraisal Information"],"appraisal_tesim":["Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.\u003c/p\u003e    ","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eGrants and Financial Files, 2004-2021\u003c/item\u003e\n      \u003citem\u003ePublications and Manuscripts, 1993-2012\u003c/item\u003e\n      \u003citem\u003eEvents, Programs, and Workshops, 1990-2019\u003c/item\u003e\n      \u003citem\u003eConference Records, 1970-2015\u003c/item\u003e\n    \u003c/list\u003e\n  ","\u003cp\u003eThe series is arranged chronologically into three sub-series:\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\u003citem\u003eSub-series 4.1: 1994 Conference, 1970-2009\u003c/item\u003e\u003citem\u003eSub-series 4.2: 2004 Conference, 2002-2007\u003c/item\u003e\u003citem\u003eSub-series 4.3: 2014 Conference, 2013-2015\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eEvent footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021\n      Publications and Manuscripts, 1993-2012\n      Events, Programs, and Workshops, 1990-2019\n      Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009Sub-series 4.2: 2004 Conference, 2002-2007Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details."],"bibliography_html_tesm":["\u003cbibref\u003e\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml."],"bioghist_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:\u003c/p\u003e","\u003cp\u003eThe time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.\u003c/p\u003e","\u003cp\u003eMany who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. \u003c/p\u003e","\u003cp\u003eDue to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.\u003c/p\u003e","\u003cp\u003eIn 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.\u003c/p\u003e","\u003cp\u003eToday, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).\u003c/p\u003e","\u003cp\u003eFFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.\u003c/p\u003e  ","\u003cp\u003eThe 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.\u003c/p\u003e"],"bioghist_heading_ssm":["Administrative History","Bio/Historical Note"],"bioghist_tesim":["The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event.","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference."],"odd_html_tesm":["\u003cp\u003eAdditional information on the Dark Room Collective can be found \u003ca href=\"https://poets.org/text/brief-guide-dark-room-collective\"\u003ehere.\u003c/a\u003e\u003c/p\u003e"],"odd_heading_ssm":["General Note"],"odd_tesim":["Additional information on the Dark Room Collective can be found here."],"otherfindaid_html_tesm":["\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;695ef954-06ba-43a6-b341-cc3edf3fc1e6\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|695ef954-06ba-43a6-b341-cc3edf3fc1e6/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;9e242b35-14e6-4742-bd85-186794dcc4ec\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|9e242b35-14e6-4742-bd85-186794dcc4ec/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;ac68aac5-b304-45cc-aeb4-0905f8a57259\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|ac68aac5-b304-45cc-aeb4-0905f8a57259/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e"],"otherfindaid_heading_ssm":["Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL"],"otherfindaid_tesim":["Preservica Internal","Preservica Access","Preservica Internal","Preservica Access","Preservica Internal","Preservica Access"],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e  ","\u003cp\u003e[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA"],"processinfo_html_tesm":["\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"\u003c/p\u003e","\u003cp\u003eIn April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.\u003c/p\u003e","\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e  ","\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eVideo recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Note"],"processinfo_tesim":["The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions."],"relatedmaterial_html_tesm":["\u003cp\u003eSee \"1994 Conference Program, 1994\" in Series 1 for original conference program.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30039\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30040\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials"],"relatedmaterial_tesim":["See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A","Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut"],"scopecontent_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.\u003c/p\u003e  ","\u003cp\u003eArranged chronologically. \u003c/p\u003e","\u003cp\u003eFFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.\u003c/p\u003e","\u003cp\u003eArranged chronologically by project date and sub-arranged alphabetically within each project.\u003c/p\u003e","\u003cp\u003eThis series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.\u003c/p\u003e","\u003cp\u003eArranged chronologically by event and sub-arranged alphabetically within each event.\u003c/p\u003e","\u003cp\u003eThis series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.\u003c/p\u003e","\u003cp\u003eOne file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.\u003c/p\u003e","\u003cp\u003eThis series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.\u003c/p\u003e","\u003cp\u003eArranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.\u003c/p\u003e","\u003cp\u003eThis series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.\u003c/p\u003e","\u003cp\u003eOpening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.\u003c/p\u003e","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"\u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003eMichael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. \u003c/p\u003e","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 4 MII videocassettes.\u003c/p\u003e","\u003cp\u003eRita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. \u003c/p\u003e","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. \u003c/p\u003e","\u003cp\u003eTape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 6 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eFootage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eArranged alphabetically.\u003c/p\u003e","\u003cp\u003eMaterials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.\u003c/p\u003e","\u003cp\u003eOpening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.\u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eFootage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eKeynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.\u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes. \u003c/p\u003e","\u003cp\u003eFootage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eLaureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 VHS videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 4 DVCAM videocassettes.  \u003c/p\u003e","\u003cp\u003ePoetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eThe third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. \u003c/p\u003e","\u003cp\u003eThis footage was originally recorded on 2 videocassettes.\u003c/p\u003e","\u003cp\u003eLifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.\u003c/p\u003e","\u003cp\u003eOpening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eKeynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026amp; Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.\u003c/p\u003e","\u003cp\u003eThe Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eA Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eFurious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eDear Yusef: Celebrating the Life \u0026amp; Work of Poet \u0026amp; Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eWalk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eLaureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eMagnitude \u0026amp; Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026amp; Culture (CBLC), and Obsidian: Literature \u0026amp; Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eGrowing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eBlack Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eBlack Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.\u003c/p\u003e","\u003cp\u003eA Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eClosing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.\u003c/p\u003e","\u003cp\u003eInterview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Contents","Contents","Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically.","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m.","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\"","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m.","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m.","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\"","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994.","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m.","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m.","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark.","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m.","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix.","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett).","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez).","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks.","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond).","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet.","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry.","This footage was originally recorded on a MII videocassette.","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux).","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading.","This footage was originally recorded on a MII videocassette.","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale.","This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m.","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m.","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m.","This footage was originally recorded on 4 DVCAM videocassettes.","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m.","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m.","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m.","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m.","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024."],"separatedmaterial_html_tesm":["\u003cp\u003eA copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. \u003c/p\u003e","\u003cp\u003eThe following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.\u003c/p\u003e","\u003cp\u003eA broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection.","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately."],"userestrict_html_tesm":["\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e  ","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions"],"userestrict_tesim":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_45f28e16f5fdc8ade98243e65fa6eef4\"\u003eThe Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center."],"corpname_ssim":["James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). 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Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics."],"_nest_path_":"/components#12/components#1","timestamp":"2026-06-23T07:53:14.141Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1202","ead_ssi":"wvmturhc_repositories_2_resources_1202","_root_":"wvmturhc_repositories_2_resources_1202","_nest_parent_":"wvmturhc_repositories_2_resources_1202","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1202.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195570","title_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"title_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers"],"unitdate_ssm":["1884-2018"],"unitdate_inclusive_ssm":["1884-2018"],"normalized_date_ssm":["1884/2018"],"normalized_title_ssm":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"text":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018","A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202","Braxton County (W. Va.)","Webster County (W. Va.)","World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors","The coloring book in box 23 is restricted until it can be cleaned.\n\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","William Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia.  Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16.  He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893.  He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs.  He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917.  He was recognized as an orator and writer of unusual power and force.  After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette.  He married Mary Louise Tarr in 1892, and had four children:  William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray.  Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.","William Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia.  He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia.  He became managing editor of the Charleston Gazette in 1924.  He married Louise Schoonmaker in 1920, and had two children:  William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.","Source:  West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.","William Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr.  He grew up in Charleston, West Virginia, and was educated in the public schools.  After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950.  Chilton married Elizabeth \"Betty\" Early in 1952.  They have one daughter, Susan Carroll.  He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958.  He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee.  In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature.   After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987.  The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International.  He also served as a member of the Pulitzer Prize Awards committee.  Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations.","Source:  State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.","Elizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University.","Source: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000.","Scrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette.  There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III.  The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.","The initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for:  general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts.  For details see inventory in control folder at the library.","Rare signatures in the initial acquisition of W. E. Chilton, Sr., include:  Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.","The addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for:  biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize.  For details see inventory in control folder at the library.","The addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company.  The author's name does not appear in this book.  Dunne was a newspaper columnist, and this book features 49 of his writings.","The addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","The addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","The addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","This series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.]  As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.","This series includes signatures of prominent celebrities and historical figures collected by the Chiltons.  (Access to rare signatures requires the permission of a WVC curator.)","This series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.","This series includes land papers for coal and timber lands in Braxton and Webster counties.","This series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.","This series includes copies of the Yale Daily News for 1914-1915.","This series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.","This series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.","This series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century.  The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.","All boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.","This series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985.    These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..","This series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.","This series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy.  More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.","This series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos.  This series also contains autographed photos collected by Chilton.","This series includes a variety of artifacts collected by Ned Chilton.","This series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics.  Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.","This series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.","This series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.","This series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.","This series includes oversize photos, drawings, cartoons, blueprints and certificates.","This addendum includes one folder containing a book owned by Ned Chilton titled Mr. Dooley: In Peace and in War by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","This addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","This sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.","This sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.","This sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.","This addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.","This box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.","This box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.","This sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.","This box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.","This partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.","This partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.","This partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.","This sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.","This sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.","This sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.","This partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.","This partial box includes court case documentation, correspondence, and other Gazette related materials.","This partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.","This addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","Pearson, Drew.","Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","English\n."],"collection_title_tesim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"collection_ssim":["Charleston Gazette Publishing Company Records and Chilton Family Papers, 1884/2018"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202"],"unitid_tesim":["A\u0026M 3020","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1202"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Braxton County (W. Va.)","Webster County (W. Va.)"],"geogname_ssim":["Braxton County (W. Va.)","Webster County (W. Va.)"],"places_ssim":["Braxton County (W. Va.)","Webster County (W. Va.)"],"creator_ssm":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creator_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty"],"creator_persname_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"creator_corpname_ssim":["West Virginia and Regional History Center"],"creator_famname_ssim":["Pearson, Drew."],"creators_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","West Virginia and Regional History Center","Pearson, Drew."],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Multiple gifts of Chilton, Elizabeth \"Betty\" Early, 1992 April 9, 2001 July 24, 2004 November 16, 2018 April 4, 2018 July 24, and 2018 November 29."],"access_subjects_ssim":["World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors"],"access_subjects_ssm":["World War, 1939-1945","World War, 1914-1918","Newspaper publishing","Newspaper editors"],"has_online_content_ssim":["false"],"extent_ssm":["18.75 Linear Feet 18 ft. 9 in. (5 document cases, 5 in. each); (2 document case, 2 1/2 in.); (8 records cartons, 15 in. each); (3 records carton, 17 in. each); (4 flat storage boxes, 3 in. each); (2 flat storage boxes, 4 in. each); (1 flat storage box, 1 in.); (1 clamshell box, 3 in.)"],"extent_tesim":["18.75 Linear Feet 18 ft. 9 in. (5 document cases, 5 in. each); (2 document case, 2 1/2 in.); (8 records cartons, 15 in. each); (3 records carton, 17 in. each); (4 flat storage boxes, 3 in. each); (2 flat storage boxes, 4 in. each); (1 flat storage box, 1 in.); (1 clamshell box, 3 in.)"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003clb\u003e\u003c/lb\u003e\n\u003clb\u003e\u003c/lb\u003e\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003ethe West Virginia \u0026amp; Regional History Center reference department.\u003c/a\u003e\u003c/p\u003e  ","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eThe coloring book in box 23 is restricted until it can be cleaned.\u003c/p\u003e","\u003cp\u003eResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access","Conditions Governing Access","Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["The coloring book in box 23 is restricted until it can be cleaned.\n\nResearchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","The coloring book in box 23 is restricted until it can be cleaned.","The coloring book in box 23 is restricted until it can be cleaned.","Researchers may access audiovisual and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"bioghist_html_tesm":["\u003cp\u003eWilliam Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia.  Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16.  He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893.  He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs.  He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917.  He was recognized as an orator and writer of unusual power and force.  After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette.  He married Mary Louise Tarr in 1892, and had four children:  William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray.  Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.\u003c/p\u003e","\u003cp\u003eWilliam Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia.  He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia.  He became managing editor of the Charleston Gazette in 1924.  He married Louise Schoonmaker in 1920, and had two children:  William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.\u003c/p\u003e","\u003cp\u003eSource:  West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.\u003c/p\u003e","\u003cp\u003e\nWilliam Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr.  He grew up in Charleston, West Virginia, and was educated in the public schools.  After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950.  Chilton married Elizabeth \"Betty\" Early in 1952.  They have one daughter, Susan Carroll.  He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958.  He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee.  In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature.   After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987.  The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International.  He also served as a member of the Pulitzer Prize Awards committee.  Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations.  \u003c/p\u003e","\u003cp\u003eSource:  State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.\u003c/p\u003e","\u003cp\u003e\nElizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University. \u003c/p\u003e","\u003cp\u003eSource: \"\u003ca href=\"http://wvutoday-archive.wvu.edu/n/2000/05/01/2862.html\" target=\"_blank\"\u003eCharleston Gazette Co. president to receive WVU Distinguished Service Award,\u003c/a\u003e\" WVU Today, May 1, 2000. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Edwin Chilton, Sr. (1858-1939), US Senator and publisher of the Charleston Gazette, was born in St. Albans, West Virginia.  Educated by private tutors, and later attending Shelton College, St. Albans, he began teaching school at the age of 16.  He later studied law and was admitted to the bar in 1880, settling in Charleston shortly afterwards, and becoming associated with John E. Kenna, US Senator from West Virginia, who served from 1883 to 1893.  He later became a member of Chilton, MacCorkle and Chilton, involved himself with Democratic politics, and attained recognition as an able leader in public affairs.  He was appointed prosecuting attorney in 1883, was admitted to the Supreme Court in 1891, was chairman of the Democratic State Executive Committee in 1892, Secretary of the State from 1893 to 1897, and United State Senator from 1911 to 1917.  He was recognized as an orator and writer of unusual power and force.  After a defeated nomination to the United States Senate in 1924, he retired from his law practice and concerned himself with the editorship of the Charleston Gazette.  He married Mary Louise Tarr in 1892, and had four children:  William Edwin Chilton, Jr., J. Eustace Chilton, Eleanor Chilton, and Elizabeth Chilton Lowery Murray.  Eleanor achieved recognition as a writer, authoring Shadows Waiting and Follow the Furies.","William Edwin Chilton, Jr. (1893-1950) President of the Daily Gazette Company and managing editor of the Charleston Gazette, was born in Charleston, West Virginia.  He graduated from Yale in 1917, and then served during the World War, primarily in convoy flying based in North Sydney, Nova Scotia.  He became managing editor of the Charleston Gazette in 1924.  He married Louise Schoonmaker in 1920, and had two children:  William Edwin (Ned) Chilton, III, and Mary Carroll Chilton Abbott.","Source:  West Virginia Heritage Encyclopedia, ed. Jim Comstock (Richwood, WV: Jim Comstock, 1976), Vol. 5.","William Edwin \"Ned\" Chilton (November 26, 1921 - February 7, 1987) was born in Kingston, New York, the son of Louise C. Schoonmaker and William Edwin Chilton, Jr.  He grew up in Charleston, West Virginia, and was educated in the public schools.  After serving in the United States Army and Army Air Corp, he graduated from Yale University in 1950.  Chilton married Elizabeth \"Betty\" Early in 1952.  They have one daughter, Susan Carroll.  He was elected to the West Virginia House of Delegates from Kanawha County in 1952 and was re-elected in 1954, 1956, and 1958.  He was a Delegate to the Democratic National Convention in 1960 and again in 1964, when he served on the party's platform committee.  In 1967, Mr. Chilton served as a member of the Citizen's Advisory Commission on the West Virginia Legislature.   After working in the promotions department, Ned Chilton served as publisher of the Charleston Gazette from 1961 until his death in 1987.  The newspaper gained distinction under his direction through innovative editorial policies including \"right of reply\" and front page corrections. In 1982, he received the Colby College Elijah Parish Lovejoy Award for courage and integrity in journalism, and in 1985 he was named to the newspaper advisory board of United Press International.  He also served as a member of the Pulitzer Prize Awards committee.  Although active in the newspaper business and politics, Mr. Chilton gave his time and support to numerous civic, social and public organizations.","Source:  State of West Virginia House Resolution No. 15 \"A House Resolution Commemorating the Passing of William E. \"Ned\" Chilton, III, publisher of the Charleston Gazette and former member of the House of Delegates\" adopted February 16, 1987.","Elizabeth \"Betty\" Early Chilton was born in Williamson, West Virginia. She married William Edwin \"Ned\" Chilton in 1952. Mrs. Chilton has worked in various roles at the Charleston Gazette Co. and its related entities, working in public relations and later serving as president and an editorial board member of the Gazette, serving as vice president and treasurer of the Daily Gazette Co., and serving as the director of Charleston Newspapers. She attended both Hollins College and Marjorie Webster College and has been an active member in local and regional organizations dedicated to advancing journalism, education, and the humanities broadly. Mrs. Chilton has received awards for her work in the field of journalism and her service to her community, including the President's Distinguished Service Award from West Virginia University.","Source: \"Charleston Gazette Co. president to receive WVU Distinguished Service Award,\" WVU Today, May 1, 2000."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Charleston Gazette Publishing Company Records and Chilton Family Papers, A\u0026amp;M 3020, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e  "],"prefercite_tesim":["[Description and date of item], [Box/folder number], Charleston Gazette Publishing Company Records and Chilton Family Papers, A\u0026M 3020, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eScrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette.  There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III.  The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.\u003c/p\u003e","\u003cp\u003eThe initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for:  general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts.  For details see inventory in control folder at the library.\u003c/p\u003e","\u003cp\u003eRare signatures in the initial acquisition of W. E. Chilton, Sr., include:  Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.\u003c/p\u003e","\u003cp\u003eThe addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for:  biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize.  For details see inventory in control folder at the library.\u003c/p\u003e","\u003cp\u003eThe addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company.  The author's name does not appear in this book.  Dunne was a newspaper columnist, and this book features 49 of his writings.\u003c/p\u003e","\u003cp\u003eThe addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office. \u003c/p\u003e","\u003cp\u003eThe addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items. \u003c/p\u003e","\u003cp\u003eThe addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.\u003c/p\u003e  ","\u003cp\u003eThis series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.]  As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.\u003c/p\u003e","\u003cp\u003eThis series includes signatures of prominent celebrities and historical figures collected by the Chiltons.  (Access to rare signatures requires the permission of a WVC curator.)\u003c/p\u003e","\u003cp\u003eThis series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.\u003c/p\u003e","\u003cp\u003eThis series includes land papers for coal and timber lands in Braxton and Webster counties.\u003c/p\u003e","\u003cp\u003eThis series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.\u003c/p\u003e","\u003cp\u003eThis series includes copies of the Yale Daily News for 1914-1915.\u003c/p\u003e","\u003cp\u003eThis series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.\u003c/p\u003e","\u003cp\u003eThis series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.\u003c/p\u003e","\u003cp\u003eThis series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century.  The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.\u003c/p\u003e","\u003cp\u003eAll boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.\u003c/p\u003e","\u003cp\u003eThis series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985.    These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..\u003c/p\u003e","\u003cp\u003eThis series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.\u003c/p\u003e","\u003cp\u003eThis series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026amp;T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy.  More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.\u003c/p\u003e","\u003cp\u003eThis series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos.  This series also contains autographed photos collected by Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes a variety of artifacts collected by Ned Chilton.\u003c/p\u003e","\u003cp\u003eThis series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics.  Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.\u003c/p\u003e","\u003cp\u003eThis series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.\u003c/p\u003e","\u003cp\u003eThis series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.\u003c/p\u003e","\u003cp\u003eThis series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.\u003c/p\u003e","\u003cp\u003eThis series includes oversize photos, drawings, cartoons, blueprints and certificates.\u003c/p\u003e","\u003cp\u003eThis addendum includes one folder containing a book owned by Ned Chilton titled \u003ctitle\u003e\u003cpart\u003eMr. Dooley: In Peace and in War\u003c/part\u003e\u003c/title\u003e by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.\u003c/p\u003e","\u003cp\u003eThis addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.\u003c/p\u003e","\u003cp\u003eThis sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.\u003c/p\u003e","\u003cp\u003eThis sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.\u003c/p\u003e","\u003cp\u003eThis sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.\u003c/p\u003e","\u003cp\u003eThis addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.\u003c/p\u003e","\u003cp\u003eThis box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.\u003c/p\u003e","\u003cp\u003eThis box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.\u003c/p\u003e","\u003cp\u003eThis box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.\u003c/p\u003e","\u003cp\u003eThis partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.\u003c/p\u003e","\u003cp\u003eThis partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.\u003c/p\u003e","\u003cp\u003eThis partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.\u003c/p\u003e","\u003cp\u003eThis partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.\u003c/p\u003e","\u003cp\u003eThis sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.\u003c/p\u003e","\u003cp\u003eThis box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.\u003c/p\u003e","\u003cp\u003eThis partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.\u003c/p\u003e","\u003cp\u003eThis sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.\u003c/p\u003e","\u003cp\u003eThis sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.\u003c/p\u003e","\u003cp\u003eThis partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.\u003c/p\u003e","\u003cp\u003eThis partial box includes court case documentation, correspondence, and other Gazette related materials.\u003c/p\u003e","\u003cp\u003eThis partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.\u003c/p\u003e","\u003cp\u003eThis partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.\u003c/p\u003e","\u003cp\u003eThis addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Scrapbooks, correspondence, business papers, and memorabilia of a prominent Charleston family that were long time owners of the Charleston Gazette.  There are papers of W. E. Chilton, Sr., and for his son and grandson, W. E. Chilton, Jr. and W. E. Chilton, III.  The papers of Chilton senior include some correspondence, but mostly land papers documenting the coal mining district in Webster and Braxton Counties. There are also scrapbooks, and contracts pertaining to the family newspaper business; and volumes on the education of W. E. Chilton, Jr. at Woodberry, VA Forest School, and at Yale. The military service of the Chiltons is documented by the service papers, photographs, and other material for W. E. Chilton, Jr. and W. E. Chilton, III in World War (WWI) I and World War II (WWII) respectively.","The initial acquisition of 1992 includes eight boxes documenting primarily William Edwin Chilton senior (1858-1939), including series for:  general correspondence; rare signatures; subjects; land titles and abstracts; legal records; newspapers and pictures; scrapbooks; and artifacts.  For details see inventory in control folder at the library.","Rare signatures in the initial acquisition of W. E. Chilton, Sr., include:  Louis \"Satchmo\" Armstrong, Newton D. Baker, Alben W. Barkley, \"Count\" Basie, Lester Young, Louis D. Brandeis, Richard E. Byrd, Cab Calloway, Dale Carnegie, Tom Clark, Grover Cleveland, Charles Curtis, Josephus Daniels, John W. Davis, \"Dizzy\" Dean, Jack Dempsey, Thomas E. Dewey, J. DiMaggio, James A. Farley, Bob Feller, Ella Fitzgerald, John N. Garner, Lou Gehrig, Carter Glass, Hank Greenberg, W. C. Handy, Averell Harriman, Herbert Hoover, J. Edgar Hoover, Harold L. Ickes, Helen Keller, Guy Lombardo, Joe Louis, William G. McAdoo, Glenn Miller, Dwight Morrow, C. W. Nimitz, G. W. Norris, Westbrook Pegler, Gifford Pinchot, Drew Pearson, Sam Rayburn, Eddie V. Rickenbacker, Paul Robeson, Edward G. Robinson, Eleanor Roosevelt, Franklin D. Roosevelt, \"Babe\" Ruth, J. D. Salinger, Margaret Sanger, Sam Snead, Felix B. Stump, Fred M. Vinson, \"Fats\" Waller, W. A. White, Jess Willard, Ted Williams, Wendell Willkie, Edith Bolling Wilson, Woodrow Wilson, and Cy Young.","The addendum of 2001 includes five boxes documenting primarily William Edwin Chilton, III (1921-1987), including series for:  biographical information; incoming letters; photographs; ephemera; clippings; subjects; legal records; writings, speeches, and publications; and oversize.  For details see inventory in control folder at the library.","The addendum of 2004 includes one folder containing a book owned by Ned Chilton titled \"Mr. Dooley In Peace and in War\" by Finley Peter Dunne, published in 1899 by Small, Maynard and Company.  The author's name does not appear in this book.  Dunne was a newspaper columnist, and this book features 49 of his writings.","The addendum of 2018 April 4 includes 3 boxes consisting of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","The addendum of 2018 July 24 includes 10 boxes consisting of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","The addendum of 2018 November 29 includes 1 folder featuring a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton.","This series includes mostly incoming letters and cards to William Edwin Chilton, Sr. [1858-1939], William Edwin Chilton, Jr. [1893-1950], William Edwin [Ned] Chilton, III [1921-1987], J. Eustace Chilton, and a number of employees of the Charleston Gazette; topics of discussion include personal matters and business affairs of the family, business of the Charleston Gazette, business of the U.S. Senate, Prohibition, the Depression, the election of Franklin D. Roosevelt, and Democratic Party issues and strategies, among other subjects; there are original cartoons by popular comic strip artists drawn for William E. \"Ned\" Chilton, III, [with black ink on heavy card stock.]  As W.E. Chilton, III, was an avid collector of autographs, some files also contain letters soliciting signatures, as well as signed cards and replies.","This series includes signatures of prominent celebrities and historical figures collected by the Chiltons.  (Access to rare signatures requires the permission of a WVC curator.)","This series includes the WWI US Navy Air Corps service papers of Chilton, Jr., and the WWII US Army Air Corp diary of Chilton, III.","This series includes land papers for coal and timber lands in Braxton and Webster counties.","This series includes the wills and other documents of Chilton, Sr. and Chilton, Jr.","This series includes copies of the Yale Daily News for 1914-1915.","This series includes one scrapbook for Chilton, Sr. (1911-56) and five scrapbooks for Chilton, Jr. (1911-1953), among others.","This series includes two Yale fraternity paddles, a WV House of Delegates License Plate, a ceremonial key to the City of Logan, and a glass encapsulated nail of WVU Martin Hall.","This series documents the life of William E. \"Ned\" Chilton, III, member of a prominent Charleston family which has managed the Charleston Gazette since the late nineteenth century.  The majority of this collection consists of letters received by Chilton that discuss family matters, the business of the Charleston Gazette, social and political issues, and current events of the time.","All boxes listed with \"ADD\" at the beginning of the box number are part of this addendum.","This series includes mostly incoming letters to William Edwin \"Ned\" Chilton, III, from 1920-1985.    These letters describe business and personal matters of the Chilton family and the Charleston Gazette. Since Chilton corresponded with numerous journalists, syndicated columnists, and elected officials, these incoming letters document his social and political activities and discuss historic and political events. Some early letters belong to his father, W.E. Chilton, Jr. and his grandfather, W. E. Chilton, Sr..","This series includes incoming letters from 1961-1985 covering a range of personal and political topics. Topics include family, travel plans, possible guests for Firing Line, William F. Buckley Pulitzer nomination, Mexico, gun control, Rockefeller campaign spending, the Freedom of Information Act, Rhodesia, libel, 1980 presidential election, cost of legal services, public presentation of legal ethics committees, punishment of nonviolent crimes, drugs, drug policy, L.T. Anderson, and Vietnam. Other letters from Buckley also can also be found within the chronologically sorted letters.","This series contains incoming letters from 1960-1987 that discuss personal and political matters. Topics include banking and equality under the law, FBI, J. Edgar Hoover, civil liberties of Congress, Edvard Munch, National Taxpayer's Union, neo-liberalism, editing problems in Charleston Gazette, Hoover Commission Study, West Virginia economics and politics, Russell Baker, Bob Eckhardt, salaries of legislators, oil crisis, AT\u0026T, Congressional Power, Richard Nixon, Ted Kennedy, Robert C. Byrd, punishment for white collar crime, Ralph Nader, flag burning, UMW pension fund, Associated Press vs. United Press International, prisons, treatment of prisoners, drunk driving, neo-liberalism and homosexuality, nomination of Chilton for Hugh Hefner 1st Amendment Award, Larry Flynt, legalization of drugs, and national security policy.  More letters from Robert and Mary Sherrill can be found within the chronologically sorted letters.","This series contains photos of W.E. \"Ned\" Chilton, pictures of other Chilton family members, and miscellaneous unidentified photos.  This series also contains autographed photos collected by Chilton.","This series includes a variety of artifacts collected by Ned Chilton.","This series includes newspaper and magazine clippings which document Chilton's family, career, and miscellaneous topics.  Other clippings include a series of Charleston Gazette editorials from 1949 and newspaper clippings relating to W.E. Chilton, Sr.'s election to Senate in 1911.","This series includes documents relating to Chilton's Journalism Professorship at WVU, the Southern Newspaper Publishers Association, the WVU Parkersburg Center, Yale University, the \n1982 Elijah Parish Lovejoy Award, as well as certificates, financial papers and receipts, invitations, programs, and tributes.","This series includes documents from a case argued by W.E. Chilton, Sr. and court decisions relating to the wills of W.E. Chilton, Jr. and John D. Schoonmaker.","This series includes miscellaneous writings on political and historical topics by William Edwin \"Ned\" Chilton, III.","This series includes oversize photos, drawings, cartoons, blueprints and certificates.","This addendum includes one folder containing a book owned by Ned Chilton titled Mr. Dooley: In Peace and in War by Finley Peter Dunne. It is a third or fourth edition copy, published in 1899 by Small, Maynard and Company. The author's name does not appear in this book. Dunne was a newspaper columnist, and this book features 49 of his writings.","This addendum consists of material related to the Charleston Gazette and W.E. (Ned) Chilton III including publications, artwork, and historic certificates that were presumably collected for display in his home or office.","This sub-series contains a selection of publications collected by Ned and Betty Chilton. Many of these books were gifted to them and contain notes or signatures from the individual who bestowed the gift. Others contain embossed imprints to indicate that Ned Chilton was the owner of the book. Topics include but are not limited to politics, comics, industry, fiction, and West Virginia history. Includes multiple books by William F. Buckley, Jr.","This sub-series contains four displomas/certificates given to W.E. Chilton, Jr. and Sr. to acknowledge Chilton Sr.'s induction into the legislature, Chilton Jr.'s school graduation, and their contributions to political funds.","This sub-series contains eight framed and unframed drawings or prints. Contents include two framed caricatures drawn by Taylor Jones (1976 and 1977), two framed prints from the Rex Morgan, MD (May 24, 1965) and Beetle Bailey (1975) comic strips, two unframed prints from the Blondie (November 28, 1993) and Dick Tracy (April 8, 1935) comic strips, an unlabeled print by comic artist Kendall Vintroux (March 19, 1966), and a framed copy of the Harper's Weekly political cartoon drawn by Thomas Nast, depicting the first representation of the Democratic party as a donkey and originally published on January 15, 1870.","This addendum consists of material related to the Chilton family and their activities and involvement with the Charleston Gazette, its employees, notable figures, business contacts, and other related entities. Formats include scrapbooks, clippings and facsimiles of articles, publications, print and digital photographs, correspondence, records of court proceedings, art prints, receipts, financial documents, certificates and other forms of achievement recognition, and additional miscellaneous related items.","This sub-series consists of scrapbooks featuring clippings from the Charleston Gazette, arranged by the Chilton family into binders organized by publication date.","This box contains five ring-bound scrapbooks and several loose scrapbook pages. These scrapbooks consist of materials related to the Charleston Gazette. The binders are labeled Old Days (contains materials from as early as 1900), Late 1950s, From 1980, Toward 2000, and 2001: A Gazette Odyssey. The unbound pages contain content ranging from the 1940s to 2017, and they appear to have been created around 2017.","This box contains five ring-bound scrapbooks consisting of photographs, clippings, and other materials related to the Charleston Gazette. The binders are labeled From the '60s (materials from ca. 1960-1979), Into 2003 (materials from 2002-2004), 2005, 2009, and 2014. These scrapbooks appear to have been created ca. 2017.","This sub-series consists of miscellaneous articles, clippings, and facsimiles of articles from the Charleston Gazette and other publications. Topics include Ned Chilton and other notable figures, politics, business, and industry in West Virginia, and additional miscellaneous topics.","This box consists of miscellaneous clippings from the Charleston Gazette and other publications. Also included is a printed, bound collection of facsimiles of articles originally published in the Charleston Gazette covering the subject of consumer fraud.","This partial box contains a broad selection of clippings, most originally printed in the Charleston Gazette, but also includes articles from other publications. Topics include Gazette Q and A interviews, politics, finance, articles written to memorialize Ned Chilton, and features highlighting Chilton family activities and achievements.","This partial box contains a collection of clippings from the Gazette and other publications, material related to awards and scholars sponsored by the Gazette, and additional miscellaneous related items.","This partial box contains a variety of clippings, from the Charleston Gazette and other publications, including articles written by or about W.E. (Ned) Chilton III.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include clippings, facsimiles of articles and family history book pages, publications, and other miscellaneous materials. Topics include published articles based on the Chiltons' trip around the world in 1977, Gazette investigative reports, articles written by or about W.E. (Ned) Chilton III, the Charleston Gazette and Chilton family members featured in other publications, and Ned Chilton memorial articles.","This sub-series contains two framed prints and three commemorative plaques. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a poster, a signed photo mat, several oversize publications, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This box contains two framed prints, one from the Steve Roper comic and one from the Judge Parker comic, both from 1965. Also included are two undated, unlabeled photos that appear to be of W. E. Chilton, Jr., a Charleston Gazette poster, a photo mat signed by Lieutenant Colonel Alan Sierichs (retired), several oversize publications including The John Birch Coloring Book published in 1962, and clippings from the Charleston Gazette, the Sunday Gazette-Mail, and other news publications.","This partial box contains three commemorative metal plaques. One award was given in tribute to the Charleston Gazette from the Associated Press Managing Editors Association in 1979. The other two were presented to Elizabeth (Betty) Chilton, and include the West Virginia State College Second Century Award and the Charleston Distance Run Eugene M. Fuller Extra Mile Award, to acknowledge her excellence in leadership, service, and dedication.","This sub-series consists of two folders of photos, 19 .jpg images, and a folder of printed copies of the digital photos, which document Charleston Gazette and Charleston Daily Mail staff and activities. Also includes a 3 and 3/4 speed tape reel recording of political programs from the early 1960s and a CD-R of West Virginia Public Radio program content featuring Jim Haught discussing the Charleston Gazette, Ned Chilton, Don Marsh, and other topics.","This sub-series includes correspondence, court documentation, financial records, and other materials related to the Charleston Gazette and Chilton family business.","This partial box consists of materials related to Gazette business, including but not limited to correspondence, court proceedings, artwork, financial records, and other miscellaneous documents related to the Charleston Gazette and the Chiltons.","This partial box includes court case documentation, correspondence, and other Gazette related materials.","This partial box consists of Gazette business materials, including but not limited to travel documentation, sponsorship documents and correspondence, visiting scholars and journalists, government correspondence regarding the Freedom of Information Act and potential government files about the Gazette, committee and insurance information, and other miscellaneous business correspondence and documentation.","This partial box contains Charleston Gazette and Chilton family keepsakes/mementos and related materials. Formats include correspondence including letters and printed copies of emails, court reports, photographs, financial documents, and other miscellaneous materials. It includes materials the Chiltons retained from their trip around the world in 1977, information about the Charleston Gazette business, and documentation of Chilton family members' activities and achievements.","This addendum consists of a selection of ephemera related to the personal achievements of W.E. (Ned) Chilton III and Elizabeth (Betty) Chilton."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4833b10941e14ac77c2df571c3b6fe38\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: \u003ca href=\"https://wvrhc.lib.wvu.edu/\"\u003eWest Virginia \u0026amp; Regional History Center\u003c/a\u003e\u003c/physloc\u003e\n    "],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center"],"corpname_ssim":["West Virginia and Regional History Center"],"famname_ssim":["Pearson, Drew."],"names_coll_ssim":["Pearson, Drew.","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1858-1939","Chilton, William E. (William Edwin), 1858-1939","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010","Chilton, Betty","Chilton, Betty"],"persname_ssim":["Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"names_ssim":["West Virginia and Regional History Center","Pearson, Drew.","Chilton, William E. (William Edwin), 1858-1939","Chilton, Betty","Chilton, William E. (William Edwin), 1893-1950","Chilton, William E. (William Edwin), 1921-1987","Roosevelt, Eleanor, 1884-1962","Roosevelt, Franklin D. (Franklin Delano), 1882-1945","Salinger, J. D. (Jerome David), 1919-2010"],"language_ssim":["English\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":461,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:53:14.141Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1202_c13_c02"}},{"id":"vihart_repositories_4_resources_632_c02_c01","type":"Sub-Series","attributes":{"title":"City Planning, 1960/2012","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_632_c02_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSubseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_632_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vihart_repositories_4_resources_632_c02_c01","ref_ssm":["vihart_repositories_4_resources_632_c02_c01"],"id":"vihart_repositories_4_resources_632_c02_c01","ead_ssi":"vihart_repositories_4_resources_632","_root_":"vihart_repositories_4_resources_632","_nest_parent_":"vihart_repositories_4_resources_632_c02","parent_ssi":"vihart_repositories_4_resources_632_c02","parent_ssim":["Robert James Sullivan Jr. papers, 1920/2013","City of Harrisonburg, 1958/2012"],"parent_ids_ssim":["vihart_repositories_4_resources_632","vihart_repositories_4_resources_632_c02"],"title_filing_ssi":"City Planning","title_ssm":["City Planning"],"title_tesim":["City Planning"],"normalized_title_ssm":["City Planning, 1960/2012"],"text":["City Planning, 1960/2012","Robert James Sullivan Jr. papers, 1920/2013","City of Harrisonburg, 1958/2012","Subseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s."],"parent_unittitles_ssm":["Robert James Sullivan Jr. papers, 1920/2013","City of Harrisonburg, 1958/2012"],"parent_unittitles_tesim":["Robert James Sullivan Jr. papers, 1920/2013","City of Harrisonburg, 1958/2012"],"normalized_date_ssm":["1960/2012"],"unitdate_inclusive_ssm":["1960-2012"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[2],"sort_isi":38,"repository_ssim":["James Madison University"],"collection_ssim":["Robert James Sullivan Jr. papers, 1920/2013"],"has_online_content_ssim":["false"],"child_component_count_isi":11,"parent_access_restrict_tesm":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"parent_access_terms_tesm":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"date_range_isim":[1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"scopecontent_html_tesm":["\u003cp\u003eSubseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Subseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s."],"_nest_path_":"/components#1/components#0","timestamp":"2026-06-23T06:57:53.919Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_632","ead_ssi":"vihart_repositories_4_resources_632","_root_":"vihart_repositories_4_resources_632","_nest_parent_":"vihart_repositories_4_resources_632","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_632.xml","title_ssm":["Robert James Sullivan Jr. papers"],"title_tesim":["Robert James Sullivan Jr. papers"],"unitdate_ssm":["circa 1930-2013"],"unitdate_inclusive_ssm":["circa 1930-2013"],"normalized_date_ssm":["1920/2013"],"normalized_title_ssm":["Robert James Sullivan Jr. papers, 1920/2013"],"text":["Robert James Sullivan Jr. papers, 1920/2013","SC 0003","/repositories/4/resources/632","Harrisonburg (Va.) -- History -- 20th century","Harrisonburg (Va.) -- History -- 21st century","Harrisonburg (Va.) -- Description and travel","Harrisonburg (Va.) -- Politics and government","Newtown (Rockingham County, Va.)","Virginia -- History, Local","City planning -- Virginia -- Harrisonburg","Community development, Urban -- Virginia -- Harrisonburg","Letters (correspondence)","Color slides","Digital images","Photographs","Annual reports","Maps (documents)","Newspaper clippings","Scrapbooks","Pamphlets","Drawings (visual works)","Brochures","Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","All slides within series 6: Photographs and Slides, have been digitized and are available within JMU Scholarly Commons (https://commons.lib.jmu.edu/rjs/).","The papers are arranged in six series. Series 1: Reports and Series 2: City of Harrisonburg are arranged further into subseries. All series and subseries arranged chronologically.","Reports, 1946-1992\n      City of Harrisonburg, 1958-2012\n      Personal Papers, 1952-2013\n      Scrapbooks and Newspaper, 1945-2012\n      Maps, 1958-2003\n      Photographs and Slides, circa 1930-2012","Arranged topically.","Arranged under two headings: Photographs, and Slides. Photographs are arranged chronologically, and Slides are arranged topically.","Robert \"Bobby\" James Sullivan Jr. was born on November 18, 1937 in Harrisonburg, Virginia and was the eldest son of the late Robert J. Sullivan Sr. and Goldie Liskey Sullivan. He passed away on February 4, 2013. Sullivan graduated from Harrisonburg High School in 1956 and received a Bachelor of Science degree from Mount St. Mary's College in 1960 and a master's degree in Public Administration from the University of Pittsburgh in 1962. He married Kathleen Marie Donovan on June 27, 1964.","Sullivan was the City Planner for the city of Harrisonburg from 1965-1991 during the years that saw Urban Redevelopment for parts of the city as well as growth through annexation. He also taught as an adjunct Assistant Professor of Political Science for James Madison University from 1970-2006. See folder titled \"Background Information, Robert J. Sullivan, Jr., August 1998\" from the Personal Papers series for details of his life and career.","Known locally as the \"unofficial historian\" of Harrisonburg, Sullivan often spoke to groups about the history of Harrisonburg. He was responsible for creating walking tours of downtown Harrisonburg first with his JMU Political Science classes, and later with the larger community.","Sullivan was a life-long member of Blessed Sacrament parish and a member of the Knights of Columbus. He served on the Rockingham Public Library Board and the Salvation Army Advisory Board for over thirty years. He was especially fond of the Harrisonburg High School athletic teams and was recognized as the Harrisonburg Blue Streaks biggest fan when he was inducted into the Harrisonburg High School Hall of Fame as part of the inaugural class of 2008.","When this collection was received from the donor, some materials had been wet and suffered from mold damage. Materials with excessive water damage or mold were photocopied and the originals discarded.","SdArch 2-3 : Oral history interview [sound recording] / Bob Sullivan ; interviewed by Amy Accles, forms part of Court Square, Harrisonburg, Virginia, an oral history project. Transcript also available in Special Collections and the circulating collection: F234.H31 A29 1990.","The Harrisonburg, VA branch of the Massanutten Regional Library holds 36 scrapbooks created by Sullivan from the years 1965-2001. These scrapbooks are cataloged under the title \"Harrisonburg Civic Scrapbook.\"","The Robert James Sullivan Jr. Papers consist of materials that Sullivan created and collected relating mostly to the city of Harrisonburg, Virginia, where he served as the City Planner from 1965-1991. The collection contains documents related to city planning, the history and expansion of Harrisonburg, and urban renewal. Other materials document his time in the Political Science Department at James Madison University as well as the walking tours he led of downtown Harrisonburg. His personal papers include newspaper clippings, correspondence, and other documents relating to his life and career. Also contained in the collection are a large number of photographs and slides that Sullivan took that capture the growth and changes in Harrisonburg over time. Images of note include a panoramic view of Harrisonburg ca. 1930, photos and slides that document urban renewal projects, and images of downtown Harrisonburg, VA from the 1960s-2000s.","Arranged into three subseries: City Planning Commission Annual Reports, 1966-1981, Urban Planning Grants, 1965-1966, and Miscellaneous Reports, 1946-1992. Arranged chronologically within each series.","Subseries 1.1: City Planning Commission Annual Reports, 1966-1981, contains a continuous run of annual reports for the City Planning Commission from 1965 through 1981. These annual reports include planning commission highlights and monthly summaries of activities. The 1965-1966 report notes that Robert J. Sullivan Jr. took over the duties of Planning Director on October 1, 1965.","Subseries 1.2: Urban Planning Grants, 1965-1966, contains reports prepared under the contract for the Local Planning Section: Department of Conservation and Economic Development, State of Virginia. The preparation of these reports was funded in part through an urban planning grant from the Housing and Home Finance Agency. The reports contain analysis of various aspects of the city of Harrisonburg, including population statistics and information pertaining to residential neighborhoods and the downtown area. These Urban Planning Grants also include a 1966 comprehensive plan for development over the following twenty years as well as a summary report of that plan. These reports were office copies that belonged to Robert James Sullivan Jr. and have his name written on the cover. Because of excessive mold on these reports, all items from this subseries have been photocopied and originals discarded.","Subseries 1.3: Miscellaneous City Planning Reports, 1946-1992, contains various other reports that relate to city planning in Harrisonburg or city planning in general. Two reports relate to city planning in Norfolk, Virginia from the 1940s and 1950s and document urban renewal or \"slum clearance\" efforts there. Box 1 folder 27 contains an outline of the history of City Planning in Harrisonburg, beginning with the establishment of the Planning Commission in March, 1938. The report titled Harrisonburg: \"The City with the Planned Future,\" contains a detailed history of the founding and growth of Harrisonburg, including population statistics and documentation of land annexation as well a listing of the members of City Council from 1849-2006.","Arranged into two subseries: City Planning, 1960-2012, and Harrisonburg History, 1958-2008. Arranged chronologically within each series.","Subseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s.","Subseries 2.2: Harrisonburg History, 1958-2008, contains materials collected by Sullivan that relate to the history of Harrisonburg, as well as materials he created related to the history and development of the city. Sullivan was known as the \"unofficial historian of Harrisonburg\" and materials in this subseries document the history and development of Harrisonburg. Items of note include original drawings of downtown Harrisonburg from the 1950s and 1960s as well as posters and brochures that contain Sullivan's sketches for the 1980 Bicentennial celebration. Other materials include the text of various talks Sullivan gave on the history of Harrisonburg to various groups in town.","Arranged Chronologically. Materials in the Personal Papers series document Sullivan's professional activities as well as his time as an instructor in the Political Science Department at James Madison University. Please note that the folder titled \"JMU Classes - Evaluations,\" do not contain student grades or performance evaluations, but rather contain evaluations completed by students about Sullivan's performance as an instructor. For details of Sullivan's life and career highlights please see the folder titled \"Background Information Robert J. Sullivan Jr., August 1998.\"","Arranged Chronologically. The Scrapbooks and Newspaper series consists of newspaper clippings collected by Sullivan, either loose in folders, or pasted into scrapbook pages, that document city planning activities primarily in Harrisonburg, VA. Most newspaper clippings come from the Harrisonburg Daily News-Record. In addition to clippings that document city planning efforts, Sullivan also collected clippings that relate to historical aspects of Harrisonburg, particularly those that feature images of Harrisonburg from the past. The folder titled \"Old Times\" : News and photos from the Daily News-Record contains a copy of the front page of the Daily News-Record from 1945 that reports on the ending of World War II. Please note that the scrapbooks in box 5, folders 4-7 are photocopies of the original scrapbooks. The original scrapbooks suffered from mold damage and were not retained.","The maps series contains maps produced or used by the Harrisonburg Housing and Redevelopment Authority that document homes and businesses in areas of Harrisonburg slated for demolition through urban renewal initiatives. Other city planning maps include hand-drawn maps created by Sullivan that show the growth of Harrisonburg over time and through annexation, as well as miscellaneous maps of Harrrisonburg and Rockingham County collected from various sources. Map identifier is located on the back of each item in the bottom right corner.","Broad Street, Mason Street, N. Main Street","Broad Street, E. Gay St.","N. Mason St, Rock St.","Effinger St., Broad St.","N. Mason, E. Rock St.","Broad St., Rock St.","Broad St., Rock St.","Broad St., E. Rock St.","This series comprises photographic prints and slides created or collected by Sullivan that primarily document neighborhoods, buildings, and other locations in and around Harrisonburg, Virginia from circa 1930 to 2006.\nImages document the areas of Harrisonburg targeted for urban renewal in the 1960s, street widening and other planning commission projects, as well as buildings and other features of downtown Harrisonburg from the 1960s-early 2000s. Images in this series were taken and used by Sullivan both in his professional capacity as City Planning Director, as well as for personal use. Other content found among this series includes images of Harrisonburg High School football games in the early 2000s as well as images of JMU students in classes taught by Sullivan and on walking tours conducted as part of his courses from 1990-2006. Items identified as photo albums in the inventory were removed from their original albums and foldered individually with corresponding captions as folder titles.","All slides have been digitized and are available within JMU Scholarly Commons (https://commons.lib.jmu.edu/rjs/). Slides are arranged topically from the original arrangement created by Sullivan, and are listed alphabetically. Descriptive titles for the topical groupings listed in the inventory were transcribed from Sullivan's own description, written onto slide reel boxes. Additionally, Sullivan wrote item level image description onto most slides in the collection. That descriptive information is listed as the image title when viewing the images within JMU Scholarly Commons.","Most slide images document Harrisonburg and the surrounding area from the 1960s-1980s. Other content includes images of Reston, VA, and Durham, NC that feature housing complexes and downtown areas. Note that images of Harrisonburg are found within the grouping labeled as \"Durham, NC,\" as well as in the grouping titled \"non-H'burg.\"","Includes Turkey Statue - \"Welcome to Rockingham County Turkey Capital.\"","Harrisonburg \"City Hall\" Bryan Mabry, Harrisonburg School Board Office, VA Quilt Museum, Massanutten Regional Library, Rockingham County Office Building, Rockingham County Court House, Rockingham-Harrisonburg Judicial Center, Rockingham-Harrisonburg Dept. of Health and Social Services, J. R. Lineweaver Apartments, Harrisonburg Fire Station #4, VA Dept. of Taxation Office, ABC Store, Rockingham Co. Government Administration Center, Rockingham Harrisonburg Judicial Center, Harrisonburg Electric Commission, Court House Clock Tower","Two aerials of Harrisonburg and one of JMU.","The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Robert James Sullivan Jr. Papers consist of professional and personal records and reports, and document Sullivan's time as City Planner of Harrisonburg from 1965-1991, his career in the Political Science Department at James Madison University, and work as the \"unofficial historian\" of Harrisonburg. Materials include city planning reports, newspaper articles, photographs, scrapbooks, and maps.","James Madison University Libraries Special Collections","Madison College -- Faculty","Madison College -- History","James Madison University -- Faculty","James Madison University -- History","Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen","Caldwell, Martha B. (Martha Belle), 1931-2020","Marshall, Caroline T., 1938-2018","English"],"collection_title_tesim":["Robert James Sullivan Jr. papers, 1920/2013"],"collection_ssim":["Robert James Sullivan Jr. papers, 1920/2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0003","/repositories/4/resources/632"],"unitid_tesim":["SC 0003","/repositories/4/resources/632"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["Harrisonburg (Va.) -- History -- 20th century","Harrisonburg (Va.) -- History -- 21st century","Harrisonburg (Va.) -- Description and travel","Harrisonburg (Va.) -- Politics and government","Newtown (Rockingham County, Va.)","Virginia -- History, Local"],"geogname_ssim":["Harrisonburg (Va.) -- History -- 20th century","Harrisonburg (Va.) -- History -- 21st century","Harrisonburg (Va.) -- Description and travel","Harrisonburg (Va.) -- Politics and government","Newtown (Rockingham County, Va.)","Virginia -- History, Local"],"places_ssim":["Harrisonburg (Va.) -- History -- 20th century","Harrisonburg (Va.) -- History -- 21st century","Harrisonburg (Va.) -- Description and travel","Harrisonburg (Va.) -- Politics and government","Newtown (Rockingham County, Va.)","Virginia -- History, Local"],"creator_ssm":["Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen"],"creator_ssim":["Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen"],"creator_persname_ssim":["Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen","Caldwell, Martha B. (Martha Belle), 1931-2020","Marshall, Caroline T., 1938-2018"],"creator_corpname_ssim":["James Madison University Libraries Special Collections","Madison College -- Faculty","Madison College -- History","James Madison University -- Faculty","James Madison University -- History"],"creators_ssim":["Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen","Caldwell, Martha B. (Martha Belle), 1931-2020","Marshall, Caroline T., 1938-2018","James Madison University Libraries Special Collections","Madison College -- Faculty","Madison College -- History","James Madison University -- Faculty","James Madison University -- History"],"access_terms_ssm":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["The collection was donated by Kathleen Sullivan, wife of Robert James Sullivan Jr., in two separate donations in April 2014 and August 2015."],"access_subjects_ssim":["City planning -- Virginia -- Harrisonburg","Community development, Urban -- Virginia -- Harrisonburg","Letters (correspondence)","Color slides","Digital images","Photographs","Annual reports","Maps (documents)","Newspaper clippings","Scrapbooks","Pamphlets","Drawings (visual works)","Brochures"],"access_subjects_ssm":["City planning -- Virginia -- Harrisonburg","Community development, Urban -- Virginia -- Harrisonburg","Letters (correspondence)","Color slides","Digital images","Photographs","Annual reports","Maps (documents)","Newspaper clippings","Scrapbooks","Pamphlets","Drawings (visual works)","Brochures"],"has_online_content_ssim":["false"],"extent_ssm":["8.53 cubic feet 12 boxes, 4 flat files"],"extent_tesim":["8.53 cubic feet 12 boxes, 4 flat files"],"genreform_ssim":["Letters (correspondence)","Color slides","Digital images","Photographs","Annual reports","Maps (documents)","Newspaper clippings","Scrapbooks","Pamphlets","Drawings (visual works)","Brochures"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eCollection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"altformavail_html_tesm":["\u003cp\u003eAll slides within series 6: Photographs and Slides, have been digitized and are available within JMU Scholarly Commons \u003cextref type=\"simple\" actuate=\"onRequest\" show=\"new\" href=\"https://commons.lib.jmu.edu/rjs/\"\u003e(https://commons.lib.jmu.edu/rjs/).\u003c/extref\u003e\u003c/p\u003e  "],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["All slides within series 6: Photographs and Slides, have been digitized and are available within JMU Scholarly Commons (https://commons.lib.jmu.edu/rjs/)."],"arrangement_html_tesm":["\u003cp\u003eThe papers are arranged in six series. Series 1: Reports and Series 2: City of Harrisonburg are arranged further into subseries. All series and subseries arranged chronologically.\u003c/p\u003e    ","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eReports, 1946-1992\u003c/item\u003e\n      \u003citem\u003eCity of Harrisonburg, 1958-2012\u003c/item\u003e\n      \u003citem\u003ePersonal Papers, 1952-2013\u003c/item\u003e\n      \u003citem\u003eScrapbooks and Newspaper, 1945-2012\u003c/item\u003e\n      \u003citem\u003eMaps, 1958-2003\u003c/item\u003e\n      \u003citem\u003ePhotographs and Slides, circa 1930-2012\u003c/item\u003e\n    \u003c/list\u003e\n  ","\u003cp\u003eArranged topically.\u003c/p\u003e","\u003cp\u003eArranged under two headings: Photographs, and Slides. Photographs are arranged chronologically, and Slides are arranged topically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The papers are arranged in six series. Series 1: Reports and Series 2: City of Harrisonburg are arranged further into subseries. All series and subseries arranged chronologically.","Reports, 1946-1992\n      City of Harrisonburg, 1958-2012\n      Personal Papers, 1952-2013\n      Scrapbooks and Newspaper, 1945-2012\n      Maps, 1958-2003\n      Photographs and Slides, circa 1930-2012","Arranged topically.","Arranged under two headings: Photographs, and Slides. Photographs are arranged chronologically, and Slides are arranged topically."],"bioghist_html_tesm":["\u003cp\u003eRobert \"Bobby\" James Sullivan Jr. was born on November 18, 1937 in Harrisonburg, Virginia and was the eldest son of the late Robert J. Sullivan Sr. and Goldie Liskey Sullivan. He passed away on February 4, 2013. Sullivan graduated from Harrisonburg High School in 1956 and received a Bachelor of Science degree from Mount St. Mary's College in 1960 and a master's degree in Public Administration from the University of Pittsburgh in 1962. He married Kathleen Marie Donovan on June 27, 1964.\u003c/p\u003e","\u003cp\u003eSullivan was the City Planner for the city of Harrisonburg from 1965-1991 during the years that saw Urban Redevelopment for parts of the city as well as growth through annexation. He also taught as an adjunct Assistant Professor of Political Science for James Madison University from 1970-2006. See folder titled \"Background Information, Robert J. Sullivan, Jr., August 1998\" from the Personal Papers series for details of his life and career.\u003c/p\u003e","\u003cp\u003eKnown locally as the \"unofficial historian\" of Harrisonburg, Sullivan often spoke to groups about the history of Harrisonburg. He was responsible for creating walking tours of downtown Harrisonburg first with his JMU Political Science classes, and later with the larger community.\u003c/p\u003e","\u003cp\u003eSullivan was a life-long member of Blessed Sacrament parish and a member of the Knights of Columbus. He served on the Rockingham Public Library Board and the Salvation Army Advisory Board for over thirty years. He was especially fond of the Harrisonburg High School athletic teams and was recognized as the Harrisonburg Blue Streaks biggest fan when he was inducted into the Harrisonburg High School Hall of Fame as part of the inaugural class of 2008.\u003c/p\u003e  "],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Robert \"Bobby\" James Sullivan Jr. was born on November 18, 1937 in Harrisonburg, Virginia and was the eldest son of the late Robert J. Sullivan Sr. and Goldie Liskey Sullivan. He passed away on February 4, 2013. Sullivan graduated from Harrisonburg High School in 1956 and received a Bachelor of Science degree from Mount St. Mary's College in 1960 and a master's degree in Public Administration from the University of Pittsburgh in 1962. He married Kathleen Marie Donovan on June 27, 1964.","Sullivan was the City Planner for the city of Harrisonburg from 1965-1991 during the years that saw Urban Redevelopment for parts of the city as well as growth through annexation. He also taught as an adjunct Assistant Professor of Political Science for James Madison University from 1970-2006. See folder titled \"Background Information, Robert J. Sullivan, Jr., August 1998\" from the Personal Papers series for details of his life and career.","Known locally as the \"unofficial historian\" of Harrisonburg, Sullivan often spoke to groups about the history of Harrisonburg. He was responsible for creating walking tours of downtown Harrisonburg first with his JMU Political Science classes, and later with the larger community.","Sullivan was a life-long member of Blessed Sacrament parish and a member of the Knights of Columbus. He served on the Rockingham Public Library Board and the Salvation Army Advisory Board for over thirty years. He was especially fond of the Harrisonburg High School athletic teams and was recognized as the Harrisonburg Blue Streaks biggest fan when he was inducted into the Harrisonburg High School Hall of Fame as part of the inaugural class of 2008."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Robert James Sullivan Jr. Papers, circa 1930-2013, SC 0003, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e  "],"prefercite_tesim":["[identification of item], [box #, folder #], Robert James Sullivan Jr. Papers, circa 1930-2013, SC 0003, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eWhen this collection was received from the donor, some materials had been wet and suffered from mold damage. Materials with excessive water damage or mold were photocopied and the originals discarded.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["When this collection was received from the donor, some materials had been wet and suffered from mold damage. Materials with excessive water damage or mold were photocopied and the originals discarded."],"relatedmaterial_html_tesm":["\u003cp\u003eSdArch 2-3 : Oral history interview [sound recording] / Bob Sullivan ; interviewed by Amy Accles, forms part of Court Square, Harrisonburg, Virginia, an oral history project. Transcript also available in Special Collections and the circulating collection: F234.H31 A29 1990.\u003c/p\u003e","\u003cp\u003eThe Harrisonburg, VA branch of the Massanutten Regional Library holds 36 scrapbooks created by Sullivan from the years 1965-2001. These scrapbooks are cataloged under the title \"Harrisonburg Civic Scrapbook.\"\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["SdArch 2-3 : Oral history interview [sound recording] / Bob Sullivan ; interviewed by Amy Accles, forms part of Court Square, Harrisonburg, Virginia, an oral history project. Transcript also available in Special Collections and the circulating collection: F234.H31 A29 1990.","The Harrisonburg, VA branch of the Massanutten Regional Library holds 36 scrapbooks created by Sullivan from the years 1965-2001. These scrapbooks are cataloged under the title \"Harrisonburg Civic Scrapbook.\""],"scopecontent_html_tesm":["\u003cp\u003eThe Robert James Sullivan Jr. Papers consist of materials that Sullivan created and collected relating mostly to the city of Harrisonburg, Virginia, where he served as the City Planner from 1965-1991. The collection contains documents related to city planning, the history and expansion of Harrisonburg, and urban renewal. Other materials document his time in the Political Science Department at James Madison University as well as the walking tours he led of downtown Harrisonburg. His personal papers include newspaper clippings, correspondence, and other documents relating to his life and career. Also contained in the collection are a large number of photographs and slides that Sullivan took that capture the growth and changes in Harrisonburg over time. Images of note include a panoramic view of Harrisonburg ca. 1930, photos and slides that document urban renewal projects, and images of downtown Harrisonburg, VA from the 1960s-2000s.\u003c/p\u003e  ","\u003cp\u003eArranged into three subseries: City Planning Commission Annual Reports, 1966-1981, Urban Planning Grants, 1965-1966, and Miscellaneous Reports, 1946-1992. Arranged chronologically within each series.\u003c/p\u003e","\u003cp\u003eSubseries 1.1: City Planning Commission Annual Reports, 1966-1981, contains a continuous run of annual reports for the City Planning Commission from 1965 through 1981. These annual reports include planning commission highlights and monthly summaries of activities. The 1965-1966 report notes that Robert J. Sullivan Jr. took over the duties of Planning Director on October 1, 1965.\u003c/p\u003e","\u003cp\u003eSubseries 1.2: Urban Planning Grants, 1965-1966, contains reports prepared under the contract for the Local Planning Section: Department of Conservation and Economic Development, State of Virginia. The preparation of these reports was funded in part through an urban planning grant from the Housing and Home Finance Agency. The reports contain analysis of various aspects of the city of Harrisonburg, including population statistics and information pertaining to residential neighborhoods and the downtown area. These Urban Planning Grants also include a 1966 comprehensive plan for development over the following twenty years as well as a summary report of that plan. These reports were office copies that belonged to Robert James Sullivan Jr. and have his name written on the cover. Because of excessive mold on these reports, all items from this subseries have been photocopied and originals discarded.\u003c/p\u003e","\u003cp\u003eSubseries 1.3: Miscellaneous City Planning Reports, 1946-1992, contains various other reports that relate to city planning in Harrisonburg or city planning in general. Two reports relate to city planning in Norfolk, Virginia from the 1940s and 1950s and document urban renewal or \"slum clearance\" efforts there. Box 1 folder 27 contains an outline of the history of City Planning in Harrisonburg, beginning with the establishment of the Planning Commission in March, 1938. The report titled Harrisonburg: \"The City with the Planned Future,\" contains a detailed history of the founding and growth of Harrisonburg, including population statistics and documentation of land annexation as well a listing of the members of City Council from 1849-2006.\u003c/p\u003e","\u003cp\u003eArranged into two subseries: City Planning, 1960-2012, and Harrisonburg History, 1958-2008. Arranged chronologically within each series.\u003c/p\u003e","\u003cp\u003eSubseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s.\u003c/p\u003e","\u003cp\u003eSubseries 2.2: Harrisonburg History, 1958-2008, contains materials collected by Sullivan that relate to the history of Harrisonburg, as well as materials he created related to the history and development of the city. Sullivan was known as the \"unofficial historian of Harrisonburg\" and materials in this subseries document the history and development of Harrisonburg. Items of note include original drawings of downtown Harrisonburg from the 1950s and 1960s as well as posters and brochures that contain Sullivan's sketches for the 1980 Bicentennial celebration. Other materials include the text of various talks Sullivan gave on the history of Harrisonburg to various groups in town.\u003c/p\u003e","\u003cp\u003eArranged Chronologically. Materials in the Personal Papers series document Sullivan's professional activities as well as his time as an instructor in the Political Science Department at James Madison University. Please note that the folder titled \"JMU Classes - Evaluations,\" do not contain student grades or performance evaluations, but rather contain evaluations completed by students about Sullivan's performance as an instructor. For details of Sullivan's life and career highlights please see the folder titled \"Background Information Robert J. Sullivan Jr., August 1998.\"\u003c/p\u003e","\u003cp\u003eArranged Chronologically. The Scrapbooks and Newspaper series consists of newspaper clippings collected by Sullivan, either loose in folders, or pasted into scrapbook pages, that document city planning activities primarily in Harrisonburg, VA. Most newspaper clippings come from the Harrisonburg Daily News-Record. In addition to clippings that document city planning efforts, Sullivan also collected clippings that relate to historical aspects of Harrisonburg, particularly those that feature images of Harrisonburg from the past. The folder titled \"Old Times\" : News and photos from the Daily News-Record contains a copy of the front page of the Daily News-Record from 1945 that reports on the ending of World War II. Please note that the scrapbooks in box 5, folders 4-7 are photocopies of the original scrapbooks. The original scrapbooks suffered from mold damage and were not retained.\u003c/p\u003e","\u003cp\u003eThe maps series contains maps produced or used by the Harrisonburg Housing and Redevelopment Authority that document homes and businesses in areas of Harrisonburg slated for demolition through urban renewal initiatives. Other city planning maps include hand-drawn maps created by Sullivan that show the growth of Harrisonburg over time and through annexation, as well as miscellaneous maps of Harrrisonburg and Rockingham County collected from various sources. Map identifier is located on the back of each item in the bottom right corner.\u003c/p\u003e","\u003cp\u003eBroad Street, Mason Street, N. Main Street\u003c/p\u003e","\u003cp\u003eBroad Street, E. Gay St.\u003c/p\u003e","\u003cp\u003eN. Mason St, Rock St.\u003c/p\u003e","\u003cp\u003eEffinger St., Broad St.\u003c/p\u003e","\u003cp\u003eN. Mason, E. Rock St.\u003c/p\u003e","\u003cp\u003eBroad St., Rock St.\u003c/p\u003e","\u003cp\u003eBroad St., Rock St.\u003c/p\u003e","\u003cp\u003eBroad St., E. Rock St.\u003c/p\u003e","\u003cp\u003eThis series comprises photographic prints and slides created or collected by Sullivan that primarily document neighborhoods, buildings, and other locations in and around Harrisonburg, Virginia from circa 1930 to 2006.\nImages document the areas of Harrisonburg targeted for urban renewal in the 1960s, street widening and other planning commission projects, as well as buildings and other features of downtown Harrisonburg from the 1960s-early 2000s. Images in this series were taken and used by Sullivan both in his professional capacity as City Planning Director, as well as for personal use. Other content found among this series includes images of Harrisonburg High School football games in the early 2000s as well as images of JMU students in classes taught by Sullivan and on walking tours conducted as part of his courses from 1990-2006. Items identified as photo albums in the inventory were removed from their original albums and foldered individually with corresponding captions as folder titles.\u003c/p\u003e","\u003cp\u003e\nAll slides have been digitized and are available within JMU Scholarly Commons \u003cextref type=\"simple\" actuate=\"onRequest\" show=\"new\" href=\"https://commons.lib.jmu.edu/rjs/\"\u003e(https://commons.lib.jmu.edu/rjs/).\u003c/extref\u003e Slides are arranged topically from the original arrangement created by Sullivan, and are listed alphabetically. Descriptive titles for the topical groupings listed in the inventory were transcribed from Sullivan's own description, written onto slide reel boxes. Additionally, Sullivan wrote item level image description onto most slides in the collection. That descriptive information is listed as the image title when viewing the images within JMU Scholarly Commons.\u003c/p\u003e","\u003cp\u003eMost slide images document Harrisonburg and the surrounding area from the 1960s-1980s. Other content includes images of Reston, VA, and Durham, NC that feature housing complexes and downtown areas. Note that images of Harrisonburg are found within the grouping labeled as \"Durham, NC,\" as well as in the grouping titled \"non-H'burg.\"\u003c/p\u003e","\u003cp\u003eIncludes Turkey Statue - \"Welcome to Rockingham County Turkey Capital.\"\u003c/p\u003e","\u003cp\u003eHarrisonburg \"City Hall\" Bryan Mabry, Harrisonburg School Board Office, VA Quilt Museum, Massanutten Regional Library, Rockingham County Office Building, Rockingham County Court House, Rockingham-Harrisonburg Judicial Center, Rockingham-Harrisonburg Dept. of Health and Social Services, J. R. Lineweaver Apartments, Harrisonburg Fire Station #4, VA Dept. of Taxation Office, ABC Store, Rockingham Co. Government Administration Center, Rockingham Harrisonburg Judicial Center, Harrisonburg Electric Commission, Court House Clock Tower\u003c/p\u003e","\u003cp\u003eTwo aerials of Harrisonburg and one of JMU.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Content","Scope and Contents"],"scopecontent_tesim":["The Robert James Sullivan Jr. Papers consist of materials that Sullivan created and collected relating mostly to the city of Harrisonburg, Virginia, where he served as the City Planner from 1965-1991. The collection contains documents related to city planning, the history and expansion of Harrisonburg, and urban renewal. Other materials document his time in the Political Science Department at James Madison University as well as the walking tours he led of downtown Harrisonburg. His personal papers include newspaper clippings, correspondence, and other documents relating to his life and career. Also contained in the collection are a large number of photographs and slides that Sullivan took that capture the growth and changes in Harrisonburg over time. Images of note include a panoramic view of Harrisonburg ca. 1930, photos and slides that document urban renewal projects, and images of downtown Harrisonburg, VA from the 1960s-2000s.","Arranged into three subseries: City Planning Commission Annual Reports, 1966-1981, Urban Planning Grants, 1965-1966, and Miscellaneous Reports, 1946-1992. Arranged chronologically within each series.","Subseries 1.1: City Planning Commission Annual Reports, 1966-1981, contains a continuous run of annual reports for the City Planning Commission from 1965 through 1981. These annual reports include planning commission highlights and monthly summaries of activities. The 1965-1966 report notes that Robert J. Sullivan Jr. took over the duties of Planning Director on October 1, 1965.","Subseries 1.2: Urban Planning Grants, 1965-1966, contains reports prepared under the contract for the Local Planning Section: Department of Conservation and Economic Development, State of Virginia. The preparation of these reports was funded in part through an urban planning grant from the Housing and Home Finance Agency. The reports contain analysis of various aspects of the city of Harrisonburg, including population statistics and information pertaining to residential neighborhoods and the downtown area. These Urban Planning Grants also include a 1966 comprehensive plan for development over the following twenty years as well as a summary report of that plan. These reports were office copies that belonged to Robert James Sullivan Jr. and have his name written on the cover. Because of excessive mold on these reports, all items from this subseries have been photocopied and originals discarded.","Subseries 1.3: Miscellaneous City Planning Reports, 1946-1992, contains various other reports that relate to city planning in Harrisonburg or city planning in general. Two reports relate to city planning in Norfolk, Virginia from the 1940s and 1950s and document urban renewal or \"slum clearance\" efforts there. Box 1 folder 27 contains an outline of the history of City Planning in Harrisonburg, beginning with the establishment of the Planning Commission in March, 1938. The report titled Harrisonburg: \"The City with the Planned Future,\" contains a detailed history of the founding and growth of Harrisonburg, including population statistics and documentation of land annexation as well a listing of the members of City Council from 1849-2006.","Arranged into two subseries: City Planning, 1960-2012, and Harrisonburg History, 1958-2008. Arranged chronologically within each series.","Subseries 2.1: City Planning, 1960-2012, contains materials that Sullivan created in his role as City Planner, or that relate to city planning functions. Types of materials include photos and other documents related to the Northeast Urban Redevelopment Project, newspaper articles about city planning and the growth and development of Harrisonburg, and documents relating to zoning and historic district status. The folders titled \"What do you think of Federal Aid? Photos and description,\" contain a document written in 2012 by Sullivan explaining the history of urban redevelopment in Harrisonburg, and his role in the \"slum clearance\" projects of the 1950s and 1960s.","Subseries 2.2: Harrisonburg History, 1958-2008, contains materials collected by Sullivan that relate to the history of Harrisonburg, as well as materials he created related to the history and development of the city. Sullivan was known as the \"unofficial historian of Harrisonburg\" and materials in this subseries document the history and development of Harrisonburg. Items of note include original drawings of downtown Harrisonburg from the 1950s and 1960s as well as posters and brochures that contain Sullivan's sketches for the 1980 Bicentennial celebration. Other materials include the text of various talks Sullivan gave on the history of Harrisonburg to various groups in town.","Arranged Chronologically. Materials in the Personal Papers series document Sullivan's professional activities as well as his time as an instructor in the Political Science Department at James Madison University. Please note that the folder titled \"JMU Classes - Evaluations,\" do not contain student grades or performance evaluations, but rather contain evaluations completed by students about Sullivan's performance as an instructor. For details of Sullivan's life and career highlights please see the folder titled \"Background Information Robert J. Sullivan Jr., August 1998.\"","Arranged Chronologically. The Scrapbooks and Newspaper series consists of newspaper clippings collected by Sullivan, either loose in folders, or pasted into scrapbook pages, that document city planning activities primarily in Harrisonburg, VA. Most newspaper clippings come from the Harrisonburg Daily News-Record. In addition to clippings that document city planning efforts, Sullivan also collected clippings that relate to historical aspects of Harrisonburg, particularly those that feature images of Harrisonburg from the past. The folder titled \"Old Times\" : News and photos from the Daily News-Record contains a copy of the front page of the Daily News-Record from 1945 that reports on the ending of World War II. Please note that the scrapbooks in box 5, folders 4-7 are photocopies of the original scrapbooks. The original scrapbooks suffered from mold damage and were not retained.","The maps series contains maps produced or used by the Harrisonburg Housing and Redevelopment Authority that document homes and businesses in areas of Harrisonburg slated for demolition through urban renewal initiatives. Other city planning maps include hand-drawn maps created by Sullivan that show the growth of Harrisonburg over time and through annexation, as well as miscellaneous maps of Harrrisonburg and Rockingham County collected from various sources. Map identifier is located on the back of each item in the bottom right corner.","Broad Street, Mason Street, N. Main Street","Broad Street, E. Gay St.","N. Mason St, Rock St.","Effinger St., Broad St.","N. Mason, E. Rock St.","Broad St., Rock St.","Broad St., Rock St.","Broad St., E. Rock St.","This series comprises photographic prints and slides created or collected by Sullivan that primarily document neighborhoods, buildings, and other locations in and around Harrisonburg, Virginia from circa 1930 to 2006.\nImages document the areas of Harrisonburg targeted for urban renewal in the 1960s, street widening and other planning commission projects, as well as buildings and other features of downtown Harrisonburg from the 1960s-early 2000s. Images in this series were taken and used by Sullivan both in his professional capacity as City Planning Director, as well as for personal use. Other content found among this series includes images of Harrisonburg High School football games in the early 2000s as well as images of JMU students in classes taught by Sullivan and on walking tours conducted as part of his courses from 1990-2006. Items identified as photo albums in the inventory were removed from their original albums and foldered individually with corresponding captions as folder titles.","All slides have been digitized and are available within JMU Scholarly Commons (https://commons.lib.jmu.edu/rjs/). Slides are arranged topically from the original arrangement created by Sullivan, and are listed alphabetically. Descriptive titles for the topical groupings listed in the inventory were transcribed from Sullivan's own description, written onto slide reel boxes. Additionally, Sullivan wrote item level image description onto most slides in the collection. That descriptive information is listed as the image title when viewing the images within JMU Scholarly Commons.","Most slide images document Harrisonburg and the surrounding area from the 1960s-1980s. Other content includes images of Reston, VA, and Durham, NC that feature housing complexes and downtown areas. Note that images of Harrisonburg are found within the grouping labeled as \"Durham, NC,\" as well as in the grouping titled \"non-H'burg.\"","Includes Turkey Statue - \"Welcome to Rockingham County Turkey Capital.\"","Harrisonburg \"City Hall\" Bryan Mabry, Harrisonburg School Board Office, VA Quilt Museum, Massanutten Regional Library, Rockingham County Office Building, Rockingham County Court House, Rockingham-Harrisonburg Judicial Center, Rockingham-Harrisonburg Dept. of Health and Social Services, J. R. Lineweaver Apartments, Harrisonburg Fire Station #4, VA Dept. of Taxation Office, ABC Store, Rockingham Co. Government Administration Center, Rockingham Harrisonburg Judicial Center, Harrisonburg Electric Commission, Court House Clock Tower","Two aerials of Harrisonburg and one of JMU."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_5eed26077b3b31ac9a220ace1de85622\"\u003eThe Robert James Sullivan Jr. Papers consist of professional and personal records and reports, and document Sullivan's time as City Planner of Harrisonburg from 1965-1991, his career in the Political Science Department at James Madison University, and work as the \"unofficial historian\" of Harrisonburg. Materials include city planning reports, newspaper articles, photographs, scrapbooks, and maps.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert James Sullivan Jr. Papers consist of professional and personal records and reports, and document Sullivan's time as City Planner of Harrisonburg from 1965-1991, his career in the Political Science Department at James Madison University, and work as the \"unofficial historian\" of Harrisonburg. Materials include city planning reports, newspaper articles, photographs, scrapbooks, and maps."],"corpname_ssim":["James Madison University Libraries Special Collections","Madison College -- Faculty","Madison College -- History","James Madison University -- Faculty","James Madison University -- History"],"names_coll_ssim":["Madison College -- Faculty","Madison College -- History","James Madison University -- Faculty","James Madison University -- History","Sullivan, Kathleen"],"persname_ssim":["Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen","Caldwell, Martha B. (Martha Belle), 1931-2020","Marshall, Caroline T., 1938-2018"],"names_ssim":["James Madison University Libraries Special Collections","Madison College -- Faculty","Madison College -- History","James Madison University -- Faculty","James Madison University -- History","Sullivan, Robert James, Jr., 1937-2013","Sullivan, Kathleen","Caldwell, Martha B. (Martha Belle), 1931-2020","Marshall, Caroline T., 1938-2018"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":302,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:57:53.919Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_632_c02_c01"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c05","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Black Artists Research\" Part 1, 1922/2015","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c05","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c05"],"id":"viw_repositories_2_resources_9853_c01_c01_c05","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"title_filing_ssi":"\"Clean Fun: Black Artists Research\" Part 1","title_ssm":["\"Clean Fun: Black Artists Research\" Part 1"],"title_tesim":["\"Clean Fun: Black Artists Research\" Part 1"],"normalized_title_ssm":["\"Clean Fun: Black Artists Research\" Part 1, 1922/2015"],"text":["\"Clean Fun: Black Artists Research\" Part 1, 1922/2015","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015","Binder in a box 5"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1922/2015"],"unitdate_inclusive_ssm":["1922-2015"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":7,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"containers_ssim":["Binder in a box 5"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"_nest_path_":"/components#0/components#0/components#4","timestamp":"2026-06-23T07:50:34.320Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials.","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead.","Wright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","Wright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","He was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member.","Outside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","While living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork.","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials.","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead.","Wright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","Wright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","He was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member.","Outside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","While living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e  ","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e  ","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork.","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c05"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c06","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Black Artists Research\" Part 2, 1992/2014","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c06#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c06","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c06"],"id":"viw_repositories_2_resources_9853_c01_c01_c06","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"title_filing_ssi":"\"Clean Fun: Black Artists Research\" Part 2","title_ssm":["\"Clean Fun: Black Artists Research\" Part 2"],"title_tesim":["\"Clean Fun: Black Artists Research\" Part 2"],"normalized_title_ssm":["\"Clean Fun: Black Artists Research\" Part 2, 1992/2014"],"text":["\"Clean Fun: Black Artists Research\" Part 2, 1992/2014","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015","Binder in a box 6"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1992/2014"],"unitdate_inclusive_ssm":["1992-2014"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":8,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"containers_ssim":["Binder in a box 6"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014],"_nest_path_":"/components#0/components#0/components#5","timestamp":"2026-06-23T07:50:34.320Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials.","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead.","Wright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","Wright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","He was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member.","Outside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","While living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork.","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials.","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead.","Wright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","Wright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","He was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member.","Outside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","While living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e  ","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e  ","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork.","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c06"}},{"id":"viw_repositories_2_resources_9853_c01_c01_c09","type":"Sub-Series","attributes":{"title":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard, 1859/2012","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c09#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viw_repositories_2_resources_9853_c01_c01_c09","ref_ssm":["viw_repositories_2_resources_9853_c01_c01_c09"],"id":"viw_repositories_2_resources_9853_c01_c01_c09","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853_c01_c01","parent_ssi":"viw_repositories_2_resources_9853_c01_c01","parent_ssim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_ids_ssim":["viw_repositories_2_resources_9853","viw_repositories_2_resources_9853_c01","viw_repositories_2_resources_9853_c01_c01"],"title_filing_ssi":"\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard","title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"title_tesim":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard"],"normalized_title_ssm":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard, 1859/2012"],"text":["\"Clean Fun: Blacks in Comics, 1860-1876, Harper's Artists: W. Homer, T. Nast, S. Eytinge, W.L. Sheppard, 1859/2012","Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_ssm":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"parent_unittitles_tesim":["Richard Wright collection, 1806/2017","Series 1: Research files","\"Clean Fun: Blacks in Comics\", 1809/2015"],"normalized_date_ssm":["1859/2012"],"unitdate_inclusive_ssm":["1859-2012"],"level_ssm":["Sub-Series"],"level_ssim":["Sub-series"],"component_level_isim":[3],"sort_isi":19,"repository_ssim":["College of William and Mary"],"collection_ssim":["Richard Wright collection, 1806/2017"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"parent_access_restrict_tesm":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"date_range_isim":[1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"_nest_path_":"/components#0/components#0/components#8","timestamp":"2026-06-23T07:50:34.320Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9853","ead_ssi":"viw_repositories_2_resources_9853","_root_":"viw_repositories_2_resources_9853","_nest_parent_":"viw_repositories_2_resources_9853","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9853.xml","title_filing_ssi":"Richard Wright collection","title_ssm":["Richard Wright collection"],"title_tesim":["Richard Wright collection"],"unitdate_ssm":["1806-2017"],"unitdate_inclusive_ssm":["1806-2017"],"normalized_date_ssm":["1806/2017"],"normalized_title_ssm":["Richard Wright collection, 1806/2017"],"text":["Richard Wright collection, 1806/2017","MS 00317","/repositories/2/resources/9853","Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials.","Published books and comics can be found in our Rare Books collection.","Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead.","Wright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","Wright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","He was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member.","Outside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","While living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.","The Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork.","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Richard Wright collection, 1806/2017"],"collection_ssim":["Richard Wright collection, 1806/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00317","/repositories/2/resources/9853"],"unitid_tesim":["MS 00317","/repositories/2/resources/9853"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Richard Wright."],"access_subjects_ssim":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"access_subjects_ssm":["Comic books, strips, etc","African Americans--Caricatures and cartoons","Racism in popular culture","Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["21.68 Linear Feet 52 boxes"],"extent_tesim":["21.68 Linear Feet 52 boxes"],"genreform_ssim":["Drawings (visual works)","Motion pictures (visual work)","Sheet music"],"date_range_isim":[1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials. \u003c/p\u003e","\u003cp\u003ePublished books and comics can be found in our Rare Books collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into nine series: Research files, Collecting records, Minstrel shows, Scrapbooks and portfolios, Original artwork, Print and poster reproductions, Newspapers, Printed materials, and Audiovisual materials.","Published books and comics can be found in our Rare Books collection."],"bioghist_html_tesm":["\u003cp\u003eRichard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead. \u003c/p\u003e","\u003cp\u003e\nWright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.\u003c/p\u003e","\u003cp\u003e\nWright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.\u003c/p\u003e","\u003cp\u003e\nHe was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member. \u003c/p\u003e","\u003cp\u003e\nOutside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.\u003c/p\u003e","\u003cp\u003e\nWhile living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026amp; Mary so that it might be \"a helpful resource to students\" in the future.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Richard Wright (1946-2019) grew up in New York and attended college at Bradley University in Peoria, IL on an academic scholarship. He originally planned to study chemistry but graduated with a Bachelor of Political Science instead.","Wright moved to Stamford, Connecticut, where he met and married Minister Deborah V. P. Wright (1953-2012). They had three children together: Aaron Person, Joslynn S. Hamlet, and Porchia M. W. Smith.","Wright spent the bulk of his career working as a court officer in the social services Department of Child Support in Connecticut until his retirement in 2013. He then moved to Williamsburg, Virgina, where he lived until his passing in 2019.","He was an active member of Faith Tabernacle Missionary Baptist Church in Stamford, Connecticut. He served as a member of the trustee board, and sang in the Male Chorus and Inspirational Choir. Upon relocating to Williamsburg, VA, he joined Colossian Baptist Church in Newport News, and once again served as a choir member.","Outside of the church, Wright also served as the president of the Stamford Chapter of the NAACP, was a member of Alpha Phi Alpha Fraternity Inc., and worked as a volunteer and mentor for a substance abuse rehabilitation program called Liberation House.","While living in Stamford, Wright began collecting Black comic books in 1986 because \"he wanted to have a hobby.\" His collection eventually grew beyond comics to include books, art works, photographs, and audio visual materials on the same topic. He saw the images that he collected over the years as a way to better tell the story of the depiction of Black Americans in visual media. In 2019, Wright donated his collection to William \u0026 Mary so that it might be \"a helpful resource to students\" in the future."],"odd_html_tesm":["\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e  ","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.\u003c/p\u003e","\u003cp\u003eWilliam \u0026amp; Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General"],"odd_tesim":["William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world.","William \u0026 Mary Libraries' archival, digital and physical collections may contain content with harmful language or difficult subject matters. We strive for transparency in making these materials available for teaching and research, but we do not endorse the attitudes, prejudices or behaviors found within them.","William \u0026 Mary Libraries' perspective on harmful content and language aligns with the U.S. National Archives and Records Administration (NARA), Digital Public Library of America (DPLA) and university libraries around the world."],"prefercite_html_tesm":["\u003cp\u003eRichard Wright collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Richard Wright collection, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eComic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Comic book volumes and other published materials included with this collection have been transfered to Rare Books and cataloged individually."],"scopecontent_html_tesm":["\u003cp\u003eThe Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.\u003c/p\u003e","\u003cp\u003eMaterials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork. \u003c/p\u003e  ","\u003cp\u003eResearch notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.\u003c/p\u003e","\u003cp\u003eA series of binders compiled by Richard Wright on the history of Black American depictions in comic art.\u003c/p\u003e","\u003cp\u003ePart one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003ePart four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eArrangement and titles of folders are retained from Wright.\u003c/p\u003e","\u003cp\u003eRecords pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.\u003c/p\u003e","\u003cp\u003eThis series retains original titles and organization.\u003c/p\u003e","\u003cp\u003eScrapbooks and porfolios compiled by Richard Wright. Original order and names retained.\u003c/p\u003e","\u003cp\u003eAn album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.\u003c/p\u003e","\u003cp\u003eA spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives caricature cartoon prints featuring Black protagonists from the late 1800s.\u003c/p\u003e","\u003cp\u003eA portfolio compiled by Richard Wright of Currier \u0026amp; Ives' \"Darktown\" print series.\u003c/p\u003e","\u003cp\u003eA scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eNewspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eOrginal four panel comic layout with edits, pasted text bubbles and handdrawn images.\u003c/p\u003e","\u003cp\u003eA two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"\u003c/p\u003e","\u003cp\u003eA print on board.\u003c/p\u003e","\u003cp\u003eThis cel has five characters standing side by side in the asile of a store.\u003c/p\u003e","\u003cp\u003eThis cel has three characters on a city street corner at night.\u003c/p\u003e","\u003cp\u003eA character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.\u003c/p\u003e","\u003cp\u003eA multilayer animation cel with three sheets of film introductory text.\u003c/p\u003e","\u003cp\u003eTwo pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.\u003c/p\u003e","\u003cp\u003eOriginal Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel signed by the artist and producer.\u003c/p\u003e","\u003cp\u003eTwo versions of the same cartoon: showing edits in color and design between the first and second editions.\u003c/p\u003e","\u003cp\u003eOriginal comic panel with edits and the artist's signature in pen and ink.\u003c/p\u003e","\u003cp\u003eTwo original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eA colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA series of animation character sketches on translucent paper.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.\u003c/p\u003e","\u003cp\u003eAn original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"\u003c/p\u003e","\u003cp\u003eA handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"\u003c/p\u003e","\u003cp\u003eSketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.\u003c/p\u003e","\u003cp\u003eA numbered limited edition Heavy Traffic poster. 73/260\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.\u003c/p\u003e","\u003cp\u003eA cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"\u003c/p\u003e","\u003cp\u003eA political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.\u003c/p\u003e","\u003cp\u003eOriginal comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"\u003c/p\u003e","\u003cp\u003eOriginal animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.\u003c/p\u003e","\u003cp\u003eSigned by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.\u003c/p\u003e","\u003cp\u003eAn animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.\u003c/p\u003e","\u003cp\u003eSketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite with visible edits, signed by the artist.\u003c/p\u003e","\u003cp\u003eHandpainted animation cel of Uhura in uniform.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite with notes.\u003c/p\u003e","\u003cp\u003eCharacter sketch in colored pencil and graphite. Accompanied by certificate of authenticity.\u003c/p\u003e","\u003cp\u003eOriginal drawing in ink, titled in the bottom left and numbered in the bottom right.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, and gouache paint with visible edits, and notes.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.\u003c/p\u003e","\u003cp\u003eTwo different print versions of the same image, showing varied color and tint choices.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026amp; 7. Force.\"\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.\u003c/p\u003e","\u003cp\u003eAn original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"\u003c/p\u003e","\u003cp\u003eAn untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.\u003c/p\u003e","\u003cp\u003eAn untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"\u003c/p\u003e","\u003cp\u003eA series of motion sketches of a baby accompanied by a female figure.\u003c/p\u003e","\u003cp\u003eA sketch of the centaur \"Otika\" from Disney's Fantasia.\u003c/p\u003e","\u003cp\u003eBust sketches of two women discussing laundry.\u003c/p\u003e","\u003cp\u003eA drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.\u003c/p\u003e","\u003cp\u003eA hand painted animation cel of Tom behind a person on stilts.\u003c/p\u003e","\u003cp\u003eA drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.\u003c/p\u003e","\u003cp\u003eAn original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.\u003c/p\u003e","\u003cp\u003eA painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, paint, and graphite for a political cartoon.\u003c/p\u003e","\u003cp\u003eOriginal comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.\u003c/p\u003e","\u003cp\u003eA multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA still life print on board that has been painted over.\u003c/p\u003e","\u003cp\u003eAn original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.\u003c/p\u003e","\u003cp\u003eAn original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.\u003c/p\u003e","\u003cp\u003eTwo different printings of the same cartoon with color variances.\u003c/p\u003e","\u003cp\u003eA handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.\u003c/p\u003e","\u003cp\u003eA drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.\u003c/p\u003e","\u003cp\u003eA print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.\u003c/p\u003e","\u003cp\u003eA sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.\u003c/p\u003e","\u003cp\u003eA painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.\u003c/p\u003e","\u003cp\u003eA print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.\u003c/p\u003e","\u003cp\u003eA sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.\u003c/p\u003e","\u003cp\u003eA print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.\u003c/p\u003e","\u003cp\u003eTwo prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.\u003c/p\u003e","\u003cp\u003eA woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.\u003c/p\u003e","\u003cp\u003eA matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.\u003c/p\u003e","\u003cp\u003eA bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"\u003c/p\u003e","\u003cp\u003eA multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"\u003c/p\u003e","\u003cp\u003eArranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eFrom the series \"Negro Drawings,\" plate 42.\u003c/p\u003e","\u003cp\u003eThree prints; the two by Walker are published by Currier \u0026amp; Ives.\u003c/p\u003e","\u003cp\u003eTwo different print versions.\u003c/p\u003e","\u003cp\u003eOversized poster.\u003c/p\u003e","\u003cp\u003eTwo versions of the same print.\u003c/p\u003e","\u003cp\u003ePrint on canvas.\u003c/p\u003e","\u003cp\u003eTwo rolled posters.\u003c/p\u003e","\u003cp\u003eA printout of a man in a bowler hat carrying a cane while wearing a suit.\u003c/p\u003e","\u003cp\u003ePixelated photographs of a comic showing two Black children sitting beside a shotgun.\u003c/p\u003e","\u003cp\u003eTwo different scenes of a man and woman in fancy dress.\u003c/p\u003e","\u003cp\u003eThis cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.\u003c/p\u003e","\u003cp\u003ePrimarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"\u003c/p\u003e","\u003cp\u003eOmaha World Herald\u003c/p\u003e","\u003cp\u003eReproduction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Richard Wright collection, compiled by Richard Wright and orginally referred to by Wright as \"The Richard Wright collection of Graphic Images of African Americans,\" focuses on the evolution of the Black American image in print media, cartoons and comics. Wright organized his own historical timeline titled \"Good Clean Fun: Blacks in Comics,\" also referred to as \"Clean Fun: Blacks in Comics,\" in a series of binders with artist biographies and time period summaries. Item titles have been retained from the original labels.","Materials in this collection include: books, comic books, magazines, prints, reference books, slides, photographs, CDs, DVDs, sheet music, newspaper strips, lithographs, and artwork.","Research notes, biographies and timelines compiled or authored by Richard Wright. The original binder names have been retained.","A series of binders compiled by Richard Wright on the history of Black American depictions in comic art.","Part one of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part two of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part three of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Part four of four. The full orginial title for the binder that housed these materials was \"Clean Fun: Blacks in Comics, African American Artists in the Mainstream: Jules Lion; Geo Herriman; E. Simms Campbell; Matt Baker; Morrie Turner; Brandon Brumsic; Ted Shearer; Black Images for Black People; Ebony; Golden Legacy; Aimed at Afro Market; Negro Romances; Negro Heroes; Hep/Sepia/Jive; In the Black Press; Ollie Harrington; Jackie Ormes; Tom Feelings; Current Artists; Denys Cowans; Ray Billingsley.\"","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Arrangement and titles of folders are retained from Wright.","Records pertaining to Wright's collecting process, such as purchase documentation and comic research. Retains Wright's original titles and organization.","This series retains original titles and organization.","Scrapbooks and porfolios compiled by Richard Wright. Original order and names retained.","An album with a red cover and a title note taped to the front by Richard Wright that reads \"1890's Black Newspaper Cartoons: Howarth, Hamilton, et. al.\"","A portfolio compiled by Richard Wright of cartoons with Black protagonists from a variety of artists and publishers between the 19th and 20th century.","A spiral bound book with a green cover. The words \"Scrap Book\" are on the front in black, the \"o\"s in \"book\" form the handles of a pair of scissors in the design. The contents of the book are comic clipping of \"Henry\" and \"Lulu\" from various newspapers.","A portfolio compiled by Richard Wright of Currier \u0026 Ives caricature cartoon prints featuring Black protagonists from the late 1800s.","A portfolio compiled by Richard Wright of Currier \u0026 Ives' \"Darktown\" print series.","A scrapbook with a red cover with gold lettering. A sticker on the spine reads \"1872.\" The contents of the book are illustration clippings from issues of Harper's Weekly.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist with handwritten note.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","Newspaper clippings of \"The Gumps\" by Sidney Smith from The Cleveland News. Signed by the artist.","A grey, tan, and gold covered scrapbook. The words \"Scrap Book\" are embossed on the cover along with two peony flowers. The contents are newspaper cartoon clippings from unmarked sources.","Arranged alphabetically by title.","Orginal four panel comic layout with edits, pasted text bubbles and handdrawn images.","A two part series, there are two versions of the print titled \"A Crack Trotter - A little off\" and one print of \"A Crack Trotter - Coming Around.\"","A print on board.","This cel has five characters standing side by side in the asile of a store.","This cel has three characters on a city street corner at night.","A character bust sketch in pencil. The figure is wearing glasses and a button up shirt. There is a scale measurement in the bottom right corner, and notes along the edges.","A multilayer animation cel with three sheets of film introductory text.","Two pen and pencil sketches on paper, the second is titled \"Fast Black\" and is signed A.L.S.","Original Black Panther comic panel in pen and ink with blue sketch lines, pencil notes, and corrections visible.","Handpainted animation cel signed by the artist and producer.","Two versions of the same cartoon: showing edits in color and design between the first and second editions.","Original comic panel with edits and the artist's signature in pen and ink.","Two original comic panels in pen and ink with edits, visible blue lines, and pencil notes. Signed by the artist.","A colored pencil and graphite character sketch for the film \"Coal Black and De Sebban Dwarfs.\" Signed by the artist and accompanied by the sales paperwork from when it was acquired by Richard Wright.","A handpainted animation cel for the movie \"Coonskin.\" Features a bust of one of the characters with a few background lines, and the identifier \"1H56, 5\" in the bottom right corner.","A series of animation character sketches on translucent paper.","An original comic panel signed by E. Simms Campbell. Done in pencil and ink with visible edits and commentary.","An original comic panel signed by Chester Gould. Done in pencil and ink with visible edits.","An original comic panel signed by Paul Smith. Done in pencil and ink with visible edits and commentary.","A handpainted animation cel featuring four characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"FA STK 2027A B-5.\"","A handpainted animation cel featuring seven characters from \"Fat Albert and the Cosby Kids.\" The cel is labeled \"copyright 1981 - William H. Cosby Jr. - Film Assoc.\"","Sketch in colored pencil and graphite with animation notes and the identifier \"Se. 142, STK BG 1909, FA-79\" in the bottom right corner.","A sketch of a man holding a basketball in blue pencil and graphite. The label \"PB4\" is featured multiple times around the image, and the bottom of the page is stamped with \"50-2, 3.\"","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A multi-layer hand-painted animation cel with a background, a foreground, and a figure layer.","A numbered limited edition Heavy Traffic poster. 73/260","Handpainted animation cel of \"Carol\" from \"Heavy Traffic\" with certificate of authenticity and sales information.","A cartoon drawn in pencil and signed by Henry Jackson. In red marker along the bottom of the work, someone has written \" Examiner Art Staff 1960s - (now deceased)\"","A political poster featuring a white and a Black solider shaking hands across from Uncle Sam. Produced by M.A.Stern Chicago.","Original comic panel done in pen and graphite, signed and dated by the artist. Title and trademark information are pasted onto the work, and writing along the bottom edge reads \"to Bill Glasgow.\"","Original animation model sketch of \"Inky\" from Warner Bros Studios. Accompanied by a certificate of authenticity.","Signed by the artist. Original panel on cardboard in ink and graphite. A caption at the bottom reads \"The high cost of foods done me more good than my [acolicing?] salon.\"","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" playing instruments on a stage. Their names written underneath their images, \"Josie, Melody, and Valerie.\" Words in the top left read \"Prod # 51, (standard size). The bottom right is copyrighted by Hanna-Barbera Productions, Inc., and dated 1970.","An animation cel featuring all three main characters from \"Josie and the Pussy Cats\" with a street scene background.","Sketch in colored pencil, graphite, and watercolor of a Fish in a bowler hat smoking a cigar.","An original comic panel in ink and graphite with visible edits, signed by the artist.","Handpainted animation cel of Uhura in uniform.","Character sketch in colored pencil and graphite with notes.","Character sketch in colored pencil and graphite. Accompanied by certificate of authenticity.","Original drawing in ink, titled in the bottom left and numbered in the bottom right.","Original comic panel in ink, graphite, and gouache paint with visible edits, and notes.","Original comic panel in ink and graphite, signed by the artist. Water damage along the bottom edge.","Two different print versions of the same image, showing varied color and tint choices.","Original comic panel in ink, graphite, blue pencil, and gouache paint with visible edits, and notes. Blue pencil notes at the top left corner read \" Page #13, Annual #94, Mn 7. \u0026 7. Force.\"","Original comic panel in ink with caption edits, accompanited by a handwritten letters by the artist, and the dealer information. The letters are addressed to Rev. E.F. Strickland, dated 1883 September 12 and 1883 October 20, and regard a request for a drawing.","An original comic panel in graphite and ink that appears to have been cut off from a larger comic strip. The artist signature in the bottom left is cut in half. Dated \"Fri May 1,\" 1959. And titled \"Capt. Easy\".","An untitled drawing of a boy facing away from the viewer. He is dressed in overalls with one strap, holding a bag in his left hand, and a stick in his right. Writing beneath the image reads \"SC. 28A\".","An untitled drawing of a man holding a boomerang. The number \"146\" is in the bottom right corner.","An untitled drawing of a female torso clad in an apron and wearing slippers. Writing beneath the drawing read \" Prod89 SC54, 269.\"","An untitled drawing of a female torso wearing an apron and slippers balancing on a tipping kitchen stool. There are notes written all over the image with measurements and accompanying arrows.","An untitled female figure wearing a headscarf and dressed in an apron over a polka-dot dress. Writing along the bottom of the image read \"AJ\" and \"542.\"","A series of motion sketches of a baby accompanied by a female figure.","A sketch of the centaur \"Otika\" from Disney's Fantasia.","Bust sketches of two women discussing laundry.","A drawing of Jerry wearing a napkin around his neck as he walks away to the right with a scowl on his face. The number \"50\" is in the bottom right.","A hand painted animation cel of Tom behind a person on stilts.","A drawing of Tom pouncing around the corner of a wall with paws outstretched. Notes on the drawing read \"to reg. see #129\", and the number \"133\" is in the bottom right corner.","An original comic panel for \"Outdoor Sports\" in ink, graphite, and blue pencil. Signed and dated by the artist.","A painting on paper of a donkey and three birds in a fenced field with a farm house in the background. Signed and titled in the bottom left.","An original comic panel in ink, paint, and graphite for a political cartoon.","Original comic panel in ink, graphite, red pen, and gouache paint with visible edits, and notes. Signed by the artist.","An original comic panel in ink and graphite of a man plucking petals off a flower. The title is written in pencil along the bottom edge.","A multi-layer, hand painted, animation cel. Signed by both artists. Numbered \"59/100\" in the bottom right corner.","A still life print on board that has been painted over.","An original comic panel in ink, graphite, and white-out on board. It features a man trying to fix a soda vending machine.","An original comic panel in in and graphite titled \"Walnuts\" from \"Sunflower Street.\" Signed by the arts and dated.","Two different printings of the same cartoon with color variances.","A handpainted animation cel of two character in clown make-up and costumes. The one on the left is labeled as \"Buckwheat as a clown,\" and the one on the right is labeled \"Porky as a clown.\" The cel is titled along the top edge and numbered \"0132-8207.\" Notes cover the entire cel in pencil and pen, the majority appear to be color identifcation numbers.","A drawing in ink and graphite of three men playing cards at a table. The title of the work is in pencil along the bottom edge, along with the artist's signature.","A print of \"Little Eva,\" and \"Uncle Tom\" sitting in the shade of a tree with a shack in the background. \"Eva\" has a book on her lap and gestures off in the distance.","A sketch in graphite of a old man wearing suspenders, oversized shoes, a tiny bowler hat, and carrying a crooked cane. The number \"143\" is written in the bottom right corner, and a the words \" PROD 1 52SC 1 6\" are stamped next to it.","A painted animation cel bust drawing of a bird in a hat. The hat is a purple tricorne with an oversized safety pin stuck through the front. The bird is white with yellow eyes and an orange beak and appears to be a seagull. The cel is accompaied by an information tag and a scan of a He-Man scene.","A print of seven men dressed in red and yellow shirts and caps with blue pinstriped pants and red shoes with yellow and red stockings. The men have axes and are working with trimmed sticks which are piled up behind them. One man has cut himself in half instead of the stick he is holding.","A sketch of a man in a top hat and coattails hanging on the back of a bucking horse. Signed \"FC\" in the bottom right corner.","A print of a woman walking beside a man holding a baby. Both are dressed in formal wear, and rendered in shades of tan, brown, and pink. Signed by the artist in the bottom right corner, with the letters difficult to make out.","Two prints, each a bust of a Black child. One in a three-quarters pose, the other looking directly at the viewer.","A woodblock print of a man, woman, and child in formal wear, their features are rendered in blocky forms akin to stylized masks.","A matted painted animation cel of Valerie Brown in her Pussy Cat costume holding two tambourines.","A bust sketch of Valerie Brown in blue pencil and graphite. Notes at the bottom right corner read \"7FC SC.31 6e-2 bq.31.\"","A multi-layer painted animation cel. Features a man with his hands clasped triumphantly above his head standing against a background of a junk pile and wooden wall. Text along the top edge reads \"Fa01 BGS4\" and text along the bottom edge reads \"FA STG 2027A WH5.\"","Arranged alphabetically by title.","From the series \"Negro Drawings,\" plate 42.","From the series \"Negro Drawings,\" plate 42.","Three prints; the two by Walker are published by Currier \u0026 Ives.","Two different print versions.","Oversized poster.","Two versions of the same print.","Print on canvas.","Two rolled posters.","A printout of a man in a bowler hat carrying a cane while wearing a suit.","Pixelated photographs of a comic showing two Black children sitting beside a shotgun.","Two different scenes of a man and woman in fancy dress.","This cover shows a white man with one hand on a revolver standing over a Black man laying on the ground.","Primarily \"Mickey Finn\" and \"Don Winslow of the Navy.\"","Omaha World Herald","Reproduction."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":987,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:50:34.320Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9853_c01_c01_c09"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Alexandria Library","value":"Alexandria Library","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Alexandria+Library"}},{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":36},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary"}},{"attributes":{"label":"George Mason University","value":"George Mason University","hits":23},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}},{"attributes":{"label":"James Madison University","value":"James Madison University","hits":20},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=James+Madison+University"}},{"attributes":{"label":"Longwood University","value":"Longwood University","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Longwood+University"}},{"attributes":{"label":"Old Dominion University","value":"Old Dominion University","hits":79},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Old+Dominion+University"}},{"attributes":{"label":"Radford University","value":"Radford University","hits":11},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Radford+University"}},{"attributes":{"label":"The George Washington Presidential Library at Mount Vernon","value":"The George Washington Presidential Library at Mount Vernon","hits":9},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=The+George+Washington+Presidential+Library+at+Mount+Vernon"}},{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections Dept.","hits":56},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept."}},{"attributes":{"label":"Virginia Military Institute Archives","value":"Virginia Military Institute Archives","hits":15},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Virginia+Military+Institute+Archives"}},{"attributes":{"label":"Virginia Museum of Fine Arts","value":"Virginia Museum of Fine Arts","hits":35},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/repository_ssim.json?f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Across the Way Productions, Inc., \n2002-2016","value":"Across the Way Productions, Inc., 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1890/2022","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alleghany+Chapter%2C+National+Society+of+the+Daughters+of+the+American+Revolution+Records%2C%2C+1890%2F2022\u0026f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Alumni Association Records, 1833/2014, bulk 1950/2005","value":"Alumni Association Records, 1833/2014, bulk 1950/2005","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Alumni+Association+Records%2C+1833%2F2014%2C+bulk+1950%2F2005\u0026f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"American Association of University Women (AAUW) Records, Harrisonburg, Virginia Branch, 1929/2025","value":"American Association of University Women (AAUW) Records, Harrisonburg, Virginia Branch, 1929/2025","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=American+Association+of+University+Women+%28AAUW%29+Records%2C+Harrisonburg%2C+Virginia+Branch%2C+1929%2F2025\u0026f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Ancella Bickley, Historian, Research Papers regarding African-Americans, 1775/2018, bulk 1970/2011","value":"Ancella Bickley, Historian, Research Papers regarding African-Americans, 1775/2018, bulk 1970/2011","hits":6},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Ancella+Bickley%2C+Historian%2C+Research+Papers+regarding+African-Americans%2C+1775%2F2018%2C+bulk+1970%2F2011\u0026f%5Bdate_range%5D%5B%5D=2012\u0026f%5Blevel%5D%5B%5D=Sub-series"}},{"attributes":{"label":"Audio Visual Collection, 1928/2015","value":"Audio Visual Collection, 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Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","value":"Benjamin L. 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