{"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=204\u0026view=list","prev":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=203\u0026view=list","next":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=205\u0026view=list","last":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=417\u0026view=list"},"meta":{"pages":{"current_page":204,"next_page":205,"prev_page":203,"total_pages":417,"limit_value":10,"offset_value":2030,"total_count":4162,"first_page?":false,"last_page?":false}},"data":[{"id":"umich-bhl-014_aspace_cc86b3986361adf0d8150ab673c40433","type":"File","attributes":{"title":"Fundraising events and mailings","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_cc86b3986361adf0d8150ab673c40433#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_cc86b3986361adf0d8150ab673c40433","ref_ssm":["aspace_cc86b3986361adf0d8150ab673c40433","aspace_cc86b3986361adf0d8150ab673c40433"],"id":"umich-bhl-014_aspace_cc86b3986361adf0d8150ab673c40433","title_filing_ssi":"Fundraising events and mailings","title_ssm":["Fundraising events and mailings"],"title_tesim":["Fundraising events and mailings"],"normalized_title_ssm":["Fundraising events and mailings"],"text":["Fundraising events and mailings","TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","TEACH Michigan/Teach Michigan Education Fund","Topical File","box 3"],"component_level_isim":[3],"parent_ssim":["umich-bhl-014","aspace_cf956795d3593ee5250e5bb0d146af8e","aspace_5910f5f526e85f8db58d0510f4c6b5ec"],"parent_ssi":"aspace_5910f5f526e85f8db58d0510f4c6b5ec","parent_ids_ssim":["umich-bhl-014","umich-bhl-014_aspace_cf956795d3593ee5250e5bb0d146af8e","umich-bhl-014_aspace_5910f5f526e85f8db58d0510f4c6b5ec"],"parent_unittitles_ssm":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","TEACH Michigan/Teach Michigan Education Fund","Topical File"],"parent_unittitles_tesim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996","TEACH Michigan/Teach Michigan Education Fund","Topical File"],"parent_levels_ssm":["collection","Subgroup","Series"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"extent_ssm":["12 folders"],"extent_tesim":["12 folders"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":58,"parent_access_restrict_tesm":["Research use of the record group is restricted except with the permission of Dr. Paul DeWeese."],"parent_access_terms_tesm":["Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. 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DeWeese, a physician then working in Detroit, became frustrated by what he perceived to be a lack of educational choice for his own children then about to begin school. With other like-minded individuals, DeWeese formed Michigan Citizens for Choice in Education (shortly to be renamed TEACH Michigan). Incorporated as a non-profit organization in 1991, TEACH Michigan was established to lobby for changes in the law regarding school choice. Associated with TEACH Michigan was a tax-exempt sister organization - TEACH Michigan Education Fund (TMEF) - which with license to solicit charitable contributions could engage in a variety of educational, research, and planning functions."," Under DeWeese's leadership, TEACH Michigan advocated fundamental changes in the state's educational system. The core of TEACH Michigan's philosophy of education was simply stated. Parents should be allowed to choose from competing systems of schools with funding for education following the student and not automatically being given to the government-supported school system. An ambitious agenda, TEACH Michigan realized the importance of educating the public and enlisting enough grassroots support for the necessary changes in state law and in the state constitution to be made. With the law changed, there would follow competition for the education dollar resulting in non-governmental sponsorship of K-12 schools by corporations, public or private universities, parent groups or churches, as well as by the government. No longer would there be a \"government monopoly\" school system. Instead, parents would receive financial support (or vouchers) for their children to attend the school of their choice."," Although his message never wavered, DeWeese was realistic enough to realize that \"full choice\" could only come incrementally, thus his advocacy of changes in state law to allow for the creation of charter schools. Charter schools are public schools that are custom-designed by groups of teachers, parents or outside individuals to meet particular education needs. Charter schools are part of the public school system, financed on a par with other schools in the district. But for charter schools to become a reality state law would have to be changed. In December 1993, with the passage of Senate bill no. 896 (signed by the governor in January 1994), Michigan adopted the most significant restructuring of public education since the development of single-function school districts in the early 20th century. The state authorized groups of certified teachers and community leaders to form individual charter schools (public school academies) \"that are to be treated like school districts\" for the purposes of state education law. These \"single-school school districts\" could be started anywhere in the state by one or more certified teachers, a county, city, village, township, school district, community college, or state public university. Each new school would develop its own governing board, and must describe its educational goals and the standards by which its performance will be measured. Each of these academies would receive a state school aid payment for its enrolled students."," Following the passage of 896, TMEF established a sister organization, the Michigan Center for Charter Schools (MCCS), whose purpose was to promote the development of charter schools. TMEF subsidized the operation of MCCS throughout its existence. MCCS was the only organization in the state early on that was disseminating timely and accurate information about charter schools. MCCS also helped several groups move through the process of establishing a charter school. By the end of 1995, more than 60 charter school had been established with an additional 120 schools seeking charters."," In November 1994, an Ingham County circuit court judge ruled the law unconstitutional. Although the groups authorized to grant charters were government entities, the judge ruled, the day-to-day operations of schools were largely in the hands of privately elected directors and thus not directly accountable to the public. With this decision, the charter schools that had been established were left without public funding. In some cases, the schools reverted to private school status relying on tuitions and corporate donations for their support. In other cases, the state legislature, many of whose members believed that the judge's ruling would be overturned on appeal, passed emergency legislation which addressed the judge's objection to the original legislation."," In 1995, the state Board of Education contracted with the Michigan Partnership for New Education to both promote charter schools and to provide technical assistance to charter schools. The Michigan Partnership immediately asked for, and received, permission to hire the entire staff of MCCS in order to run their charter school operation. In May of 1995, MCCS ceased to operate, as its mission and staff were absorbed by the Michigan Partnership for New Education."," From its inception, TEACH Michigan knew that for real educational reform to take place from their point of view, the Michigan State Constitution (Article 8, sec. 2) would have to be revised. That provision restricted the use of public funds to government-operated schools only. With the constitution changed, TEACH Michigan hoped to secure passage of a voucher system so that parents might choose, and receive funding, for their child to attend a church-related school."," In 2000, the TEACH Michigan organization was folded into a new organization, Partnership for Learning.","This record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. Together, the record group contains correspondence, policy statements, organizational and activity files, collected materials, sound and video materials, all relating to the efforts of the two organizations first to educate and lobby for changes in the law, and second to provide assistance and support in the establishment of charter schools. The records date from the inception of the organization to 1995. The subsequent records of TEACH Michigan remain with the organization.","Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials.","Organization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools.","Offsite storage; prior notification required for access","Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N.","English","The materials are in  English."],"unitid_tesim":["014 Bj 2"],"normalized_date_ssm":["1989-1996"],"normalized_title_ssm":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"collection_title_tesim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"collection_ssim":["TEACH Michigan and TEACH Michigan Education Fund records, 1989-1996"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"creator_ssm":["TEACH Michigan."],"creator_ssim":["TEACH Michigan."],"creator_corpname_ssim":["TEACH Michigan."],"creators_ssim":["TEACH Michigan."],"access_terms_ssm":["Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The record group came to the library from Partnership for Learning (formerly TEACH Michigan) in December 2000. Donor no.  9038"],"access_subjects_ssim":["Charter schools -- Michigan.","Education -- Michigan.","Public schools -- Michigan.","School choice -- Michigan.","Charter schools -- Michigan.","Debates.","Discussion.","Public affairs television programs.","School choice -- Michigan.","Sound recordings.","Videocassettes."],"access_subjects_ssm":["Charter schools -- Michigan.","Education -- Michigan.","Public schools -- Michigan.","School choice -- Michigan.","Charter schools -- Michigan.","Debates.","Discussion.","Public affairs television programs.","School choice -- Michigan.","Sound recordings.","Videocassettes."],"has_online_content_ssim":["false"],"extent_ssm":["13 linear feet"],"extent_tesim":["13 linear feet"],"genreform_ssim":["Sound recordings.","Videocassettes."],"date_range_isim":[1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eResearch use of the record group is restricted except with the permission of Dr. Paul DeWeese.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Research use of the record group is restricted except with the permission of Dr. Paul DeWeese."],"bioghist_html_tesm":["\u003cp\u003eIn 1989, Dr. Paul N. DeWeese, a physician then working in Detroit, became frustrated by what he perceived to be a lack of educational choice for his own children then about to begin school. With other like-minded individuals, DeWeese formed Michigan Citizens for Choice in Education (shortly to be renamed TEACH Michigan). Incorporated as a non-profit organization in 1991, TEACH Michigan was established to lobby for changes in the law regarding school choice. Associated with TEACH Michigan was a tax-exempt sister organization - TEACH Michigan Education Fund (TMEF) - which with license to solicit charitable contributions could engage in a variety of educational, research, and planning functions.\u003c/p\u003e\n","\u003cp\u003e Under DeWeese's leadership, TEACH Michigan advocated fundamental changes in the state's educational system. The core of TEACH Michigan's philosophy of education was simply stated. Parents should be allowed to choose from competing systems of schools with funding for education following the student and not automatically being given to the government-supported school system. An ambitious agenda, TEACH Michigan realized the importance of educating the public and enlisting enough grassroots support for the necessary changes in state law and in the state constitution to be made. With the law changed, there would follow competition for the education dollar resulting in non-governmental sponsorship of K-12 schools by corporations, public or private universities, parent groups or churches, as well as by the government. No longer would there be a \"government monopoly\" school system. Instead, parents would receive financial support (or vouchers) for their children to attend the school of their choice.\u003c/p\u003e\n","\u003cp\u003e Although his message never wavered, DeWeese was realistic enough to realize that \"full choice\" could only come incrementally, thus his advocacy of changes in state law to allow for the creation of charter schools. Charter schools are public schools that are custom-designed by groups of teachers, parents or outside individuals to meet particular education needs. Charter schools are part of the public school system, financed on a par with other schools in the district. But for charter schools to become a reality state law would have to be changed. In December 1993, with the passage of Senate bill no. 896 (signed by the governor in January 1994), Michigan adopted the most significant restructuring of public education since the development of single-function school districts in the early 20th century. The state authorized groups of certified teachers and community leaders to form individual charter schools (public school academies) \"that are to be treated like school districts\" for the purposes of state education law. These \"single-school school districts\" could be started anywhere in the state by one or more certified teachers, a county, city, village, township, school district, community college, or state public university. Each new school would develop its own governing board, and must describe its educational goals and the standards by which its performance will be measured. Each of these academies would receive a state school aid payment for its enrolled students.\u003c/p\u003e\n","\u003cp\u003e Following the passage of 896, TMEF established a sister organization, the Michigan Center for Charter Schools (MCCS), whose purpose was to promote the development of charter schools. TMEF subsidized the operation of MCCS throughout its existence. MCCS was the only organization in the state early on that was disseminating timely and accurate information about charter schools. MCCS also helped several groups move through the process of establishing a charter school. By the end of 1995, more than 60 charter school had been established with an additional 120 schools seeking charters.\u003c/p\u003e\n","\u003cp\u003e In November 1994, an Ingham County circuit court judge ruled the law unconstitutional. Although the groups authorized to grant charters were government entities, the judge ruled, the day-to-day operations of schools were largely in the hands of privately elected directors and thus not directly accountable to the public. With this decision, the charter schools that had been established were left without public funding. In some cases, the schools reverted to private school status relying on tuitions and corporate donations for their support. In other cases, the state legislature, many of whose members believed that the judge's ruling would be overturned on appeal, passed emergency legislation which addressed the judge's objection to the original legislation.\u003c/p\u003e\n","\u003cp\u003e In 1995, the state Board of Education contracted with the Michigan Partnership for New Education to both promote charter schools and to provide technical assistance to charter schools. The Michigan Partnership immediately asked for, and received, permission to hire the entire staff of MCCS in order to run their charter school operation. In May of 1995, MCCS ceased to operate, as its mission and staff were absorbed by the Michigan Partnership for New Education.\u003c/p\u003e\n","\u003cp\u003e From its inception, TEACH Michigan knew that for real educational reform to take place from their point of view, the Michigan State Constitution (Article 8, sec. 2) would have to be revised. That provision restricted the use of public funds to government-operated schools only. With the constitution changed, TEACH Michigan hoped to secure passage of a voucher system so that parents might choose, and receive funding, for their child to attend a church-related school.\u003c/p\u003e\n","\u003cp\u003e In 2000, the TEACH Michigan organization was folded into a new organization, Partnership for Learning.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In 1989, Dr. Paul N. DeWeese, a physician then working in Detroit, became frustrated by what he perceived to be a lack of educational choice for his own children then about to begin school. With other like-minded individuals, DeWeese formed Michigan Citizens for Choice in Education (shortly to be renamed TEACH Michigan). Incorporated as a non-profit organization in 1991, TEACH Michigan was established to lobby for changes in the law regarding school choice. Associated with TEACH Michigan was a tax-exempt sister organization - TEACH Michigan Education Fund (TMEF) - which with license to solicit charitable contributions could engage in a variety of educational, research, and planning functions."," Under DeWeese's leadership, TEACH Michigan advocated fundamental changes in the state's educational system. The core of TEACH Michigan's philosophy of education was simply stated. Parents should be allowed to choose from competing systems of schools with funding for education following the student and not automatically being given to the government-supported school system. An ambitious agenda, TEACH Michigan realized the importance of educating the public and enlisting enough grassroots support for the necessary changes in state law and in the state constitution to be made. With the law changed, there would follow competition for the education dollar resulting in non-governmental sponsorship of K-12 schools by corporations, public or private universities, parent groups or churches, as well as by the government. No longer would there be a \"government monopoly\" school system. Instead, parents would receive financial support (or vouchers) for their children to attend the school of their choice."," Although his message never wavered, DeWeese was realistic enough to realize that \"full choice\" could only come incrementally, thus his advocacy of changes in state law to allow for the creation of charter schools. Charter schools are public schools that are custom-designed by groups of teachers, parents or outside individuals to meet particular education needs. Charter schools are part of the public school system, financed on a par with other schools in the district. But for charter schools to become a reality state law would have to be changed. In December 1993, with the passage of Senate bill no. 896 (signed by the governor in January 1994), Michigan adopted the most significant restructuring of public education since the development of single-function school districts in the early 20th century. The state authorized groups of certified teachers and community leaders to form individual charter schools (public school academies) \"that are to be treated like school districts\" for the purposes of state education law. These \"single-school school districts\" could be started anywhere in the state by one or more certified teachers, a county, city, village, township, school district, community college, or state public university. Each new school would develop its own governing board, and must describe its educational goals and the standards by which its performance will be measured. Each of these academies would receive a state school aid payment for its enrolled students."," Following the passage of 896, TMEF established a sister organization, the Michigan Center for Charter Schools (MCCS), whose purpose was to promote the development of charter schools. TMEF subsidized the operation of MCCS throughout its existence. MCCS was the only organization in the state early on that was disseminating timely and accurate information about charter schools. MCCS also helped several groups move through the process of establishing a charter school. By the end of 1995, more than 60 charter school had been established with an additional 120 schools seeking charters."," In November 1994, an Ingham County circuit court judge ruled the law unconstitutional. Although the groups authorized to grant charters were government entities, the judge ruled, the day-to-day operations of schools were largely in the hands of privately elected directors and thus not directly accountable to the public. With this decision, the charter schools that had been established were left without public funding. In some cases, the schools reverted to private school status relying on tuitions and corporate donations for their support. In other cases, the state legislature, many of whose members believed that the judge's ruling would be overturned on appeal, passed emergency legislation which addressed the judge's objection to the original legislation."," In 1995, the state Board of Education contracted with the Michigan Partnership for New Education to both promote charter schools and to provide technical assistance to charter schools. The Michigan Partnership immediately asked for, and received, permission to hire the entire staff of MCCS in order to run their charter school operation. In May of 1995, MCCS ceased to operate, as its mission and staff were absorbed by the Michigan Partnership for New Education."," From its inception, TEACH Michigan knew that for real educational reform to take place from their point of view, the Michigan State Constitution (Article 8, sec. 2) would have to be revised. That provision restricted the use of public funds to government-operated schools only. With the constitution changed, TEACH Michigan hoped to secure passage of a voucher system so that parents might choose, and receive funding, for their child to attend a church-related school."," In 2000, the TEACH Michigan organization was folded into a new organization, Partnership for Learning."],"prefercite_html_tesm":["\u003cp\u003eitem, folder title, box no., TEACH Michigan and TEACH Michigan Education Fund records, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["item, folder title, box no., TEACH Michigan and TEACH Michigan Education Fund records, Bentley Historical Library, University of Michigan"],"scopecontent_html_tesm":["\u003cp\u003eThis record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. Together, the record group contains correspondence, policy statements, organizational and activity files, collected materials, sound and video materials, all relating to the efforts of the two organizations first to educate and lobby for changes in the law, and second to provide assistance and support in the establishment of charter schools. The records date from the inception of the organization to 1995. The subsequent records of TEACH Michigan remain with the organization.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This record group consists of two separate groupings (or subgroups) of records: the combined files of TEACH Michigan and TEACH Michigan Education Fund covering the period of 1989 to 1995, and files of the charter school support group, Michigan Center for Charter Schools covering the years 1994-1995. Both organizations operated out of the same office in Lansing and included some of the same individuals as board members. The TM/TMEF files consist in great part of papers of Dr. Paul N. DeWeese, a principal founder of the organization. The MCCS files are largely papers of executive director Barbara Barrett as well as DeWeese. Together, the record group contains correspondence, policy statements, organizational and activity files, collected materials, sound and video materials, all relating to the efforts of the two organizations first to educate and lobby for changes in the law, and second to provide assistance and support in the establishment of charter schools. The records date from the inception of the organization to 1995. The subsequent records of TEACH Michigan remain with the organization."],"userestrict_html_tesm":["\u003cp\u003eDonor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Donor(s) have not transferred any applicable copyright to the Regents of the University of Michigan. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_85c28ec7f064d103fc6a1b17b4c73c99\"\u003eOrganization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools.\u003c/abstract\u003e"],"abstract_tesim":["Organization established in 1989 by Paul N. DeWeese and others to lobby for changes in state law and the state constitution to allow parents to choose between competing schools. The record group also contains records of the Michigan Center for Charter Schools, sister organization to TEACH Michigan, established to promote the development of charter schools in the state. The record group includes Informational materials detailing mission and goals of the TEACH Michigan organization; organizational files; topical files; correspondence; speeches and articles about school choice and the state charter school movement; and audio and video cassettes of TM presentations and appearances of Paul DeWeese on radio and television programs. Also included are the organizational records of the Michigan Center for Charter Schools."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4f9a3a50370f108b16342d0e56be5abb\"\u003eOffsite storage; prior notification required for access\u003c/physloc\u003e"],"physloc_tesim":["Offsite storage; prior notification required for access"],"names_coll_ssim":["Michigan Center for Charter Schools.","TEACH Michigan.","TEACH Michigan Education Fund.","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N.","DeWeese, Paul N.","DeWeese, Paul N."],"names_ssim":["Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund.","DeWeese, Paul N."],"corpname_ssim":["Bentley Historical Library","TEACH Michigan.","Michigan Center for Charter Schools.","TEACH Michigan Education Fund."],"persname_ssim":["DeWeese, Paul N."],"language_ssim":["English","The materials are in  English."],"total_component_count_is":279,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-014","timestamp":"2025-02-18T23:13:12.778Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-014_aspace_cc86b3986361adf0d8150ab673c40433"}},{"id":"umich-wcl-G-tind-0083_al_0a940d669e06b3c8e122410369b89d2241975847","type":"File","attributes":{"title":"Funerals \u0026 Postmortem Photography","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-wcl-G-tind-0083_al_0a940d669e06b3c8e122410369b89d2241975847#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"al_0a940d669e06b3c8e122410369b89d2241975847","ref_ssm":["al_0a940d669e06b3c8e122410369b89d2241975847","al_0a940d669e06b3c8e122410369b89d2241975847"],"id":"umich-wcl-G-tind-0083_al_0a940d669e06b3c8e122410369b89d2241975847","title_filing_ssi":"Funerals \u0026 Postmortem Photography","title_ssm":["Funerals \u0026 Postmortem Photography"],"title_tesim":["Funerals \u0026 Postmortem Photography"],"normalized_title_ssm":["Funerals \u0026 Postmortem Photography"],"text":["Funerals \u0026 Postmortem Photography","David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","David V. Tinder collection of Michigan photography, County File, Wayne County, Box 19"],"component_level_isim":[2],"parent_ssim":["umich-wcl-G-tind-0083","al_77f3f614e7ff9428c1440db158a7537dc25855f0"],"parent_ssi":"al_77f3f614e7ff9428c1440db158a7537dc25855f0","parent_ids_ssim":["umich-wcl-G-tind-0083","umich-wcl-G-tind-0083_al_77f3f614e7ff9428c1440db158a7537dc25855f0"],"parent_unittitles_ssm":["David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","David V. Tinder collection of Michigan photography, County File, Wayne County, Box 19"],"parent_unittitles_tesim":["David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","David V. Tinder collection of Michigan photography, County File, Wayne County, Box 19"],"parent_levels_ssm":["collection","Series"],"repository_ssim":["University of Michigan. William L. Clements Library"],"collection_ssim":["David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":364,"_nest_path_":"/components#18/components#11","_nest_parent_":"umich-wcl-G-tind-0083_al_77f3f614e7ff9428c1440db158a7537dc25855f0","_root_":"umich-wcl-G-tind-0083","timestamp":"2025-02-18T23:25:22.393Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-wcl-G-tind-0083","title_ssm":["  David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","Tinder, David V., Collection of Michigan Photography, County File, Wayne County"],"title_tesim":["  David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","Tinder, David V., Collection of Michigan Photography, County File, Wayne County"],"ead_ssi":"umich-wcl-G-tind-0083","level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["wclgrfx000200"],"text":["wclgrfx000200","David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985","David V. Tinder Collection of Michigan Photography.","Photographs shelf.","Actors--Michigan--1900-1910.","Actresses--Michigan--1890-1910.","African American businesspeople--Michigan.","African American children--Portraits--Michigan.","African American choirs--Michigan.","African American churches--Michigan.","African American freemasons--Michigan.","African American judges--Michigan.","African American musicians--Michigan.","African Americans--Societies, etc.--Michigan.","African American students--Michigan.","African American Sunday schools--Michigan.","Agricultural laborers--Michigan.","Airports--Michigan.","Aircraft--Michigan--1930-1940.","Aircraft industry--Michigan.","Air shows--Michigan.","Amateur theater--Michigan.","Amusement parks--Michigan.","Animals on television--Michigan.","Asbestos--Michigan.","Automobile factories--Michigan.","Automobile industry workers--Michigan.","Automobile rallies--Michigan.","Automobiles--Michigan.","Automobiles--Design and construction--Michigan.","Balls (Parties)--Michigan--1910-1920.","Bands (Music)--Michigan.","Banquets--Michigan--1920-1930.","Barbers--Michigan.","Barbershops--Michigan--1910-1920.","Bar mitzvah--Michigan.","Bars (Drinking establishments)--Michigan.","Baseball players--Michigan.","Basketball courts--Michigan.","Basketball players--Michigan.","Beauty shops--Michigan.","Beekeepers--Michigan.","Bicycles \u0026 tricycles--Michigan--1890-1930.","Bicycle stores--Michigan.","Blacksmiths--Michigan.","Blizzards--Michigan.","Boats and boating--Michigan.","Boycotts--Michigan.","Breweries--Michigan.","Breweries--Employees--Michigan.","Brick trade--Michigan.","Bridges--Michigan--Detroit.","Broom and brush industry--Michigan.","Building construction--Michigan--1910-1930.","Buses--Michigan--1930-1940.","Business organizations--Michigan.","Business Schools--Michigan.","Button industry--Michigan.","Cafeterias--Michigan.","Camping--Michigan.","Canoes and canoeing--Michigan.","Carts \u0026 wagons--Michigan--1890-1910","Casinos--Michigan.","Catholic schools--Michigan.","Cemeteries--Michigan.","Chauffeurs--Michigan.","Chemical industry--Michigan.","Children's costumes--Michigan.","Children's parties--Michigan--1890-1900.","Children--Michigan--Portraits.","Children's choirs--Michigan.","Church buildings--Michigan.","Cigar industry--Michigan.","Circus animals--Michigan.","Circus performers--Michigan.","City councils--Michigan--Hamtramck (Mich.)","City halls--Michigan.","Commercial photography--Michigan.","Concert programs--Michigan.","Confirmation--Catholic Church--Michigan.","Construction workers--Michigan.","Coopers and Cooperage--Michigan.","Couples--Michigan--Portraits.","Creameries--Michigan.","Cross-country runners--Michigan.","Curling--Michigan.","Dairying--Michigan.","Delivery of goods--Michigan.","Diving--Michigan--1890-1900.","Docks--Michigan.","Dredges--Michigan.","Drugstores--Michigan.","Dwellings--Michigan.","Engines--Michigan.","Entertainers--Michigan--1900-1910.","Ethnic costume--Romania.","Ethnic groups--Michigan.","Exhibitions--Michigan--1880-1890.","Explosions--Michigan.","Factories--Employees--Michigan.","Factories--Michigan.","Families--Michigan--Portraits.","Fire fighters--Michigan.","Florists--Michigan.","Flour mills--Michigan.","Flower arrangements--Michigan--1920-1940.","Football players--Michigan--1900-1910.","Fraternal organizations--Michigan","Funeral rites \u0026 ceremonies--Michigan--1910-1930","Gardens--Michigan--1900-1910.","Gas power plants--Michigan.","Graduation (School)","Grocery trade--Michigan.","Hardware stores--Michigan.","Hat trade--Michigan.","High school students--Michigan.","Horse-drawn rail cars--Michigan.","Horse racing--Michigan--1920-1930","Hospitals--Michigan--Detroit.","Hotels--Michigan--1870-1890.","Ice industry--Michigan.","Insurance companies--Michigan.","Inventors--Michigan","Jazz musicians--Michigan","Kitchen utensils--Michigan.","Laboratories--Michigan.","Lakes--Michigan.","Libraries--Michigan--Detroit.","Lighthouses--Michigan.","Locomotives--Michigan.","Luggage industry--Michigan.","Mausoleums--Michigan.","Mechanical musical instruments--Michigan.","Men--Michigan--Portraits.","Men--Societies  and clubs--Michigan.","Metalworking industries--Michigan.","Military bands--Michigan.","Motion pictures--Michigan--1930-1940.","Motorboat racing--Michigan.","Music stores--Michigan.","Musicians--Michigan.","Nightclubs--Michigan.","Nursing schools--Michigan.","Occupational training--Michigan.","Offices--Michigan--1910-1930.","Old age homes--Michigan.","Opticians--Michigan.","Paddle steamers--Michigan.","Parade floats--Michigan.","Parades--Michigan.","Parks--Michigan--Detroit.","Photography--Societies, etc--Michigan.","Picnics--Michigan.","Playgrounds--Michigan.","Police--Michigan--Detroit.","Police stations--Michigan.","Political parades \u0026 rallies--Michigan--1900-1920.","Portraits, group--Michigan.","Postmortem photography--Michigan.","Power-plants--Design and construction--Michigan.","Priests--Michigan.","Prisons--Michigan.","Public architecture--Michigan.","Radio broadcasting--Michigan.","Railroad stations--Michigan.","Railroad tunnels--Design and construction--Michigan.","Railroad tunnels--Michigan.","Railroads--Employees--Michigan.","Railroads--Michigan.","Residential architecture--Michigan.","Restaurants--Michigan--1920-1930.","Sailors--Michigan.","School children--Michigan.","School buildings--Michigan.","School plays--Michigan.","School yearbooks--Michigan.","Ships--Launching--Michigan.","Ships--Michigan.","Shoes--Repairing--Michigan.","Skyscrapers--Michigan--Detroit.","Soccer players--Michigan--1920-1930","Soldiers--Michigan.","Souvenirs (Keepsakes)--Michigan.","Spanish-American War, 1898--Veterans--Michigan.","Stables--Michigan.","Steamboats--Michigan.","Steel foundries--Michigan.","Stove industry and trade--Michigan.","Street lighting--Michigan.","Street-railroads--Michigan.","Streets--Michigan.","Strikes and lockouts--Automobile industry--Michigan.","String bands--Michigan.","Storefronts--Michigan.","Teeth--Radiography--Michigan.","Television programs--Michigan.","Theaters--Michigan--1910-1920.","Threshing machines--Michigan--1900-1910.","Tour buses--Michigan.","Traffic signs \u0026 signals---Michigan--1930-1950","Train ferries--Michigan.","Trucks--Michigan--1920-1940.","Variety stores--Michigan.","Vocational education--Michigan.","Water mills--Michigan.","Water towers--Michigan.","Waterworks--Michigan.","Weddings--Michigan.","Women automobile industry workers--Michigan.","Women field hockey players--Michigan.","Women figure skaters--Michigan.","Women--Employment--Michigan--1910-1940.","Women--Michigan--Portraits.","Women--Societies and clubs--Michigan.","World War 1914-1918--Michigan.","Clippings.","Cyanotypes.","Documents.","Ephemera.","Pamphlets.","Photocopies.","Photographic prints.","Photomechanical prints.","Postage stamps.","The city of Detroit and its vast metropolitan area has dominated the Wayne County area for centuries. Detroit was founded in 1701 as a French settlement with access to the Great Lakes and Canada and quickly became a strategic military post and trade center. It transferred to British control in 1760 during the Seven Years War and to United States governance in 1796. It became a chartered city in 1802, the capitol of the Michigan Territory in 1805, and Michigan’s first State Capital from 1837 to 1847. The city grew with an economy based largely on agriculture and trade in the early 19th century, becoming one of the nation’s prime manufacturing and cultural centers after the Civil War. Large industries based in the region included railroad equipment manufacturing, ship building, iron and steel production, stoves, pharmaceuticals, brewing, wagon making, and many others.","The industrial strength of Detroit created a large middle-class society as well as vast wealth. In turn, this affluence supported cultural advancement, education, and the arts. Commercial photography studios thrived in this environment. Many prize-winning portrait photographers were based in Detroit, as were those specializing in architecture, and the documentation of industry and commerce.","The diversity of industry of late 19th century Detroit gave way to automobile centered growth in the mid-20th century. The boom in wartime production during World War Two attracted workers from around the country and shifted the racial demographics of the city.","The collapse of manufacturing industries, the disappearance of public transportation, and massive population shifts to the suburbs were factors in the decline of Detroit in the mid to late 20th century.","Included in the Wayne County file of the David V. Tinder Collection of Michigan Photography are images of urban Detroit, people in their places of work, at home, at leisure, and participating in social activities and in fraternal and religious organizations. Numerous images show industrial manufacturing, urban transportation, and civic infrastructure. Activities related to entertainment, sports, parades, and the arts are well represented. The many portraits photographs include formal posed images, casual snapshots, workplace groups and fraternal organizations.","A vast majority of the photographs are the work of commercial photographers, with some amateurs. A significant number of photos were taken by Detroit News and Detroit Free Press photographers. Almost all the images present would be considered vernacular photos rather than fine art; however, many are carefully composed with strong aesthetic characteristics.","Although the photos have been largely sorted by subject, related materials may be present outside of the subject categories, i.e., images of transportation can also be found in the categories Architecture, Business and Commerce, Group Portraits, and in other sections outside of Transportation.","The bulk of the photos in this collection were taken in Detroit during the era of rapid population growth and industrial development around the turn of the century. The diversity of industry that appears in the late 19th century images can be seen giving way to automobile centered growth in the mid-20th century. Evidence of the rich residential lifestyles and multi-ethnic cultures of the Detroit area appear in many images.","At the fringe of the collection’s scope are images of the demolition of factories, the disappearance of public transportation, and racial unrest during the decline of Detroit in the mid to late 20th century.","It should be noted that while most of the collection are mounted and unmounted photographic prints, there are a few bound items as well as printed ephemera.","The collection has been organized into various categories by subject. The first group of photos is comprised of those that did not fit neatly under other categories. These include views of military encampments, disasters and firefighting, civic unrest, commercial product promotions, and other miscellaneous topics. Of particular note is a charming outdoor children’s party scene by amateur photographer Robert R. Oesterreich (no. 9); a double portrait montage by Tony Spina of John F. Kennedy and Robert F. Kennedy, both speaking at Campus Martius (no. 14); the high quality photomechanical prints of Detroit scenes and architecture in the  Detroit Illustrated.  (no. 16); and a collection of 28 miscellaneous nightclub souvenir photographs dating from the 1940s-1980s (no. 20). The rest of the material falls under the following categories:","Transportation: 243 photographs. Material is divided between the following sub-categories: Automobiles and Trucks (56 photographs), Aircraft (18 photographs), Railroads and Trains (58 photographs), Streetcars and Trolleys (20 photographs), Roads and Infrastructure (33 photographs), Wagons (20 photographs), Maritime (38 photographs).","Of note are a photograph of an African American couple posed with a new V-8 Ford (no. 71.3); construction photos of the Detroit River railroad tunnel (no. 95); Goebel’s Brewing Co. delivery wagons (no. 98); and a view of the steamboat  Tashmoo  at speed on the Detroit River (no. 110).","Performers: 107 photographs, most of which (113 photographs) are contained in the sub-category Music and Musicians. Of particular note are numerous photos of community brass bands, a photo of John Philip Sousa and his band at Grand Circus Park (no. 122); an image of the inventor Charles Crawford and his patented \"Pickaphone\" mechanism for playing stringed instruments, ca. 1888 (no. 123); and copy prints of two important early jazz bands, Finney’s Orchestra (no. 131) and McKinney’s Cotton Pickers (no. 132).","Portraits: 505 photographs. Material is divided into the following sub-categories: Individuals (172 photographs), Groups (133 photographs), Children (97 photographs), Weddings (64 photographs), Confirmation and Communion (41 photographs). Of particular interest are a photograph of Joan Baxter and her Hot Dog Cooker (no. 137); three 1860's portraits of members of the Hawley family of Detroit (no. 141), one of which is inscribed with enlargement instructions ca.1901 on its verso; and a portrait of politician and founder of the Republican Party Zachariah Chandler, taken by Benjamin Powelson ca. 1880 (no. 142).","Of the many notable images within the Groups category are an outstanding image of sixteen Packard Motor Car Company employees piled onto a 1911 Packard in front of the then new Packard factory on West Grand Blvd. (no. 144.9); a group of African American women engaged in a ceremonial burning of the mortgage of the Phyllis Wheatley Home for Aged Colored Ladies (no. 162); and a portrait of members of the Direct Credits Society, a Great Depression-era wealth redistribution movement founded by Alfred Lawson (no. 166).","Parades: 54 photographs. Many scenes of massive parades in Detroit. Of note is a series of photographs of women marching in a racially-integrated United Spanish War Veterans Parade, ca.1940 (no. 179); and a view of five young women in a florally decorated early automobile (no. 180.11).","Business \u0026 Commerce: 319 photographs. Where possible, material has been divided into the following sub-categories: Business Exteriors (52 photographs), Business Interiors (125 photographs), Construction (22 photographs), Ford Motor Company (19 photographs). Of note is an image of a group of brewers tapping a keg at the Marx Brewing Co. (no. 186.1); Candler Dock \u0026 Dredge Co. workers and surveyors building a dock, taken by the Manning Bros. ca 1920s (no. 192); women rolling cigars at the R.G. Dunn factory, 1909 (no. 204); workers fabricating automobile bodies at the Briggs Manufacturing Co. ca. 1910s (no. 206);interior view of the Burroughs Adding Machine factory (no 209.11); the Penobscot Building construction in three stages ca 1928 (no. 217); and two fold-out panoramic photos of the Ford complex at River Rouge taken by Otto Rotch in 1925 (no. 218).","Views: 86 photographs. Material is divided into Street Views (28 photographs), Residential Views (51 photographs), and Aerial Views (7 photographs).","Architecture: 69 photographs. Of particular note is a charming view of a small inn at Springwells, Mich., the International Exposition House ca. 1889 (no. 235); an 1870's print of the large Russell House Hotel in Detroit (no. 238); and a panoramic view of downtown Detroit at its peak, taken by the Murray Studio in the 1920s (no. 240.18).","Labor \u0026 Unemployment: 8 photographs primarily focused on unemployment during the Great Depression. Of note is a group photo of the striking Journeyman Bakers International Union in 1902 (no. 248).","Athletes \u0026 Athletics: 58 photographs. Of particular note are a copy-print of a 1910 Detroit Tigers team photo featuring Hall of Famer Ty Cobb (no. 261); a series of 3 group photographs of an early soccer team, Michigan Alkali F.C. in 1923 (no. 265); Wyandotte baseball teams (no. 266);. The Slocum’s Island baseball champions of 1882 (no. 272.4); and a 1943 curling team (no. 273).","Classrooms \u0026 Schools: 38 photographs. Of particular interest are a student group in front of a one-room schoolhouse at Cherry Hill in 1934 (no. 280.11); a kindergarten band at Clippert School taken by the Manning Bros. (no. 280.20); and a ca.1936 Lincoln Park High School album with personal snapshots and autographs of classmates (no. 279).","Places of Worship \u0026 Religious Activities: 43 photographs. One of several images related to African American church congregations shows members of an A.M.E. church dressed in \"traditional\" African garb ca.1920-1930 (no. 284).","Parks: 112 photographs. Of particular focus is Belle Isle (approx. 50 photographs) and Waterworks Park. A series of Belle Isle views taken in 1889 by Holcombe \u0026 Metzen is particularly picturesque (no. 297.1-9).","Funerals \u0026 Postmortem Photography: 14 photographs. These photographs date from the 1910s-1930s and are mostly photographs of open caskets surrounded by the deceased's family.","The collection contains photographs of Wayne County, Michigan. Included are numerous urban scenes and images of everyday life, primarily in the Metropolitan Detroit area between 1860 and the mid-20th century. The bulk of the photographs were taken between 1890 and 1930. A very wide range of topics is represented, among them commercial and residential architecture, urban infrastructure, public and private spaces, civic and domestic activities, individual and group portraits, and events from across the social spectrum.","William L. Clements Library , University of Michigan","American Red Cross.","Ancient Arabic Order of the Nobles of the Mystic Shrine for North America.","BASF Wyandotte Corporation.","Cartercar Co.","Catholic Church--Clergy--Michigan.","Detroit College of Medicine.","Detroit Institute of Arts.","Detroit Museum of Art.","Detroit Opera House.","Detroit Red Wings (Hockey team)","Detroit Symphony Orchestra.","Detroit, Toledo and Ironton Railroad.","Dodge Brothers.","Ford Motor Company.","Ford Motor Company--Employees.","Ford Motor Company. Rouge River Plant.","Ford Rotunda (Dearborn, Mich.)","General Motors Corporation.","Henry Ford Museum and Greenfield Village.","Hudson's (Department store)","International Union, United Automobile Workers of America (CIO)","Journeymen Bakers National Union of the United States.","Knights of Pythias.","Knights Templar (Masonic order)","Michigan Central Railroad Company.","Michigan. National Guard.","Michigan Stove Company.","Tiger Stadium (Detroit, Mich.)","United States. Army--Recruiting, enlistment, etc.--Michigan.","United States. Army. Reserve Officers' Training Corps.","YMCA of the USA.","Young Women's Christian Association.","Agdan Photographic.","Alliance Commercial Photo Co.","Alvord \u0026 Co.","American Commercial Photo Co.","Arthur Studio.","Babas Studio.","Baker Art Studio.","Baker Studio.","Ballaun Studio.","Bonish Studio.","Brown \u0026 Co.","Charles Hopp \u0026 Co.","Club Photos Inc.","Commercial Photo Service Co.","Cousins Art Studio.","Davison Photo Studio.","Deluxe Theatrical Studio.","Detroit Edison Co.","Detroit News Staff.","Fotografia Italiana (G. Lanni \u0026 Co.)","General Motors Photographic Section.","Harbican Studio.","Hoffman Studio.","Holcombe \u0026 Metzen.","Holgate Studio.","Huntington \u0026 Clark.","Litynski-Jakubowski Co.","MacGregor and Company.","Manning Bros.","Metropolitan Art Studio.","Modernistic Photo Studio.","New Chene Studio.","P. Pieronek Studio.","Rembrandt Studios.","Rentschler's Studio.","Smart Set Studio.","Smith Brothers Commerical Photographers.","Spencer \u0026 Wyckoff.","Spooner \u0026 Wells, Inc.","Tiffany Photographic Studio.","Ziawinski Bros.","Tinder, David V.","Grant, Ulysses S. (Ulysses Simpson), 1822-1885--Homes and haunts.","Kennedy, John F. (John Fitzgerald), 1917-1963.","Kennedy, Robert F., 1925-1968.","Robeson, Paul, 1898-1976.","Sousa, John Philip, 1854-1932.","Arthur, Edward J.","Baker, Chas. R.","Ball, Lyman L.","Baron, Herman.","Blanchard, Issac H.","Bleibel, Gustav.","Bowles, Esther A., Mrs.","Burose, Herman.","Cheff, Edmund Archael.","Craine, Benjamin H.","Hayes, Clarence Messenger.","Hediger, James D.","Hillmer, Davis B.","Hoffman, Clarence L.","Howie, George William.","Hughes, John Wesley.","Jackson, Harvey C.","James, Langford P.","Jones, J. F.","Lazarnick, Nathan.","Litynski, Walter E.","Mazur, Anthony","McMichael, A.G.","Merz, Charles J.","Mirecki, Albert J.","Phelps, C.A. (New Castle, IN)","Pipp, Frank H.","Poli, Faustino G.","Pollard, C.H.","Rentschler, Andrew.","Rochowiak, Stanley A.","Rotch, Otto.","Salter, Al.","Sowinski, Joseph.","Spellman, Delmar Driscoe.","Stone, Frank H.","Tomlinson, Frank N.","Wiederhold, John A.","Wright, Fred G.","Ziawinski, Felix.","Ziawinski, Joseph.","The material is in  English ."],"unitid_tesim":["wclgrfx000200"],"normalized_title_ssm":["David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985"],"collection_title_tesim":["David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985"],"collection_ssim":["David V. Tinder Collection of Michigan Photography, County File, Wayne County 1865-1985"],"repository_ssm":["University of Michigan. William L. Clements Library"],"repository_ssim":["University of Michigan. William L. Clements Library"],"creator_ssm":["Tinder, David V."],"creator_ssim":["Tinder, David V."],"creator_persname_ssim":["Tinder, David V."],"creators_ssim":["Tinder, David V."],"acqinfo_ssim":["F-832, F-860, F-861, F-891, F-892, F-893, F-898, F-909, F-911, F-914, F-922, F-938, F-940, F-945, F-961, F-980, F-987, F-1004, F-1005, F-1014,  F-1017, F-1027, F-1028, F-1033, F-1054, F-1066, F-1067, F-1074, F-1076, F-1077, F-1113, F-1114 ."],"access_subjects_ssim":["David V. Tinder Collection of Michigan Photography.","Photographs shelf.","Actors--Michigan--1900-1910.","Actresses--Michigan--1890-1910.","African American businesspeople--Michigan.","African American children--Portraits--Michigan.","African American choirs--Michigan.","African American churches--Michigan.","African American freemasons--Michigan.","African American judges--Michigan.","African American musicians--Michigan.","African Americans--Societies, etc.--Michigan.","African American students--Michigan.","African American Sunday schools--Michigan.","Agricultural laborers--Michigan.","Airports--Michigan.","Aircraft--Michigan--1930-1940.","Aircraft industry--Michigan.","Air shows--Michigan.","Amateur theater--Michigan.","Amusement parks--Michigan.","Animals on television--Michigan.","Asbestos--Michigan.","Automobile factories--Michigan.","Automobile industry workers--Michigan.","Automobile rallies--Michigan.","Automobiles--Michigan.","Automobiles--Design and construction--Michigan.","Balls (Parties)--Michigan--1910-1920.","Bands (Music)--Michigan.","Banquets--Michigan--1920-1930.","Barbers--Michigan.","Barbershops--Michigan--1910-1920.","Bar mitzvah--Michigan.","Bars (Drinking establishments)--Michigan.","Baseball players--Michigan.","Basketball courts--Michigan.","Basketball players--Michigan.","Beauty shops--Michigan.","Beekeepers--Michigan.","Bicycles \u0026 tricycles--Michigan--1890-1930.","Bicycle stores--Michigan.","Blacksmiths--Michigan.","Blizzards--Michigan.","Boats and boating--Michigan.","Boycotts--Michigan.","Breweries--Michigan.","Breweries--Employees--Michigan.","Brick trade--Michigan.","Bridges--Michigan--Detroit.","Broom and brush industry--Michigan.","Building construction--Michigan--1910-1930.","Buses--Michigan--1930-1940.","Business organizations--Michigan.","Business Schools--Michigan.","Button industry--Michigan.","Cafeterias--Michigan.","Camping--Michigan.","Canoes and canoeing--Michigan.","Carts \u0026 wagons--Michigan--1890-1910","Casinos--Michigan.","Catholic schools--Michigan.","Cemeteries--Michigan.","Chauffeurs--Michigan.","Chemical industry--Michigan.","Children's costumes--Michigan.","Children's parties--Michigan--1890-1900.","Children--Michigan--Portraits.","Children's choirs--Michigan.","Church buildings--Michigan.","Cigar industry--Michigan.","Circus animals--Michigan.","Circus performers--Michigan.","City councils--Michigan--Hamtramck (Mich.)","City halls--Michigan.","Commercial photography--Michigan.","Concert programs--Michigan.","Confirmation--Catholic Church--Michigan.","Construction workers--Michigan.","Coopers and Cooperage--Michigan.","Couples--Michigan--Portraits.","Creameries--Michigan.","Cross-country runners--Michigan.","Curling--Michigan.","Dairying--Michigan.","Delivery of goods--Michigan.","Diving--Michigan--1890-1900.","Docks--Michigan.","Dredges--Michigan.","Drugstores--Michigan.","Dwellings--Michigan.","Engines--Michigan.","Entertainers--Michigan--1900-1910.","Ethnic costume--Romania.","Ethnic groups--Michigan.","Exhibitions--Michigan--1880-1890.","Explosions--Michigan.","Factories--Employees--Michigan.","Factories--Michigan.","Families--Michigan--Portraits.","Fire fighters--Michigan.","Florists--Michigan.","Flour mills--Michigan.","Flower arrangements--Michigan--1920-1940.","Football players--Michigan--1900-1910.","Fraternal organizations--Michigan","Funeral rites \u0026 ceremonies--Michigan--1910-1930","Gardens--Michigan--1900-1910.","Gas power plants--Michigan.","Graduation (School)","Grocery trade--Michigan.","Hardware stores--Michigan.","Hat trade--Michigan.","High school students--Michigan.","Horse-drawn rail cars--Michigan.","Horse racing--Michigan--1920-1930","Hospitals--Michigan--Detroit.","Hotels--Michigan--1870-1890.","Ice industry--Michigan.","Insurance companies--Michigan.","Inventors--Michigan","Jazz musicians--Michigan","Kitchen utensils--Michigan.","Laboratories--Michigan.","Lakes--Michigan.","Libraries--Michigan--Detroit.","Lighthouses--Michigan.","Locomotives--Michigan.","Luggage industry--Michigan.","Mausoleums--Michigan.","Mechanical musical instruments--Michigan.","Men--Michigan--Portraits.","Men--Societies  and clubs--Michigan.","Metalworking industries--Michigan.","Military bands--Michigan.","Motion pictures--Michigan--1930-1940.","Motorboat racing--Michigan.","Music stores--Michigan.","Musicians--Michigan.","Nightclubs--Michigan.","Nursing schools--Michigan.","Occupational training--Michigan.","Offices--Michigan--1910-1930.","Old age homes--Michigan.","Opticians--Michigan.","Paddle steamers--Michigan.","Parade floats--Michigan.","Parades--Michigan.","Parks--Michigan--Detroit.","Photography--Societies, etc--Michigan.","Picnics--Michigan.","Playgrounds--Michigan.","Police--Michigan--Detroit.","Police stations--Michigan.","Political parades \u0026 rallies--Michigan--1900-1920.","Portraits, group--Michigan.","Postmortem photography--Michigan.","Power-plants--Design and construction--Michigan.","Priests--Michigan.","Prisons--Michigan.","Public architecture--Michigan.","Radio broadcasting--Michigan.","Railroad stations--Michigan.","Railroad tunnels--Design and construction--Michigan.","Railroad tunnels--Michigan.","Railroads--Employees--Michigan.","Railroads--Michigan.","Residential architecture--Michigan.","Restaurants--Michigan--1920-1930.","Sailors--Michigan.","School children--Michigan.","School buildings--Michigan.","School plays--Michigan.","School yearbooks--Michigan.","Ships--Launching--Michigan.","Ships--Michigan.","Shoes--Repairing--Michigan.","Skyscrapers--Michigan--Detroit.","Soccer players--Michigan--1920-1930","Soldiers--Michigan.","Souvenirs (Keepsakes)--Michigan.","Spanish-American War, 1898--Veterans--Michigan.","Stables--Michigan.","Steamboats--Michigan.","Steel foundries--Michigan.","Stove industry and trade--Michigan.","Street lighting--Michigan.","Street-railroads--Michigan.","Streets--Michigan.","Strikes and lockouts--Automobile industry--Michigan.","String bands--Michigan.","Storefronts--Michigan.","Teeth--Radiography--Michigan.","Television programs--Michigan.","Theaters--Michigan--1910-1920.","Threshing machines--Michigan--1900-1910.","Tour buses--Michigan.","Traffic signs \u0026 signals---Michigan--1930-1950","Train ferries--Michigan.","Trucks--Michigan--1920-1940.","Variety stores--Michigan.","Vocational education--Michigan.","Water mills--Michigan.","Water towers--Michigan.","Waterworks--Michigan.","Weddings--Michigan.","Women automobile industry workers--Michigan.","Women field hockey players--Michigan.","Women figure skaters--Michigan.","Women--Employment--Michigan--1910-1940.","Women--Michigan--Portraits.","Women--Societies and clubs--Michigan.","World War 1914-1918--Michigan.","Clippings.","Cyanotypes.","Documents.","Ephemera.","Pamphlets.","Photocopies.","Photographic prints.","Photomechanical prints.","Postage stamps."],"access_subjects_ssm":["David V. Tinder Collection of Michigan Photography.","Photographs shelf.","Actors--Michigan--1900-1910.","Actresses--Michigan--1890-1910.","African American businesspeople--Michigan.","African American children--Portraits--Michigan.","African American choirs--Michigan.","African American churches--Michigan.","African American freemasons--Michigan.","African American judges--Michigan.","African American musicians--Michigan.","African Americans--Societies, etc.--Michigan.","African American students--Michigan.","African American Sunday schools--Michigan.","Agricultural laborers--Michigan.","Airports--Michigan.","Aircraft--Michigan--1930-1940.","Aircraft industry--Michigan.","Air shows--Michigan.","Amateur theater--Michigan.","Amusement parks--Michigan.","Animals on television--Michigan.","Asbestos--Michigan.","Automobile factories--Michigan.","Automobile industry workers--Michigan.","Automobile rallies--Michigan.","Automobiles--Michigan.","Automobiles--Design and construction--Michigan.","Balls (Parties)--Michigan--1910-1920.","Bands (Music)--Michigan.","Banquets--Michigan--1920-1930.","Barbers--Michigan.","Barbershops--Michigan--1910-1920.","Bar mitzvah--Michigan.","Bars (Drinking establishments)--Michigan.","Baseball players--Michigan.","Basketball courts--Michigan.","Basketball players--Michigan.","Beauty shops--Michigan.","Beekeepers--Michigan.","Bicycles \u0026 tricycles--Michigan--1890-1930.","Bicycle stores--Michigan.","Blacksmiths--Michigan.","Blizzards--Michigan.","Boats and boating--Michigan.","Boycotts--Michigan.","Breweries--Michigan.","Breweries--Employees--Michigan.","Brick trade--Michigan.","Bridges--Michigan--Detroit.","Broom and brush industry--Michigan.","Building construction--Michigan--1910-1930.","Buses--Michigan--1930-1940.","Business organizations--Michigan.","Business Schools--Michigan.","Button industry--Michigan.","Cafeterias--Michigan.","Camping--Michigan.","Canoes and canoeing--Michigan.","Carts \u0026 wagons--Michigan--1890-1910","Casinos--Michigan.","Catholic schools--Michigan.","Cemeteries--Michigan.","Chauffeurs--Michigan.","Chemical industry--Michigan.","Children's costumes--Michigan.","Children's parties--Michigan--1890-1900.","Children--Michigan--Portraits.","Children's choirs--Michigan.","Church buildings--Michigan.","Cigar industry--Michigan.","Circus animals--Michigan.","Circus performers--Michigan.","City councils--Michigan--Hamtramck (Mich.)","City halls--Michigan.","Commercial photography--Michigan.","Concert programs--Michigan.","Confirmation--Catholic Church--Michigan.","Construction workers--Michigan.","Coopers and Cooperage--Michigan.","Couples--Michigan--Portraits.","Creameries--Michigan.","Cross-country runners--Michigan.","Curling--Michigan.","Dairying--Michigan.","Delivery of goods--Michigan.","Diving--Michigan--1890-1900.","Docks--Michigan.","Dredges--Michigan.","Drugstores--Michigan.","Dwellings--Michigan.","Engines--Michigan.","Entertainers--Michigan--1900-1910.","Ethnic costume--Romania.","Ethnic groups--Michigan.","Exhibitions--Michigan--1880-1890.","Explosions--Michigan.","Factories--Employees--Michigan.","Factories--Michigan.","Families--Michigan--Portraits.","Fire fighters--Michigan.","Florists--Michigan.","Flour mills--Michigan.","Flower arrangements--Michigan--1920-1940.","Football players--Michigan--1900-1910.","Fraternal organizations--Michigan","Funeral rites \u0026 ceremonies--Michigan--1910-1930","Gardens--Michigan--1900-1910.","Gas power plants--Michigan.","Graduation (School)","Grocery trade--Michigan.","Hardware stores--Michigan.","Hat trade--Michigan.","High school students--Michigan.","Horse-drawn rail cars--Michigan.","Horse racing--Michigan--1920-1930","Hospitals--Michigan--Detroit.","Hotels--Michigan--1870-1890.","Ice industry--Michigan.","Insurance companies--Michigan.","Inventors--Michigan","Jazz musicians--Michigan","Kitchen utensils--Michigan.","Laboratories--Michigan.","Lakes--Michigan.","Libraries--Michigan--Detroit.","Lighthouses--Michigan.","Locomotives--Michigan.","Luggage industry--Michigan.","Mausoleums--Michigan.","Mechanical musical instruments--Michigan.","Men--Michigan--Portraits.","Men--Societies  and clubs--Michigan.","Metalworking industries--Michigan.","Military bands--Michigan.","Motion pictures--Michigan--1930-1940.","Motorboat racing--Michigan.","Music stores--Michigan.","Musicians--Michigan.","Nightclubs--Michigan.","Nursing schools--Michigan.","Occupational training--Michigan.","Offices--Michigan--1910-1930.","Old age homes--Michigan.","Opticians--Michigan.","Paddle steamers--Michigan.","Parade floats--Michigan.","Parades--Michigan.","Parks--Michigan--Detroit.","Photography--Societies, etc--Michigan.","Picnics--Michigan.","Playgrounds--Michigan.","Police--Michigan--Detroit.","Police stations--Michigan.","Political parades \u0026 rallies--Michigan--1900-1920.","Portraits, group--Michigan.","Postmortem photography--Michigan.","Power-plants--Design and construction--Michigan.","Priests--Michigan.","Prisons--Michigan.","Public architecture--Michigan.","Radio broadcasting--Michigan.","Railroad stations--Michigan.","Railroad tunnels--Design and construction--Michigan.","Railroad tunnels--Michigan.","Railroads--Employees--Michigan.","Railroads--Michigan.","Residential architecture--Michigan.","Restaurants--Michigan--1920-1930.","Sailors--Michigan.","School children--Michigan.","School buildings--Michigan.","School plays--Michigan.","School yearbooks--Michigan.","Ships--Launching--Michigan.","Ships--Michigan.","Shoes--Repairing--Michigan.","Skyscrapers--Michigan--Detroit.","Soccer players--Michigan--1920-1930","Soldiers--Michigan.","Souvenirs (Keepsakes)--Michigan.","Spanish-American War, 1898--Veterans--Michigan.","Stables--Michigan.","Steamboats--Michigan.","Steel foundries--Michigan.","Stove industry and trade--Michigan.","Street lighting--Michigan.","Street-railroads--Michigan.","Streets--Michigan.","Strikes and lockouts--Automobile industry--Michigan.","String bands--Michigan.","Storefronts--Michigan.","Teeth--Radiography--Michigan.","Television programs--Michigan.","Theaters--Michigan--1910-1920.","Threshing machines--Michigan--1900-1910.","Tour buses--Michigan.","Traffic signs \u0026 signals---Michigan--1930-1950","Train ferries--Michigan.","Trucks--Michigan--1920-1940.","Variety stores--Michigan.","Vocational education--Michigan.","Water mills--Michigan.","Water towers--Michigan.","Waterworks--Michigan.","Weddings--Michigan.","Women automobile industry workers--Michigan.","Women field hockey players--Michigan.","Women figure skaters--Michigan.","Women--Employment--Michigan--1910-1940.","Women--Michigan--Portraits.","Women--Societies and clubs--Michigan.","World War 1914-1918--Michigan.","Clippings.","Cyanotypes.","Documents.","Ephemera.","Pamphlets.","Photocopies.","Photographic prints.","Photomechanical prints.","Postage stamps."],"has_online_content_ssim":["true"],"extent_ssm":["1,937 photographs, 16 real photo stamps, 6 booklets, 101 pages, clippings and ephemera"],"extent_tesim":["1,937 photographs, 16 real photo stamps, 6 booklets, 101 pages, clippings and ephemera"],"bioghist_html_tesm":["\u003cp\u003eThe city of Detroit and its vast metropolitan area has dominated the Wayne County area for centuries. Detroit was founded in 1701 as a French settlement with access to the Great Lakes and Canada and quickly became a strategic military post and trade center. It transferred to British control in 1760 during the Seven Years War and to United States governance in 1796. It became a chartered city in 1802, the capitol of the Michigan Territory in 1805, and Michigan’s first State Capital from 1837 to 1847. The city grew with an economy based largely on agriculture and trade in the early 19th century, becoming one of the nation’s prime manufacturing and cultural centers after the Civil War. Large industries based in the region included railroad equipment manufacturing, ship building, iron and steel production, stoves, pharmaceuticals, brewing, wagon making, and many others.\u003c/p\u003e","\u003cp\u003eThe industrial strength of Detroit created a large middle-class society as well as vast wealth. In turn, this affluence supported cultural advancement, education, and the arts. Commercial photography studios thrived in this environment. Many prize-winning portrait photographers were based in Detroit, as were those specializing in architecture, and the documentation of industry and commerce.\u003c/p\u003e","\u003cp\u003eThe diversity of industry of late 19th century Detroit gave way to automobile centered growth in the mid-20th century. The boom in wartime production during World War Two attracted workers from around the country and shifted the racial demographics of the city.\u003c/p\u003e","\u003cp\u003eThe collapse of manufacturing industries, the disappearance of public transportation, and massive population shifts to the suburbs were factors in the decline of Detroit in the mid to late 20th century.\u003c/p\u003e"],"bioghist_heading_ssm":["History"],"bioghist_tesim":["The city of Detroit and its vast metropolitan area has dominated the Wayne County area for centuries. Detroit was founded in 1701 as a French settlement with access to the Great Lakes and Canada and quickly became a strategic military post and trade center. It transferred to British control in 1760 during the Seven Years War and to United States governance in 1796. It became a chartered city in 1802, the capitol of the Michigan Territory in 1805, and Michigan’s first State Capital from 1837 to 1847. The city grew with an economy based largely on agriculture and trade in the early 19th century, becoming one of the nation’s prime manufacturing and cultural centers after the Civil War. Large industries based in the region included railroad equipment manufacturing, ship building, iron and steel production, stoves, pharmaceuticals, brewing, wagon making, and many others.","The industrial strength of Detroit created a large middle-class society as well as vast wealth. In turn, this affluence supported cultural advancement, education, and the arts. Commercial photography studios thrived in this environment. Many prize-winning portrait photographers were based in Detroit, as were those specializing in architecture, and the documentation of industry and commerce.","The diversity of industry of late 19th century Detroit gave way to automobile centered growth in the mid-20th century. The boom in wartime production during World War Two attracted workers from around the country and shifted the racial demographics of the city.","The collapse of manufacturing industries, the disappearance of public transportation, and massive population shifts to the suburbs were factors in the decline of Detroit in the mid to late 20th century."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the Wayne County file of the David V. Tinder Collection of Michigan Photography are images of urban Detroit, people in their places of work, at home, at leisure, and participating in social activities and in fraternal and religious organizations. Numerous images show industrial manufacturing, urban transportation, and civic infrastructure. Activities related to entertainment, sports, parades, and the arts are well represented. The many portraits photographs include formal posed images, casual snapshots, workplace groups and fraternal organizations.\u003c/p\u003e","\u003cp\u003eA vast majority of the photographs are the work of commercial photographers, with some amateurs. A significant number of photos were taken by Detroit News and Detroit Free Press photographers. Almost all the images present would be considered vernacular photos rather than fine art; however, many are carefully composed with strong aesthetic characteristics.\u003c/p\u003e","\u003cp\u003eAlthough the photos have been largely sorted by subject, related materials may be present outside of the subject categories, i.e., images of transportation can also be found in the categories Architecture, Business and Commerce, Group Portraits, and in other sections outside of Transportation.\u003c/p\u003e","\u003cp\u003eThe bulk of the photos in this collection were taken in Detroit during the era of rapid population growth and industrial development around the turn of the century. The diversity of industry that appears in the late 19th century images can be seen giving way to automobile centered growth in the mid-20th century. Evidence of the rich residential lifestyles and multi-ethnic cultures of the Detroit area appear in many images.\u003c/p\u003e","\u003cp\u003eAt the fringe of the collection’s scope are images of the demolition of factories, the disappearance of public transportation, and racial unrest during the decline of Detroit in the mid to late 20th century.\u003c/p\u003e","\u003cp\u003eIt should be noted that while most of the collection are mounted and unmounted photographic prints, there are a few bound items as well as printed ephemera.\u003c/p\u003e","\u003cp\u003eThe collection has been organized into various categories by subject. The first group of photos is comprised of those that did not fit neatly under other categories. These include views of military encampments, disasters and firefighting, civic unrest, commercial product promotions, and other miscellaneous topics. Of particular note is a charming outdoor children’s party scene by amateur photographer Robert R. Oesterreich (no. 9); a double portrait montage by Tony Spina of John F. Kennedy and Robert F. Kennedy, both speaking at Campus Martius (no. 14); the high quality photomechanical prints of Detroit scenes and architecture in the \u003cemph render=\"italic\"\u003eDetroit Illustrated.\u003c/emph\u003e (no. 16); and a collection of 28 miscellaneous nightclub souvenir photographs dating from the 1940s-1980s (no. 20). The rest of the material falls under the following categories:\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eTransportation:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e243 photographs. Material is divided between the following sub-categories: Automobiles and Trucks (56 photographs), Aircraft (18 photographs), Railroads and Trains (58 photographs), Streetcars and Trolleys (20 photographs), Roads and Infrastructure (33 photographs), Wagons (20 photographs), Maritime (38 photographs).\u003c/p\u003e","\u003cp\u003eOf note are a photograph of an African American couple posed with a new V-8 Ford (no. 71.3); construction photos of the Detroit River railroad tunnel (no. 95); Goebel’s Brewing Co. delivery wagons (no. 98); and a view of the steamboat \u003cemph render=\"italic\"\u003eTashmoo\u003c/emph\u003e at speed on the Detroit River (no. 110).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003ePerformers:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e107 photographs, most of which (113 photographs) are contained in the sub-category Music and Musicians. Of particular note are numerous photos of community brass bands, a photo of John Philip Sousa and his band at Grand Circus Park (no. 122); an image of the inventor Charles Crawford and his patented \"Pickaphone\" mechanism for playing stringed instruments, ca. 1888 (no. 123); and copy prints of two important early jazz bands, Finney’s Orchestra (no. 131) and McKinney’s Cotton Pickers (no. 132).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003ePortraits:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e505 photographs. Material is divided into the following sub-categories: Individuals (172 photographs), Groups (133 photographs), Children (97 photographs), Weddings (64 photographs), Confirmation and Communion (41 photographs). Of particular interest are a photograph of Joan Baxter and her Hot Dog Cooker (no. 137); three 1860's portraits of members of the Hawley family of Detroit (no. 141), one of which is inscribed with enlargement instructions ca.1901 on its verso; and a portrait of politician and founder of the Republican Party Zachariah Chandler, taken by Benjamin Powelson ca. 1880 (no. 142).\u003c/p\u003e","\u003cp\u003eOf the many notable images within the Groups category are an outstanding image of sixteen Packard Motor Car Company employees piled onto a 1911 Packard in front of the then new Packard factory on West Grand Blvd. (no. 144.9); a group of African American women engaged in a ceremonial burning of the mortgage of the Phyllis Wheatley Home for Aged Colored Ladies (no. 162); and a portrait of members of the Direct Credits Society, a Great Depression-era wealth redistribution movement founded by Alfred Lawson (no. 166).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eParades:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e54 photographs. Many scenes of massive parades in Detroit. Of note is a series of photographs of women marching in a racially-integrated United Spanish War Veterans Parade, ca.1940 (no. 179); and a view of five young women in a florally decorated early automobile (no. 180.11).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eBusiness \u0026amp; Commerce:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e319 photographs. Where possible, material has been divided into the following sub-categories: Business Exteriors (52 photographs), Business Interiors (125 photographs), Construction (22 photographs), Ford Motor Company (19 photographs). Of note is an image of a group of brewers tapping a keg at the Marx Brewing Co. (no. 186.1); Candler Dock \u0026amp; Dredge Co. workers and surveyors building a dock, taken by the Manning Bros. ca 1920s (no. 192); women rolling cigars at the R.G. Dunn factory, 1909 (no. 204); workers fabricating automobile bodies at the Briggs Manufacturing Co. ca. 1910s (no. 206);interior view of the Burroughs Adding Machine factory (no 209.11); the Penobscot Building construction in three stages ca 1928 (no. 217); and two fold-out panoramic photos of the Ford complex at River Rouge taken by Otto Rotch in 1925 (no. 218).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eViews:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e86 photographs. Material is divided into Street Views (28 photographs), Residential Views (51 photographs), and Aerial Views (7 photographs).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eArchitecture:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e69 photographs. Of particular note is a charming view of a small inn at Springwells, Mich., the International Exposition House ca. 1889 (no. 235); an 1870's print of the large Russell House Hotel in Detroit (no. 238); and a panoramic view of downtown Detroit at its peak, taken by the Murray Studio in the 1920s (no. 240.18).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eLabor \u0026amp; Unemployment:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e8 photographs primarily focused on unemployment during the Great Depression. Of note is a group photo of the striking Journeyman Bakers International Union in 1902 (no. 248).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eAthletes \u0026amp; Athletics:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e58 photographs. Of particular note are a copy-print of a 1910 Detroit Tigers team photo featuring Hall of Famer Ty Cobb (no. 261); a series of 3 group photographs of an early soccer team, Michigan Alkali F.C. in 1923 (no. 265); Wyandotte baseball teams (no. 266);. The Slocum’s Island baseball champions of 1882 (no. 272.4); and a 1943 curling team (no. 273).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eClassrooms \u0026amp; Schools:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e38 photographs. Of particular interest are a student group in front of a one-room schoolhouse at Cherry Hill in 1934 (no. 280.11); a kindergarten band at Clippert School taken by the Manning Bros. (no. 280.20); and a ca.1936 Lincoln Park High School album with personal snapshots and autographs of classmates (no. 279).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003ePlaces of Worship \u0026amp; Religious Activities:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e43 photographs. One of several images related to African American church congregations shows members of an A.M.E. church dressed in \"traditional\" African garb ca.1920-1930 (no. 284).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eParks:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e112 photographs. Of particular focus is Belle Isle (approx. 50 photographs) and Waterworks Park. A series of Belle Isle views taken in 1889 by Holcombe \u0026amp; Metzen is particularly picturesque (no. 297.1-9).\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"underline\"\u003eFunerals \u0026amp; Postmortem Photography:\u003c/emph\u003e\u003clb\u003e\u003c/lb\u003e14 photographs. These photographs date from the 1910s-1930s and are mostly photographs of open caskets surrounded by the deceased's family.\u003c/p\u003e"],"scopecontent_tesim":["Included in the Wayne County file of the David V. Tinder Collection of Michigan Photography are images of urban Detroit, people in their places of work, at home, at leisure, and participating in social activities and in fraternal and religious organizations. Numerous images show industrial manufacturing, urban transportation, and civic infrastructure. Activities related to entertainment, sports, parades, and the arts are well represented. The many portraits photographs include formal posed images, casual snapshots, workplace groups and fraternal organizations.","A vast majority of the photographs are the work of commercial photographers, with some amateurs. A significant number of photos were taken by Detroit News and Detroit Free Press photographers. Almost all the images present would be considered vernacular photos rather than fine art; however, many are carefully composed with strong aesthetic characteristics.","Although the photos have been largely sorted by subject, related materials may be present outside of the subject categories, i.e., images of transportation can also be found in the categories Architecture, Business and Commerce, Group Portraits, and in other sections outside of Transportation.","The bulk of the photos in this collection were taken in Detroit during the era of rapid population growth and industrial development around the turn of the century. The diversity of industry that appears in the late 19th century images can be seen giving way to automobile centered growth in the mid-20th century. Evidence of the rich residential lifestyles and multi-ethnic cultures of the Detroit area appear in many images.","At the fringe of the collection’s scope are images of the demolition of factories, the disappearance of public transportation, and racial unrest during the decline of Detroit in the mid to late 20th century.","It should be noted that while most of the collection are mounted and unmounted photographic prints, there are a few bound items as well as printed ephemera.","The collection has been organized into various categories by subject. The first group of photos is comprised of those that did not fit neatly under other categories. These include views of military encampments, disasters and firefighting, civic unrest, commercial product promotions, and other miscellaneous topics. Of particular note is a charming outdoor children’s party scene by amateur photographer Robert R. Oesterreich (no. 9); a double portrait montage by Tony Spina of John F. Kennedy and Robert F. Kennedy, both speaking at Campus Martius (no. 14); the high quality photomechanical prints of Detroit scenes and architecture in the  Detroit Illustrated.  (no. 16); and a collection of 28 miscellaneous nightclub souvenir photographs dating from the 1940s-1980s (no. 20). The rest of the material falls under the following categories:","Transportation: 243 photographs. Material is divided between the following sub-categories: Automobiles and Trucks (56 photographs), Aircraft (18 photographs), Railroads and Trains (58 photographs), Streetcars and Trolleys (20 photographs), Roads and Infrastructure (33 photographs), Wagons (20 photographs), Maritime (38 photographs).","Of note are a photograph of an African American couple posed with a new V-8 Ford (no. 71.3); construction photos of the Detroit River railroad tunnel (no. 95); Goebel’s Brewing Co. delivery wagons (no. 98); and a view of the steamboat  Tashmoo  at speed on the Detroit River (no. 110).","Performers: 107 photographs, most of which (113 photographs) are contained in the sub-category Music and Musicians. Of particular note are numerous photos of community brass bands, a photo of John Philip Sousa and his band at Grand Circus Park (no. 122); an image of the inventor Charles Crawford and his patented \"Pickaphone\" mechanism for playing stringed instruments, ca. 1888 (no. 123); and copy prints of two important early jazz bands, Finney’s Orchestra (no. 131) and McKinney’s Cotton Pickers (no. 132).","Portraits: 505 photographs. Material is divided into the following sub-categories: Individuals (172 photographs), Groups (133 photographs), Children (97 photographs), Weddings (64 photographs), Confirmation and Communion (41 photographs). Of particular interest are a photograph of Joan Baxter and her Hot Dog Cooker (no. 137); three 1860's portraits of members of the Hawley family of Detroit (no. 141), one of which is inscribed with enlargement instructions ca.1901 on its verso; and a portrait of politician and founder of the Republican Party Zachariah Chandler, taken by Benjamin Powelson ca. 1880 (no. 142).","Of the many notable images within the Groups category are an outstanding image of sixteen Packard Motor Car Company employees piled onto a 1911 Packard in front of the then new Packard factory on West Grand Blvd. (no. 144.9); a group of African American women engaged in a ceremonial burning of the mortgage of the Phyllis Wheatley Home for Aged Colored Ladies (no. 162); and a portrait of members of the Direct Credits Society, a Great Depression-era wealth redistribution movement founded by Alfred Lawson (no. 166).","Parades: 54 photographs. Many scenes of massive parades in Detroit. Of note is a series of photographs of women marching in a racially-integrated United Spanish War Veterans Parade, ca.1940 (no. 179); and a view of five young women in a florally decorated early automobile (no. 180.11).","Business \u0026 Commerce: 319 photographs. Where possible, material has been divided into the following sub-categories: Business Exteriors (52 photographs), Business Interiors (125 photographs), Construction (22 photographs), Ford Motor Company (19 photographs). Of note is an image of a group of brewers tapping a keg at the Marx Brewing Co. (no. 186.1); Candler Dock \u0026 Dredge Co. workers and surveyors building a dock, taken by the Manning Bros. ca 1920s (no. 192); women rolling cigars at the R.G. Dunn factory, 1909 (no. 204); workers fabricating automobile bodies at the Briggs Manufacturing Co. ca. 1910s (no. 206);interior view of the Burroughs Adding Machine factory (no 209.11); the Penobscot Building construction in three stages ca 1928 (no. 217); and two fold-out panoramic photos of the Ford complex at River Rouge taken by Otto Rotch in 1925 (no. 218).","Views: 86 photographs. Material is divided into Street Views (28 photographs), Residential Views (51 photographs), and Aerial Views (7 photographs).","Architecture: 69 photographs. Of particular note is a charming view of a small inn at Springwells, Mich., the International Exposition House ca. 1889 (no. 235); an 1870's print of the large Russell House Hotel in Detroit (no. 238); and a panoramic view of downtown Detroit at its peak, taken by the Murray Studio in the 1920s (no. 240.18).","Labor \u0026 Unemployment: 8 photographs primarily focused on unemployment during the Great Depression. Of note is a group photo of the striking Journeyman Bakers International Union in 1902 (no. 248).","Athletes \u0026 Athletics: 58 photographs. Of particular note are a copy-print of a 1910 Detroit Tigers team photo featuring Hall of Famer Ty Cobb (no. 261); a series of 3 group photographs of an early soccer team, Michigan Alkali F.C. in 1923 (no. 265); Wyandotte baseball teams (no. 266);. The Slocum’s Island baseball champions of 1882 (no. 272.4); and a 1943 curling team (no. 273).","Classrooms \u0026 Schools: 38 photographs. Of particular interest are a student group in front of a one-room schoolhouse at Cherry Hill in 1934 (no. 280.11); a kindergarten band at Clippert School taken by the Manning Bros. (no. 280.20); and a ca.1936 Lincoln Park High School album with personal snapshots and autographs of classmates (no. 279).","Places of Worship \u0026 Religious Activities: 43 photographs. One of several images related to African American church congregations shows members of an A.M.E. church dressed in \"traditional\" African garb ca.1920-1930 (no. 284).","Parks: 112 photographs. Of particular focus is Belle Isle (approx. 50 photographs) and Waterworks Park. A series of Belle Isle views taken in 1889 by Holcombe \u0026 Metzen is particularly picturesque (no. 297.1-9).","Funerals \u0026 Postmortem Photography: 14 photographs. These photographs date from the 1910s-1930s and are mostly photographs of open caskets surrounded by the deceased's family."],"abstract_html_tesm":["\u003cabstract\u003eThe collection contains photographs of Wayne County, Michigan. Included are numerous urban scenes and images of everyday life, primarily in the Metropolitan Detroit area between 1860 and the mid-20th century. The bulk of the photographs were taken between 1890 and 1930. A very wide range of topics is represented, among them commercial and residential architecture, urban infrastructure, public and private spaces, civic and domestic activities, individual and group portraits, and events from across the social spectrum.\u003c/abstract\u003e"],"abstract_tesim":["The collection contains photographs of Wayne County, Michigan. Included are numerous urban scenes and images of everyday life, primarily in the Metropolitan Detroit area between 1860 and the mid-20th century. The bulk of the photographs were taken between 1890 and 1930. A very wide range of topics is represented, among them commercial and residential architecture, urban infrastructure, public and private spaces, civic and domestic activities, individual and group portraits, and events from across the social spectrum."],"names_ssim":["William L. Clements Library , University of Michigan","American Red Cross.","Ancient Arabic Order of the Nobles of the Mystic Shrine for North America.","BASF Wyandotte Corporation.","Cartercar Co.","Catholic Church--Clergy--Michigan.","Detroit College of Medicine.","Detroit Institute of Arts.","Detroit Museum of Art.","Detroit Opera House.","Detroit Red Wings (Hockey team)","Detroit Symphony Orchestra.","Detroit, Toledo and Ironton Railroad.","Dodge Brothers.","Ford Motor Company.","Ford Motor Company--Employees.","Ford Motor Company. Rouge River Plant.","Ford Rotunda (Dearborn, Mich.)","General Motors Corporation.","Henry Ford Museum and Greenfield Village.","Hudson's (Department store)","International Union, United Automobile Workers of America (CIO)","Journeymen Bakers National Union of the United States.","Knights of Pythias.","Knights Templar (Masonic order)","Michigan Central Railroad Company.","Michigan. National Guard.","Michigan Stove Company.","Tiger Stadium (Detroit, Mich.)","United States. Army--Recruiting, enlistment, etc.--Michigan.","United States. Army. Reserve Officers' Training Corps.","YMCA of the USA.","Young Women's Christian Association.","Agdan Photographic.","Alliance Commercial Photo Co.","Alvord \u0026 Co.","American Commercial Photo Co.","Arthur Studio.","Babas Studio.","Baker Art Studio.","Baker Studio.","Ballaun Studio.","Bonish Studio.","Brown \u0026 Co.","Charles Hopp \u0026 Co.","Club Photos Inc.","Commercial Photo Service Co.","Cousins Art Studio.","Davison Photo Studio.","Deluxe Theatrical Studio.","Detroit Edison Co.","Detroit News Staff.","Fotografia Italiana (G. Lanni \u0026 Co.)","General Motors Photographic Section.","Harbican Studio.","Hoffman Studio.","Holcombe \u0026 Metzen.","Holgate Studio.","Huntington \u0026 Clark.","Litynski-Jakubowski Co.","MacGregor and Company.","Manning Bros.","Metropolitan Art Studio.","Modernistic Photo Studio.","New Chene Studio.","P. Pieronek Studio.","Rembrandt Studios.","Rentschler's Studio.","Smart Set Studio.","Smith Brothers Commerical Photographers.","Spencer \u0026 Wyckoff.","Spooner \u0026 Wells, Inc.","Tiffany Photographic Studio.","Ziawinski Bros.","Tinder, David V.","Grant, Ulysses S. (Ulysses Simpson), 1822-1885--Homes and haunts.","Kennedy, John F. (John Fitzgerald), 1917-1963.","Kennedy, Robert F., 1925-1968.","Robeson, Paul, 1898-1976.","Sousa, John Philip, 1854-1932.","Arthur, Edward J.","Baker, Chas. R.","Ball, Lyman L.","Baron, Herman.","Blanchard, Issac H.","Bleibel, Gustav.","Bowles, Esther A., Mrs.","Burose, Herman.","Cheff, Edmund Archael.","Craine, Benjamin H.","Hayes, Clarence Messenger.","Hediger, James D.","Hillmer, Davis B.","Hoffman, Clarence L.","Howie, George William.","Hughes, John Wesley.","Jackson, Harvey C.","James, Langford P.","Jones, J. F.","Lazarnick, Nathan.","Litynski, Walter E.","Mazur, Anthony","McMichael, A.G.","Merz, Charles J.","Mirecki, Albert J.","Phelps, C.A. (New Castle, IN)","Pipp, Frank H.","Poli, Faustino G.","Pollard, C.H.","Rentschler, Andrew.","Rochowiak, Stanley A.","Rotch, Otto.","Salter, Al.","Sowinski, Joseph.","Spellman, Delmar Driscoe.","Stone, Frank H.","Tomlinson, Frank N.","Wiederhold, John A.","Wright, Fred G.","Ziawinski, Felix.","Ziawinski, Joseph."],"corpname_ssim":["William L. 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National Guard.","Michigan Stove Company.","Tiger Stadium (Detroit, Mich.)","United States. Army--Recruiting, enlistment, etc.--Michigan.","United States. Army. Reserve Officers' Training Corps.","YMCA of the USA.","Young Women's Christian Association.","Agdan Photographic.","Alliance Commercial Photo Co.","Alvord \u0026 Co.","American Commercial Photo Co.","Arthur Studio.","Babas Studio.","Baker Art Studio.","Baker Studio.","Ballaun Studio.","Bonish Studio.","Brown \u0026 Co.","Charles Hopp \u0026 Co.","Club Photos Inc.","Commercial Photo Service Co.","Cousins Art Studio.","Davison Photo Studio.","Deluxe Theatrical Studio.","Detroit Edison Co.","Detroit News Staff.","Fotografia Italiana (G. Lanni \u0026 Co.)","General Motors Photographic Section.","Harbican Studio.","Hoffman Studio.","Holcombe \u0026 Metzen.","Holgate Studio.","Huntington \u0026 Clark.","Litynski-Jakubowski Co.","MacGregor and Company.","Manning Bros.","Metropolitan Art Studio.","Modernistic Photo Studio.","New Chene Studio.","P. Pieronek Studio.","Rembrandt Studios.","Rentschler's Studio.","Smart Set Studio.","Smith Brothers Commerical Photographers.","Spencer \u0026 Wyckoff.","Spooner \u0026 Wells, Inc.","Tiffany Photographic Studio.","Ziawinski Bros."],"persname_ssim":["Tinder, David V.","Grant, Ulysses S. (Ulysses Simpson), 1822-1885--Homes and haunts.","Kennedy, John F. (John Fitzgerald), 1917-1963.","Kennedy, Robert F., 1925-1968.","Robeson, Paul, 1898-1976.","Sousa, John Philip, 1854-1932.","Arthur, Edward J.","Baker, Chas. R.","Ball, Lyman L.","Baron, Herman.","Blanchard, Issac H.","Bleibel, Gustav.","Bowles, Esther A., Mrs.","Burose, Herman.","Cheff, Edmund Archael.","Craine, Benjamin H.","Hayes, Clarence Messenger.","Hediger, James D.","Hillmer, Davis B.","Hoffman, Clarence L.","Howie, George William.","Hughes, John Wesley.","Jackson, Harvey C.","James, Langford P.","Jones, J. F.","Lazarnick, Nathan.","Litynski, Walter E.","Mazur, Anthony","McMichael, A.G.","Merz, Charles J.","Mirecki, Albert J.","Phelps, C.A. (New Castle, IN)","Pipp, Frank H.","Poli, Faustino G.","Pollard, C.H.","Rentschler, Andrew.","Rochowiak, Stanley A.","Rotch, Otto.","Salter, Al.","Sowinski, Joseph.","Spellman, Delmar Driscoe.","Stone, Frank H.","Tomlinson, Frank N.","Wiederhold, John A.","Wright, Fred G.","Ziawinski, Felix.","Ziawinski, Joseph."],"language_ssim":["The material is in  English ."],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":365,"online_item_count_is":15,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-wcl-G-tind-0083","timestamp":"2025-02-18T23:25:22.393Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-wcl-G-tind-0083_al_0a940d669e06b3c8e122410369b89d2241975847"}},{"id":"media0001-xml_aspace_ref135_1wv","type":"File","attributes":{"title":"Gael Turnbull","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/media0001-xml_aspace_ref135_1wv#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref135_1wv","ref_ssm":["aspace_ref135_1wv","aspace_ref135_1wv"],"id":"media0001-xml_aspace_ref135_1wv","title_filing_ssi":"Gael Turnbull","title_ssm":["Gael Turnbull"],"title_tesim":["Gael Turnbull"],"normalized_title_ssm":["Gael Turnbull"],"text":["Gael Turnbull","Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","Moldy Tape","folder 64"],"component_level_isim":[1],"parent_ssim":["media0001-xml"],"parent_ssi":"media0001-xml","parent_ids_ssim":["media0001-xml"],"parent_unittitles_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"parent_unittitles_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"parent_levels_ssm":["collection"],"repository_ssim":["Stanford University Libraries. 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Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.","Department of Special Collections and University Archives","Creeley, Robert, 1926-2005","Undetermined"],"unitid_tesim":["MSS.MEDIA.0001"],"normalized_date_ssm":["1959-1969"],"normalized_title_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"collection_title_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"collection_ssim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Creeley, Robert, 1926-2005"],"creator_ssim":["Creeley, Robert, 1926-2005"],"creator_persname_ssim":["Creeley, Robert, 1926-2005"],"creators_ssim":["Creeley, Robert, 1926-2005"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"acqinfo_ssim":["Purchased, 2002"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet"],"extent_tesim":["2 Linear Feet"],"date_range_isim":[1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research; materials must be requested at least 24 hours in advance of intended use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["Collection is open for research; materials must be requested at least 24 hours in advance of intended use."],"prefercite_html_tesm":["\u003cp\u003eAudio tapes related to Robert Creeley and his personal and artistic circles, MSS MEDIA 0001. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, MSS MEDIA 0001. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content of Collection"],"scopecontent_tesim":["Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"abstract_html_tesm":["\u003cabstract id=\"aspace_9260437809abb0e424e5e2582150d2fa\"\u003eCollection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets."],"names_ssim":["Department of Special Collections and University Archives","Creeley, Robert, 1926-2005"],"corpname_ssim":["Department of Special Collections and University Archives"],"names_coll_ssim":["Creeley, Robert, 1926-2005"],"persname_ssim":["Creeley, Robert, 1926-2005"],"language_ssim":["Undetermined"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":71,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"media0001-xml","timestamp":"2025-02-18T23:10:01.773Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/media0001-xml_aspace_ref135_1wv"}},{"id":"ehll--HemingwayErnest_al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865","type":"File","attributes":{"title":"Galley Proof, Hemingway in Cuba, by Hilary Hemingway and Charles Brennen, 2002","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/ehll--HemingwayErnest_al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865","ref_ssm":["al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865","al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865"],"id":"ehll--HemingwayErnest_al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865","title_filing_ssi":"Galley Proof, Hemingway in Cuba, by Hilary Hemingway and Charles Brennen, 2002","title_ssm":["Galley Proof, Hemingway in Cuba, by Hilary Hemingway and Charles Brennen, 2002"],"title_tesim":["Galley Proof, Hemingway in Cuba, by Hilary Hemingway and Charles Brennen, 2002"],"normalized_title_ssm":["Galley Proof, Hemingway in Cuba, by Hilary Hemingway and Charles Brennen, 2002"],"text":["Galley Proof, Hemingway in Cuba, by Hilary Hemingway and Charles Brennen, 2002","Ernest Hemingway Collection\n1901, 2014, and undated","Ernest Hemingway Collection","Box 2","Folder 21"],"component_level_isim":[2],"parent_ssim":["ehll--HemingwayErnest","al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_ssi":"al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","parent_ids_ssim":["ehll--HemingwayErnest","ehll--HemingwayErnest_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980"],"parent_unittitles_ssm":["Ernest Hemingway Collection\n1901, 2014, and undated","Ernest Hemingway Collection"],"parent_unittitles_tesim":["Ernest Hemingway Collection\n1901, 2014, and undated","Ernest Hemingway Collection"],"parent_levels_ssm":["collection","Series"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"collection_ssim":["Ernest Hemingway Collection\n1901, 2014, and undated"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":114,"containers_ssim":["Box 2","Folder 21"],"_nest_path_":"/components#0/components#112","_nest_parent_":"ehll--HemingwayErnest_al_4bf70b448ac8351a147acff1dd8b1c0b9a791980","_root_":"ehll--HemingwayErnest","timestamp":"2025-02-18T23:25:31.217Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"ehll--HemingwayErnest","title_ssm":["\nErnest Hemingway Collection,\n \n1901, 2014, and undated\n"],"title_tesim":["\nErnest Hemingway Collection,\n \n1901, 2014, and undated\n"],"ead_ssi":"ehll--HemingwayErnest","level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["\nMSS.\n"],"text":["\nMSS.\n","Ernest Hemingway Collection\n1901, 2014, and undated","Authors, American--20th century.","War and society--United States--History--20th century.","World War, 1914-1918--Veterans.","The collection is divided into three series: materials by and about Ernest Hemingway, the diaries of his uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society.","Biography:","Ernest Hemingway was born July 21, 1899 in Oak Park, Illinois, the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey, Michigan.","After Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. On July 8, 1918 Hemingway was wounded by an Austrian trench mortar. He spent the subsequent summer and fall recovering from his leg wounds in the Milan Red Cross hospital. In Europe, Hemingway met nurse Agnes Von Kurowsky. He thought they were engaged when he returned to the U.S. on January 21, 1919, but she broke off whatever relationship they had had in March 1919.","In January 1920, the city editor of the Toronto Star agreed to buy Hemingway’s stories on a piece by piece basis as they suited the paper. The paper regularly printed his features on dental schools, prizefights, free shaves, trout fishing, rum-running and, later, on Chicago gangsters. He returned to Chicago in May 1920.","In September 1921, Hemingway married Hadley Richardson at Horton Bay, Michigan. They had planned to live in Italy, but were advised by Sherwood Anderson that a would-be-writer should live in Paris. In January 1922, the couple moved into an apartment in Paris’ Latin Quarter.","The Hemingways later returned to Toronto, where Ernest found that the new editor of the Star did not like him.  His first assignment upon his return was to cover a prison escape. He used one prisoner as the basis for his male, loner, anti-social characters, which later appeared in a number of his stories.","Hemingway’s first son, John Hadley Nicanor, was born in Toronto in October  1923.","Furious with his editor, Hemingway returned to Paris in January 1924, living near Ezra Pound. His mentors and friends in Paris included Pound, Sylvia Beach, and Gertrude Stein. Through these three writers, he got to know every expatriate American writer and new artists in Paris. Hemingway developed an appreciation for the insider, the man who knew the language, food and customs of foreign countries.","Between 1924 and 1929, Hemingway rose from obscurity to being one of the best-known American writers of his generation.  His publications in those years included In our time (1925), his breakthrough novel, (The) Sun also rises (1926), Men without women (1927), and (A) Farewell to arms (1929). He spent his summers in Spain following bullfights and his winters skiing in Switzerland, with Paris as his base.","Hadley divorced Ernest in April 1927. She received lifelong rights to the income from (The) Sun also rises. Hemingway then married Pauline Pfeiffer, with whom he had had an affair for over a year, in May 1927.","Ernest and Pauline returned to the U.S. for the cesarean birth of their son, Patrick, who was born in 1928. Also in 1928, Ernest’s father, Clarence Hemingway, committed suicide.","Pauline and Ernest enjoyed Key West fishing and Wyoming dude ranches. After a year of living in and out of Paris, they moved back to Key West in 1930.","In 1930, the sale of the film rights to (A) Farewell to arms brought Hemingway $24,000. Besides that, they lived on Pauline’s trust fund and Ernest’s income from writing. Her wealthy uncle, Augustus Pfeiffer, paid for their home in Key West and their African safari. Pauline and Ernest’s second son, Gregory, was born in 1931. Hemingway also was paid for his book, Death in the afternoon (1932).","During the 1930s, Hemingway wrote Winner takes nothing (1933), Green hills of Africa (1935), several short stories, and a series of personal essays called “Letters” for Esquire magazine. In September 1937 he reported on the Spanish Civil War in Madrid.  In October 1937, Hemingway was featured on the cover of Time magazine and wrote To have and have not. Hemingway also wrote a narrative to the film (The) Spanish earth and wrote his only play, (The) Fifth column (1938).","By February 1939, his marriage to Pauline was essentially over. He had an affair with Martha Gellhorn since 1937. Hemingway moved to Havana and began For whom the bell tolls. On December 24, 1939, Ernest and Martha moved to La Finca Vigia, a house with property outside of Havana. There, he finished For whom the bell tolls, which was released to ecstatic reviews on October 21, 1940. Four days later Paramount Pictures offered Hemingway $100,000 for the film rights. In early November 1940, Pauline’s divorce suit against Ernest on the grounds of desertion was granted. He married Martha Gellhorn a few weeks later.","During World War II, Hemingway suffered with the beginning of severe depression and had a long block in his writing ability. Except for writing an introduction of Men at war (1942) he wrote nothing until 1944. In April 1944 he began work as a war correspondent for Collier’s, displacing Martha. By late May 1944 Hemingway’s marriage to Martha was basically over and he met Mary Welsh Monks, soon to be his fourth wife.","Between June and December 1944, Hemingway deliberately put himself in dangerous positions. He went aboard a landing craft on D-Day, June 6. He twice flew on Royal Air Force missions intercepting German rockets and led a group of French irregulars and unattached GIs towards the liberation of Paris and the Ritz Bar. Two of his essays were published in Collier’s.","In 1945 Hemingway returned to New York and Cuba. Mary joined him in May. In September he sued Martha for divorce on the grounds of desertion. In November the sale of two of his stories for movie rights brought him $112,000.","Hemingway married Mary Welsh Monks in Havana in March 1946. In 1947, he was diagnosed with high blood pressure. From that time forward, Hemingway fought hypertension, diabetes, depression, paranoia, and perhaps hemochromatosis. He also began work on a trilogy, Islands, Garden of Eden, and (A) Moveable feast.","From September 1948 through April 1949, the Hemingways lived in northern Italy. There, he became infatuated with an eighteen-year-old beauty, Adriana Ivancich. Mary tolerated it. In late April the Hemingways returned to Cuba. He wrote Across the river and into the trees (1950), about a dying American colonel and a teenage Venetian beauty. It received overwhelmingly negative reviews. By late 1950 Ivancich and her mother were visiting Finca. Mary wanted out of the marriage, but stayed in it.","In 1951 Hemingway complete the first draft of (The) Old man and the sea and the Islands manuscript.","Grace Hall-Hemingway died in June 1951 and Pauline Hemingway in October 1951. The combination of these deaths was difficult for Hemingway to handle.","Life paid him $40,000 for serial rights and sold five million copies of its September 1, 1952 issue containing (The) Old man and the sea. Scribners sold out 40,000 first run copies of the novella. In April 1953, a film crew arrived in Havana to film the epic. In May, Hemingway was awarded the Pulitzer Prize for fiction for the book.","In June, Ernest and Mary left Havana for Europe and Africa. After surviving a nearly fatal plane crash, the Hemingways recuperated in Venice. In June 1954, they returned to Havana. In October, Hemingway learned that he had been awarded the Nobel Prize for Literature, but due to ill health, he could not travel to Stockholm.","From 1955 to 1961 Hemingway suffered increasing bad health, and paranoia-ridden depression. He wrote steadily on his trilogy. In January 1959, the Batista government fell to the Castro revolution. The Hemingways, on vacation in the U.S., bought a house in Ketchum, Idaho, from which he could watch the revolution on television.","In 1959, Ernest returned to Spain to cover the bullfights. His mood shifts frightened his wife and bewildered his friends. His health worsened. In November 1960 Hemingway entered Mayo Clinic to be treated for hypertension, an enlarged liver, paranoia, and severe depression. He received shock treatments. By late April 1961 Hemingway had twice attempted suicide.","On July 2, 1961 he blew his head off. Hemingway was survived by his wife, two of his ex-wives, and his three sons. (This information is from American National Biography Online).","Materials by and about Ernest Hemingway in the collection include numerous periodicals with Articles by or about Hemingway, his books, and movies based on his books; numerous Movie Posters; other Posters of Hemingway, his homes, books, or exhibits about him; Photographs (copies), mostly from movies based on his books and some from the John F. Kennedy Presidential Library; the (Film) ‘Adventures of a Young Man’, undated (4 reels): Manuscript Correspondence, four Letters written by Hemingway, one to Jim Gamble written on April 18 and 27, 1919, one dated Oct. 28, 1919 to Ernest's father, Dr. Clarence Hemingway (framed), one dated Nov. 12, 1919 to his mother, Mrs. Grace H. Hemingway (framed), and one dated 2 Feb. 1960 to his son, J. H. N. Hemingway, as well as copies of two letters written by Hemingway to Owen Wister dated March 1 and 11, 1929 (the originals are in the Library of Congress). Brochures; Advertisements; Exhibit Brochures; Postcards; Auction Catalogs; Sheet Music; Miscellaneous materials. Biographical Information (copies) and ramed Items for exhibits, including posters, photographs, and other materials.","Of particular interest is the first letter (original six p., and a copy) written by Hemingway on April 18 and 27, 1919 to his friend Jim Gamble, the Proctor and Gamble heir, detailing his desire to write even though submissions for publication were rejected, his dashed hopes for marriage, his hunger for recognition, his love of northern Michigan and trout fishing, and notes about people whose company he enjoyed while staying at Windemere Cottage, near Petoskey, Michigan. During this time, Hemingway was recovering from war wounds and a broken heart. The letter is typed with his signature. Included with the letter are copies of two Hemingway letters to Owen Wister, March 1 (6 p.) and 11 (5 p.), 1929, copied from the Library of Congress, and a letter to Henry M. Watts from Theodore Voorhees, December 11, 1979, concerning the copied letters. (Note: This letter is housed separately from the rest of the collection.)","The second manuscript letter is written by Ernest to “Dear Dad”, dated October 28. This letter is accompanied by a certificate of authenticity by Ernest Hemingway Mainland dated June 25, 2007. The letter is typed with a signature and handwritten P.S. There are notations on the bottom of the letter “Rec’d 10/31/[1]919 and ans.[wered] 11/1/[1]919 CH [Clarence Hemingway]. The letter is two pages on one sheet of paper, which is folded in half, p. 1 is on top and p. 2 is underneath and upside down compared to p. 1. In the letter, Ernest notes he had a hard trip up the Missouri to Petoskey, when he traveled to Boyne City to visit Wesley, and that with his “typer” he is leaving Thursday for Petoskey. Ernest also notes that he is working on the “Woppian Way” and has read several books. (Note: This letter is housed separately from the rest of the collection.)","The third letter (original two p. and envelope) written by Hemingway on November 11, 1919, mailed the following day, to his mother, Mrs. Grace H. Hemingway in Oak Park, Illinois, from Petoskey, Michigan. In this letter, Ernest notes how he has been very ill with a bad sore throat, notes Armistice Day, his prayers for the dead, complains of President Wilson robbing the “wops” and mentions Fiume. [Fiume was given to Yugoslavia from Italy.]He notes it is a lovely day, the linotypers are on strike so eastern magazines are not accepting articles, that he sent an article to the Post, that he is reading and working a lot, mentions the Bumps, and sends love to his family. (Note: This letter is housed separately from the rest of the collection.)","The fourth letter from Ernest at Finca Vigia, Cuba, is addressed to his son “Dear Bum,” J. H. N. Hemingway in San Francisco, dated 8 February 1960. It is the only handwritten letter and is accompanied by the envelope, which is also handwritten. In the letter Ernest thanks Bun for his letter, and asks him to check on Christmas gifts, which have not yet arrived, and several addresses. Ernest notes he is very busy working on a piece about bull fights and Death in the Afternoon. He also notes that Mary’s arm is improving with massage and therapy.","Diaries (12), 1938, 1951, of George R. Hemingway, Ernest’s uncle, are also included in the collection. George worked as a representative of the Charlevoix Country Nursery and lived, with his wife, Anna, in East Jordan, Michigan. (This information is from the collection.)","The organizational records, 1990-present, of the Michigan Hemingway Society, including Articles of Incorporations, By-laws, goals and objectives, celebration and conference materials, meeting minutes, financial statements, and other related materials, complete the collection.","While the majority of the collection is in English, some of the movie posters are in French, Italian, Spanish, Danish, Polish, and other languages. The collection is ongoing.","A later addition (Acc# 73683) is three folders donated by Pat Davis. These include 2012 copies of six photographs or postcards of Horton Bay, mainly buildings and scenic views, Correspondence to Wesley about Ernest and Marcelline being in school, 1905, and  to Mrs. Dilworth, announcing Ernest’s engagement, 1921, and sheet music, Song of Welcome, by Grace Hall-Hemingway, 1905. Also included is an announcement card that Dr. Clarence E. Hemingway moved his office to 221 Grove Avenue, 1905.The last folder includes newspaper clippings (copies) of Pat Davis, Dilworth House, and how life when Hemingway was there.","User Note: The collection has a decidedly musty to lightly moldy smell and patrons with allergies or breathing problems should use the collection with care.","Processing Note: Most of the numerous books that came to the Clarke with the collection have been cataloged. Those few books for which no catalog record could be found have been added to this manuscript collection. Later Oversized additions will be added at the end of the collection.","\nThis artificial collection includes articles by or about Hemingway, movie posters and photographs, manuscript letters, printed and miscellaneous materials about Ernest Hemingway and his books, diaries of Ernest's uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society. \n","Clarke Historical Library , Central Michigan University","Michigan Hemingway Society.","Hemingway family.","Hemingway, Ernest, 1899-1961.","Hemingway, Ernest, 1899-1961--Biography.","Hemingway, Ernest, 1899-1961--Correspondence.","Hemingway, Ernest, 1899-1961--Criticism and Interpretation.","Hemingway, Ernest, 1899-1961--Exhibitions.","Hemingway, Ernest, 1899-1961--Farewell to arms.","Hemingway, Ernest, 1899-1961--For whom the bell tolls.","Hemingway, Ernest, 1899-1961--Homes and haunts--Cuba--Havana--Pictorial works.","Hemingway, Ernest, 1899-1961--Homes and haunts--Florida--Key West--Pictorial works.","Hemingway, Ernest, 1899-1961--Moveable feast.","Hemingway, Ernest, 1899-1961--Old man and the sea.","Hemingway, Ernest, 1899-1961--Pictorial works.","Hemingway, Ernest, 1899-1961--Portraits--Exhibitions.","Hemingway, Ernest, 1899-1961--Sun also rises.","The material is in  English"],"unitid_tesim":["\nMSS.\n"],"normalized_title_ssm":["Ernest Hemingway Collection\n1901, 2014, and undated"],"collection_title_tesim":["Ernest Hemingway Collection\n1901, 2014, and undated"],"collection_ssim":["Ernest Hemingway Collection\n1901, 2014, and undated"],"repository_ssm":["Central Michigan University Clarke Historical Library"],"repository_ssim":["Central Michigan University Clarke Historical Library"],"creator_ssm":["Hemingway, Ernest, 1899-1961."],"creator_ssim":["Hemingway, Ernest, 1899-1961."],"creator_persname_ssim":["Hemingway, Ernest, 1899-1961."],"creators_ssim":["Hemingway, Ernest, 1899-1961."],"acqinfo_ssim":["\nAcc# many\n"],"access_subjects_ssim":["Authors, American--20th century.","War and society--United States--History--20th century.","World War, 1914-1918--Veterans."],"access_subjects_ssm":["Authors, American--20th century.","War and society--United States--History--20th century.","World War, 1914-1918--Veterans."],"has_online_content_ssim":["false"],"extent_ssm":["6 cubic feet (in 7 boxes, 8 Oversized folders, 4 reels in 4 boxes, and 52 framed items)"],"extent_tesim":["6 cubic feet (in 7 boxes, 8 Oversized folders, 4 reels in 4 boxes, and 52 framed items)"],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series: materials by and about Ernest Hemingway, the diaries of his uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society.\u003c/p\u003e"],"arrangement_tesim":["The collection is divided into three series: materials by and about Ernest Hemingway, the diaries of his uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society."],"bioghist_html_tesm":["\u003cp\u003eBiography:\u003c/p\u003e","\u003cp\u003eErnest Hemingway was born July 21, 1899 in Oak Park, Illinois, the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey, Michigan.\u003c/p\u003e","\u003cp\u003eAfter Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. On July 8, 1918 Hemingway was wounded by an Austrian trench mortar. He spent the subsequent summer and fall recovering from his leg wounds in the Milan Red Cross hospital. In Europe, Hemingway met nurse Agnes Von Kurowsky. He thought they were engaged when he returned to the U.S. on January 21, 1919, but she broke off whatever relationship they had had in March 1919.\u003c/p\u003e","\u003cp\u003eIn January 1920, the city editor of the Toronto Star agreed to buy Hemingway\u0026#x2019;s stories on a piece by piece basis as they suited the paper. The paper regularly printed his features on dental schools, prizefights, free shaves, trout fishing, rum-running and, later, on Chicago gangsters. He returned to Chicago in May 1920.\u003c/p\u003e","\u003cp\u003eIn September 1921, Hemingway married Hadley Richardson at Horton Bay, Michigan. They had planned to live in Italy, but were advised by Sherwood Anderson that a would-be-writer should live in Paris. In January 1922, the couple moved into an apartment in Paris\u0026#x2019; Latin Quarter.\u003c/p\u003e","\u003cp\u003eThe Hemingways later returned to Toronto, where Ernest found that the new editor of the Star did not like him.  His first assignment upon his return was to cover a prison escape. He used one prisoner as the basis for his male, loner, anti-social characters, which later appeared in a number of his stories.\u003c/p\u003e","\u003cp\u003eHemingway\u0026#x2019;s first son, John Hadley Nicanor, was born in Toronto in October  1923.\u003c/p\u003e","\u003cp\u003eFurious with his editor, Hemingway returned to Paris in January 1924, living near Ezra Pound. His mentors and friends in Paris included Pound, Sylvia Beach, and Gertrude Stein. Through these three writers, he got to know every expatriate American writer and new artists in Paris. Hemingway developed an appreciation for the insider, the man who knew the language, food and customs of foreign countries.\u003c/p\u003e","\u003cp\u003eBetween 1924 and 1929, Hemingway rose from obscurity to being one of the best-known American writers of his generation.  His publications in those years included In our time (1925), his breakthrough novel, (The) Sun also rises (1926), Men without women (1927), and (A) Farewell to arms (1929). He spent his summers in Spain following bullfights and his winters skiing in Switzerland, with Paris as his base.\u003c/p\u003e","\u003cp\u003eHadley divorced Ernest in April 1927. She received lifelong rights to the income from (The) Sun also rises. Hemingway then married Pauline Pfeiffer, with whom he had had an affair for over a year, in May 1927.\u003c/p\u003e","\u003cp\u003eErnest and Pauline returned to the U.S. for the cesarean birth of their son, Patrick, who was born in 1928. Also in 1928, Ernest\u0026#x2019;s father, Clarence Hemingway, committed suicide.\u003c/p\u003e","\u003cp\u003ePauline and Ernest enjoyed Key West fishing and Wyoming dude ranches. After a year of living in and out of Paris, they moved back to Key West in 1930.\u003c/p\u003e","\u003cp\u003eIn 1930, the sale of the film rights to (A) Farewell to arms brought Hemingway $24,000. Besides that, they lived on Pauline\u0026#x2019;s trust fund and Ernest\u0026#x2019;s income from writing. Her wealthy uncle, Augustus Pfeiffer, paid for their home in Key West and their African safari. Pauline and Ernest\u0026#x2019;s second son, Gregory, was born in 1931. Hemingway also was paid for his book, Death in the afternoon (1932).\u003c/p\u003e","\u003cp\u003eDuring the 1930s, Hemingway wrote Winner takes nothing (1933), Green hills of Africa (1935), several short stories, and a series of personal essays called \u0026#x201C;Letters\u0026#x201D; for Esquire magazine. In September 1937 he reported on the Spanish Civil War in Madrid.  In October 1937, Hemingway was featured on the cover of Time magazine and wrote To have and have not. Hemingway also wrote a narrative to the film (The) Spanish earth and wrote his only play, (The) Fifth column (1938).\u003c/p\u003e","\u003cp\u003eBy February 1939, his marriage to Pauline was essentially over. He had an affair with Martha Gellhorn since 1937. Hemingway moved to Havana and began For whom the bell tolls. On December 24, 1939, Ernest and Martha moved to La Finca Vigia, a house with property outside of Havana. There, he finished For whom the bell tolls, which was released to ecstatic reviews on October 21, 1940. Four days later Paramount Pictures offered Hemingway $100,000 for the film rights. In early November 1940, Pauline\u0026#x2019;s divorce suit against Ernest on the grounds of desertion was granted. He married Martha Gellhorn a few weeks later.\u003c/p\u003e","\u003cp\u003eDuring World War II, Hemingway suffered with the beginning of severe depression and had a long block in his writing ability. Except for writing an introduction of Men at war (1942) he wrote nothing until 1944. In April 1944 he began work as a war correspondent for Collier\u0026#x2019;s, displacing Martha. By late May 1944 Hemingway\u0026#x2019;s marriage to Martha was basically over and he met Mary Welsh Monks, soon to be his fourth wife.\u003c/p\u003e","\u003cp\u003eBetween June and December 1944, Hemingway deliberately put himself in dangerous positions. He went aboard a landing craft on D-Day, June 6. He twice flew on Royal Air Force missions intercepting German rockets and led a group of French irregulars and unattached GIs towards the liberation of Paris and the Ritz Bar. Two of his essays were published in Collier\u0026#x2019;s.\u003c/p\u003e","\u003cp\u003eIn 1945 Hemingway returned to New York and Cuba. Mary joined him in May. In September he sued Martha for divorce on the grounds of desertion. In November the sale of two of his stories for movie rights brought him $112,000.\u003c/p\u003e","\u003cp\u003eHemingway married Mary Welsh Monks in Havana in March 1946. In 1947, he was diagnosed with high blood pressure. From that time forward, Hemingway fought hypertension, diabetes, depression, paranoia, and perhaps hemochromatosis. He also began work on a trilogy, Islands, Garden of Eden, and (A) Moveable feast.\u003c/p\u003e","\u003cp\u003eFrom September 1948 through April 1949, the Hemingways lived in northern Italy. There, he became infatuated with an eighteen-year-old beauty, Adriana Ivancich. Mary tolerated it. In late April the Hemingways returned to Cuba. He wrote Across the river and into the trees (1950), about a dying American colonel and a teenage Venetian beauty. It received overwhelmingly negative reviews. By late 1950 Ivancich and her mother were visiting Finca. Mary wanted out of the marriage, but stayed in it.\u003c/p\u003e","\u003cp\u003eIn 1951 Hemingway complete the first draft of (The) Old man and the sea and the Islands manuscript.\u003c/p\u003e","\u003cp\u003eGrace Hall-Hemingway died in June 1951 and Pauline Hemingway in October 1951. The combination of these deaths was difficult for Hemingway to handle.\u003c/p\u003e","\u003cp\u003eLife paid him $40,000 for serial rights and sold five million copies of its September 1, 1952 issue containing (The) Old man and the sea. Scribners sold out 40,000 first run copies of the novella. In April 1953, a film crew arrived in Havana to film the epic. In May, Hemingway was awarded the Pulitzer Prize for fiction for the book.\u003c/p\u003e","\u003cp\u003eIn June, Ernest and Mary left Havana for Europe and Africa. After surviving a nearly fatal plane crash, the Hemingways recuperated in Venice. In June 1954, they returned to Havana. In October, Hemingway learned that he had been awarded the Nobel Prize for Literature, but due to ill health, he could not travel to Stockholm.\u003c/p\u003e","\u003cp\u003eFrom 1955 to 1961 Hemingway suffered increasing bad health, and paranoia-ridden depression. He wrote steadily on his trilogy. In January 1959, the Batista government fell to the Castro revolution. The Hemingways, on vacation in the U.S., bought a house in Ketchum, Idaho, from which he could watch the revolution on television.\u003c/p\u003e","\u003cp\u003eIn 1959, Ernest returned to Spain to cover the bullfights. His mood shifts frightened his wife and bewildered his friends. His health worsened. In November 1960 Hemingway entered Mayo Clinic to be treated for hypertension, an enlarged liver, paranoia, and severe depression. He received shock treatments. By late April 1961 Hemingway had twice attempted suicide.\u003c/p\u003e","\u003cp\u003eOn July 2, 1961 he blew his head off. Hemingway was survived by his wife, two of his ex-wives, and his three sons. (This information is from American National Biography Online).\u003c/p\u003e"],"bioghist_tesim":["Biography:","Ernest Hemingway was born July 21, 1899 in Oak Park, Illinois, the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey, Michigan.","After Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. On July 8, 1918 Hemingway was wounded by an Austrian trench mortar. He spent the subsequent summer and fall recovering from his leg wounds in the Milan Red Cross hospital. In Europe, Hemingway met nurse Agnes Von Kurowsky. He thought they were engaged when he returned to the U.S. on January 21, 1919, but she broke off whatever relationship they had had in March 1919.","In January 1920, the city editor of the Toronto Star agreed to buy Hemingway’s stories on a piece by piece basis as they suited the paper. The paper regularly printed his features on dental schools, prizefights, free shaves, trout fishing, rum-running and, later, on Chicago gangsters. He returned to Chicago in May 1920.","In September 1921, Hemingway married Hadley Richardson at Horton Bay, Michigan. They had planned to live in Italy, but were advised by Sherwood Anderson that a would-be-writer should live in Paris. In January 1922, the couple moved into an apartment in Paris’ Latin Quarter.","The Hemingways later returned to Toronto, where Ernest found that the new editor of the Star did not like him.  His first assignment upon his return was to cover a prison escape. He used one prisoner as the basis for his male, loner, anti-social characters, which later appeared in a number of his stories.","Hemingway’s first son, John Hadley Nicanor, was born in Toronto in October  1923.","Furious with his editor, Hemingway returned to Paris in January 1924, living near Ezra Pound. His mentors and friends in Paris included Pound, Sylvia Beach, and Gertrude Stein. Through these three writers, he got to know every expatriate American writer and new artists in Paris. Hemingway developed an appreciation for the insider, the man who knew the language, food and customs of foreign countries.","Between 1924 and 1929, Hemingway rose from obscurity to being one of the best-known American writers of his generation.  His publications in those years included In our time (1925), his breakthrough novel, (The) Sun also rises (1926), Men without women (1927), and (A) Farewell to arms (1929). He spent his summers in Spain following bullfights and his winters skiing in Switzerland, with Paris as his base.","Hadley divorced Ernest in April 1927. She received lifelong rights to the income from (The) Sun also rises. Hemingway then married Pauline Pfeiffer, with whom he had had an affair for over a year, in May 1927.","Ernest and Pauline returned to the U.S. for the cesarean birth of their son, Patrick, who was born in 1928. Also in 1928, Ernest’s father, Clarence Hemingway, committed suicide.","Pauline and Ernest enjoyed Key West fishing and Wyoming dude ranches. After a year of living in and out of Paris, they moved back to Key West in 1930.","In 1930, the sale of the film rights to (A) Farewell to arms brought Hemingway $24,000. Besides that, they lived on Pauline’s trust fund and Ernest’s income from writing. Her wealthy uncle, Augustus Pfeiffer, paid for their home in Key West and their African safari. Pauline and Ernest’s second son, Gregory, was born in 1931. Hemingway also was paid for his book, Death in the afternoon (1932).","During the 1930s, Hemingway wrote Winner takes nothing (1933), Green hills of Africa (1935), several short stories, and a series of personal essays called “Letters” for Esquire magazine. In September 1937 he reported on the Spanish Civil War in Madrid.  In October 1937, Hemingway was featured on the cover of Time magazine and wrote To have and have not. Hemingway also wrote a narrative to the film (The) Spanish earth and wrote his only play, (The) Fifth column (1938).","By February 1939, his marriage to Pauline was essentially over. He had an affair with Martha Gellhorn since 1937. Hemingway moved to Havana and began For whom the bell tolls. On December 24, 1939, Ernest and Martha moved to La Finca Vigia, a house with property outside of Havana. There, he finished For whom the bell tolls, which was released to ecstatic reviews on October 21, 1940. Four days later Paramount Pictures offered Hemingway $100,000 for the film rights. In early November 1940, Pauline’s divorce suit against Ernest on the grounds of desertion was granted. He married Martha Gellhorn a few weeks later.","During World War II, Hemingway suffered with the beginning of severe depression and had a long block in his writing ability. Except for writing an introduction of Men at war (1942) he wrote nothing until 1944. In April 1944 he began work as a war correspondent for Collier’s, displacing Martha. By late May 1944 Hemingway’s marriage to Martha was basically over and he met Mary Welsh Monks, soon to be his fourth wife.","Between June and December 1944, Hemingway deliberately put himself in dangerous positions. He went aboard a landing craft on D-Day, June 6. He twice flew on Royal Air Force missions intercepting German rockets and led a group of French irregulars and unattached GIs towards the liberation of Paris and the Ritz Bar. Two of his essays were published in Collier’s.","In 1945 Hemingway returned to New York and Cuba. Mary joined him in May. In September he sued Martha for divorce on the grounds of desertion. In November the sale of two of his stories for movie rights brought him $112,000.","Hemingway married Mary Welsh Monks in Havana in March 1946. In 1947, he was diagnosed with high blood pressure. From that time forward, Hemingway fought hypertension, diabetes, depression, paranoia, and perhaps hemochromatosis. He also began work on a trilogy, Islands, Garden of Eden, and (A) Moveable feast.","From September 1948 through April 1949, the Hemingways lived in northern Italy. There, he became infatuated with an eighteen-year-old beauty, Adriana Ivancich. Mary tolerated it. In late April the Hemingways returned to Cuba. He wrote Across the river and into the trees (1950), about a dying American colonel and a teenage Venetian beauty. It received overwhelmingly negative reviews. By late 1950 Ivancich and her mother were visiting Finca. Mary wanted out of the marriage, but stayed in it.","In 1951 Hemingway complete the first draft of (The) Old man and the sea and the Islands manuscript.","Grace Hall-Hemingway died in June 1951 and Pauline Hemingway in October 1951. The combination of these deaths was difficult for Hemingway to handle.","Life paid him $40,000 for serial rights and sold five million copies of its September 1, 1952 issue containing (The) Old man and the sea. Scribners sold out 40,000 first run copies of the novella. In April 1953, a film crew arrived in Havana to film the epic. In May, Hemingway was awarded the Pulitzer Prize for fiction for the book.","In June, Ernest and Mary left Havana for Europe and Africa. After surviving a nearly fatal plane crash, the Hemingways recuperated in Venice. In June 1954, they returned to Havana. In October, Hemingway learned that he had been awarded the Nobel Prize for Literature, but due to ill health, he could not travel to Stockholm.","From 1955 to 1961 Hemingway suffered increasing bad health, and paranoia-ridden depression. He wrote steadily on his trilogy. In January 1959, the Batista government fell to the Castro revolution. The Hemingways, on vacation in the U.S., bought a house in Ketchum, Idaho, from which he could watch the revolution on television.","In 1959, Ernest returned to Spain to cover the bullfights. His mood shifts frightened his wife and bewildered his friends. His health worsened. In November 1960 Hemingway entered Mayo Clinic to be treated for hypertension, an enlarged liver, paranoia, and severe depression. He received shock treatments. By late April 1961 Hemingway had twice attempted suicide.","On July 2, 1961 he blew his head off. Hemingway was survived by his wife, two of his ex-wives, and his three sons. (This information is from American National Biography Online)."],"scopecontent_html_tesm":["\u003cp\u003eMaterials by and about Ernest Hemingway in the collection include numerous periodicals with Articles by or about Hemingway, his books, and movies based on his books; numerous Movie Posters; other Posters of Hemingway, his homes, books, or exhibits about him; Photographs (copies), mostly from movies based on his books and some from the John F. Kennedy Presidential Library; the (Film) \u0026#x2018;Adventures of a Young Man\u0026#x2019;, undated (4 reels): Manuscript Correspondence, four Letters written by Hemingway, one to Jim Gamble written on April 18 and 27, 1919, one dated Oct. 28, 1919 to Ernest's father, Dr. Clarence Hemingway (framed), one dated Nov. 12, 1919 to his mother, Mrs. Grace H. Hemingway (framed), and one dated 2 Feb. 1960 to his son, J. H. N. Hemingway, as well as copies of two letters written by Hemingway to Owen Wister dated March 1 and 11, 1929 (the originals are in the Library of Congress). Brochures; Advertisements; Exhibit Brochures; Postcards; Auction Catalogs; Sheet Music; Miscellaneous materials. Biographical Information (copies) and ramed Items for exhibits, including posters, photographs, and other materials.\u003c/p\u003e","\u003cp\u003eOf particular interest is the first letter (original six p., and a copy) written by Hemingway on April 18 and 27, 1919 to his friend Jim Gamble, the Proctor and Gamble heir, detailing his desire to write even though submissions for publication were rejected, his dashed hopes for marriage, his hunger for recognition, his love of northern Michigan and trout fishing, and notes about people whose company he enjoyed while staying at Windemere Cottage, near Petoskey, Michigan. During this time, Hemingway was recovering from war wounds and a broken heart. The letter is typed with his signature. Included with the letter are copies of two Hemingway letters to Owen Wister, March 1 (6 p.) and 11 (5 p.), 1929, copied from the Library of Congress, and a letter to Henry M. Watts from Theodore Voorhees, December 11, 1979, concerning the copied letters. (Note: This letter is housed separately from the rest of the collection.)\u003c/p\u003e","\u003cp\u003eThe second manuscript letter is written by Ernest to \u0026#x201C;Dear Dad\u0026#x201D;, dated October 28. This letter is accompanied by a certificate of authenticity by Ernest Hemingway Mainland dated June 25, 2007. The letter is typed with a signature and handwritten P.S. There are notations on the bottom of the letter \u0026#x201C;Rec\u0026#x2019;d 10/31/[1]919 and ans.[wered] 11/1/[1]919 CH [Clarence Hemingway]. The letter is two pages on one sheet of paper, which is folded in half, p. 1 is on top and p. 2 is underneath and upside down compared to p. 1. In the letter, Ernest notes he had a hard trip up the Missouri to Petoskey, when he traveled to Boyne City to visit Wesley, and that with his \u0026#x201C;typer\u0026#x201D; he is leaving Thursday for Petoskey. Ernest also notes that he is working on the \u0026#x201C;Woppian Way\u0026#x201D; and has read several books. (Note: This letter is housed separately from the rest of the collection.)\u003c/p\u003e","\u003cp\u003eThe third letter (original two p. and envelope) written by Hemingway on November 11, 1919, mailed the following day, to his mother, Mrs. Grace H. Hemingway in Oak Park, Illinois, from Petoskey, Michigan. In this letter, Ernest notes how he has been very ill with a bad sore throat, notes Armistice Day, his prayers for the dead, complains of President Wilson robbing the \u0026#x201C;wops\u0026#x201D; and mentions Fiume. [Fiume was given to Yugoslavia from Italy.]He notes it is a lovely day, the linotypers are on strike so eastern magazines are not accepting articles, that he sent an article to the Post, that he is reading and working a lot, mentions the Bumps, and sends love to his family. (Note: This letter is housed separately from the rest of the collection.)\u003c/p\u003e","\u003cp\u003eThe fourth letter from Ernest at Finca Vigia, Cuba, is addressed to his son \u0026#x201C;Dear Bum,\u0026#x201D; J. H. N. Hemingway in San Francisco, dated 8 February 1960. It is the only handwritten letter and is accompanied by the envelope, which is also handwritten. In the letter Ernest thanks Bun for his letter, and asks him to check on Christmas gifts, which have not yet arrived, and several addresses. Ernest notes he is very busy working on a piece about bull fights and Death in the Afternoon. He also notes that Mary\u0026#x2019;s arm is improving with massage and therapy.\u003c/p\u003e","\u003cp\u003eDiaries (12), 1938, 1951, of George R. Hemingway, Ernest\u0026#x2019;s uncle, are also included in the collection. George worked as a representative of the Charlevoix Country Nursery and lived, with his wife, Anna, in East Jordan, Michigan. (This information is from the collection.)\u003c/p\u003e","\u003cp\u003eThe organizational records, 1990-present, of the Michigan Hemingway Society, including Articles of Incorporations, By-laws, goals and objectives, celebration and conference materials, meeting minutes, financial statements, and other related materials, complete the collection.\u003c/p\u003e","\u003cp\u003eWhile the majority of the collection is in English, some of the movie posters are in French, Italian, Spanish, Danish, Polish, and other languages. The collection is ongoing.\u003c/p\u003e","\u003cp\u003eA later addition (Acc# 73683) is three folders donated by Pat Davis. These include 2012 copies of six photographs or postcards of Horton Bay, mainly buildings and scenic views, Correspondence to Wesley about Ernest and Marcelline being in school, 1905, and  to Mrs. Dilworth, announcing Ernest\u0026#x2019;s engagement, 1921, and sheet music, Song of Welcome, by Grace Hall-Hemingway, 1905. Also included is an announcement card that Dr. Clarence E. Hemingway moved his office to 221 Grove Avenue, 1905.The last folder includes newspaper clippings (copies) of Pat Davis, Dilworth House, and how life when Hemingway was there.\u003c/p\u003e","\u003cp\u003eUser Note: The collection has a decidedly musty to lightly moldy smell and patrons with allergies or breathing problems should use the collection with care.\u003c/p\u003e","\u003cp\u003eProcessing Note: Most of the numerous books that came to the Clarke with the collection have been cataloged. Those few books for which no catalog record could be found have been added to this manuscript collection. Later Oversized additions will be added at the end of the collection.\u003c/p\u003e"],"scopecontent_tesim":["Materials by and about Ernest Hemingway in the collection include numerous periodicals with Articles by or about Hemingway, his books, and movies based on his books; numerous Movie Posters; other Posters of Hemingway, his homes, books, or exhibits about him; Photographs (copies), mostly from movies based on his books and some from the John F. Kennedy Presidential Library; the (Film) ‘Adventures of a Young Man’, undated (4 reels): Manuscript Correspondence, four Letters written by Hemingway, one to Jim Gamble written on April 18 and 27, 1919, one dated Oct. 28, 1919 to Ernest's father, Dr. Clarence Hemingway (framed), one dated Nov. 12, 1919 to his mother, Mrs. Grace H. Hemingway (framed), and one dated 2 Feb. 1960 to his son, J. H. N. Hemingway, as well as copies of two letters written by Hemingway to Owen Wister dated March 1 and 11, 1929 (the originals are in the Library of Congress). Brochures; Advertisements; Exhibit Brochures; Postcards; Auction Catalogs; Sheet Music; Miscellaneous materials. Biographical Information (copies) and ramed Items for exhibits, including posters, photographs, and other materials.","Of particular interest is the first letter (original six p., and a copy) written by Hemingway on April 18 and 27, 1919 to his friend Jim Gamble, the Proctor and Gamble heir, detailing his desire to write even though submissions for publication were rejected, his dashed hopes for marriage, his hunger for recognition, his love of northern Michigan and trout fishing, and notes about people whose company he enjoyed while staying at Windemere Cottage, near Petoskey, Michigan. During this time, Hemingway was recovering from war wounds and a broken heart. The letter is typed with his signature. Included with the letter are copies of two Hemingway letters to Owen Wister, March 1 (6 p.) and 11 (5 p.), 1929, copied from the Library of Congress, and a letter to Henry M. Watts from Theodore Voorhees, December 11, 1979, concerning the copied letters. (Note: This letter is housed separately from the rest of the collection.)","The second manuscript letter is written by Ernest to “Dear Dad”, dated October 28. This letter is accompanied by a certificate of authenticity by Ernest Hemingway Mainland dated June 25, 2007. The letter is typed with a signature and handwritten P.S. There are notations on the bottom of the letter “Rec’d 10/31/[1]919 and ans.[wered] 11/1/[1]919 CH [Clarence Hemingway]. The letter is two pages on one sheet of paper, which is folded in half, p. 1 is on top and p. 2 is underneath and upside down compared to p. 1. In the letter, Ernest notes he had a hard trip up the Missouri to Petoskey, when he traveled to Boyne City to visit Wesley, and that with his “typer” he is leaving Thursday for Petoskey. Ernest also notes that he is working on the “Woppian Way” and has read several books. (Note: This letter is housed separately from the rest of the collection.)","The third letter (original two p. and envelope) written by Hemingway on November 11, 1919, mailed the following day, to his mother, Mrs. Grace H. Hemingway in Oak Park, Illinois, from Petoskey, Michigan. In this letter, Ernest notes how he has been very ill with a bad sore throat, notes Armistice Day, his prayers for the dead, complains of President Wilson robbing the “wops” and mentions Fiume. [Fiume was given to Yugoslavia from Italy.]He notes it is a lovely day, the linotypers are on strike so eastern magazines are not accepting articles, that he sent an article to the Post, that he is reading and working a lot, mentions the Bumps, and sends love to his family. (Note: This letter is housed separately from the rest of the collection.)","The fourth letter from Ernest at Finca Vigia, Cuba, is addressed to his son “Dear Bum,” J. H. N. Hemingway in San Francisco, dated 8 February 1960. It is the only handwritten letter and is accompanied by the envelope, which is also handwritten. In the letter Ernest thanks Bun for his letter, and asks him to check on Christmas gifts, which have not yet arrived, and several addresses. Ernest notes he is very busy working on a piece about bull fights and Death in the Afternoon. He also notes that Mary’s arm is improving with massage and therapy.","Diaries (12), 1938, 1951, of George R. Hemingway, Ernest’s uncle, are also included in the collection. George worked as a representative of the Charlevoix Country Nursery and lived, with his wife, Anna, in East Jordan, Michigan. (This information is from the collection.)","The organizational records, 1990-present, of the Michigan Hemingway Society, including Articles of Incorporations, By-laws, goals and objectives, celebration and conference materials, meeting minutes, financial statements, and other related materials, complete the collection.","While the majority of the collection is in English, some of the movie posters are in French, Italian, Spanish, Danish, Polish, and other languages. The collection is ongoing.","A later addition (Acc# 73683) is three folders donated by Pat Davis. These include 2012 copies of six photographs or postcards of Horton Bay, mainly buildings and scenic views, Correspondence to Wesley about Ernest and Marcelline being in school, 1905, and  to Mrs. Dilworth, announcing Ernest’s engagement, 1921, and sheet music, Song of Welcome, by Grace Hall-Hemingway, 1905. Also included is an announcement card that Dr. Clarence E. Hemingway moved his office to 221 Grove Avenue, 1905.The last folder includes newspaper clippings (copies) of Pat Davis, Dilworth House, and how life when Hemingway was there.","User Note: The collection has a decidedly musty to lightly moldy smell and patrons with allergies or breathing problems should use the collection with care.","Processing Note: Most of the numerous books that came to the Clarke with the collection have been cataloged. Those few books for which no catalog record could be found have been added to this manuscript collection. Later Oversized additions will be added at the end of the collection."],"abstract_html_tesm":["\u003cabstract\u003e\nThis artificial collection includes articles by or about Hemingway, movie posters and photographs, manuscript letters, printed and miscellaneous materials about Ernest Hemingway and his books, diaries of Ernest's uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society. \n\u003c/abstract\u003e"],"abstract_tesim":["\nThis artificial collection includes articles by or about Hemingway, movie posters and photographs, manuscript letters, printed and miscellaneous materials about Ernest Hemingway and his books, diaries of Ernest's uncle, George R. Hemingway, and the organizational records of the Michigan Hemingway Society. \n"],"names_ssim":["Clarke Historical Library , Central Michigan University","Michigan Hemingway Society.","Hemingway family.","Hemingway, Ernest, 1899-1961.","Hemingway, Ernest, 1899-1961--Biography.","Hemingway, Ernest, 1899-1961--Correspondence.","Hemingway, Ernest, 1899-1961--Criticism and Interpretation.","Hemingway, Ernest, 1899-1961--Exhibitions.","Hemingway, Ernest, 1899-1961--Farewell to arms.","Hemingway, Ernest, 1899-1961--For whom the bell tolls.","Hemingway, Ernest, 1899-1961--Homes and haunts--Cuba--Havana--Pictorial works.","Hemingway, Ernest, 1899-1961--Homes and haunts--Florida--Key West--Pictorial works.","Hemingway, Ernest, 1899-1961--Moveable feast.","Hemingway, Ernest, 1899-1961--Old man and the sea.","Hemingway, Ernest, 1899-1961--Pictorial works.","Hemingway, Ernest, 1899-1961--Portraits--Exhibitions.","Hemingway, Ernest, 1899-1961--Sun also rises."],"corpname_ssim":["Clarke Historical Library , Central Michigan University","Michigan Hemingway Society."],"famname_ssim":["Hemingway family."],"persname_ssim":["Hemingway, Ernest, 1899-1961.","Hemingway, Ernest, 1899-1961--Biography.","Hemingway, Ernest, 1899-1961--Correspondence.","Hemingway, Ernest, 1899-1961--Criticism and Interpretation.","Hemingway, Ernest, 1899-1961--Exhibitions.","Hemingway, Ernest, 1899-1961--Farewell to arms.","Hemingway, Ernest, 1899-1961--For whom the bell tolls.","Hemingway, Ernest, 1899-1961--Homes and haunts--Cuba--Havana--Pictorial works.","Hemingway, Ernest, 1899-1961--Homes and haunts--Florida--Key West--Pictorial works.","Hemingway, Ernest, 1899-1961--Moveable feast.","Hemingway, Ernest, 1899-1961--Old man and the sea.","Hemingway, Ernest, 1899-1961--Pictorial works.","Hemingway, Ernest, 1899-1961--Portraits--Exhibitions.","Hemingway, Ernest, 1899-1961--Sun also rises."],"language_ssim":["The material is in  English"],"total_component_count_is":303,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"ehll--HemingwayErnest","timestamp":"2025-02-18T23:25:31.217Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/ehll--HemingwayErnest_al_672bd23be7e2b3b3bd0ba28502ab0d07ff8a5865"}},{"id":"VAB9846_VAB9846-00046","type":"File","attributes":{"title":"Garofalo, Reebee","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00046#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"VAB9846-00046","ref_ssm":["VAB9846-00046","VAB9846-00046"],"id":"VAB9846_VAB9846-00046","title_filing_ssi":"Garofalo, Reebee","title_ssm":["Garofalo, Reebee"],"title_tesim":["Garofalo, Reebee"],"normalized_title_ssm":["Garofalo, Reebee"],"text":["Garofalo, Reebee","Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"component_level_isim":[3],"parent_ssim":["VAB9846","VAB9846-00037","VAB9846-00042"],"parent_ssi":"VAB9846-00042","parent_ids_ssim":["VAB9846","VAB9846_VAB9846-00037","VAB9846_VAB9846-00042"],"parent_unittitles_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"parent_unittitles_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","5. AAAMC Production Materials,  2009 March-2010 January","Panelist/Moderator Itineraries"],"parent_levels_ssm":["collection","Series","Subseries"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"collection_ssim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":46,"parent_access_restrict_tesm":["This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details."],"_nest_path_":"/components#4/components#1/components#3","_nest_parent_":"VAB9846_VAB9846-00042","_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"VAB9846","title_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection"],"title_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection"],"ead_ssi":"VAB9846","unitdate_ssm":["2008-2010"],"unitdate_inclusive_ssm":["2008-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC\n                151"],"text":["SC\n                151","Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010","African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States","This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details.","Arranged in five series:  Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials","Kandia Crazy Horse (panelist/interviewee):  Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including  Paper ,  Harp ,  Village Voice ,  Popmatters.com , and the  San Francisco Bay\n                    Guardian . She supported Afrofuturism by editing  Rip It Up : The Black Experience in Rock 'n' Roll  (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled  Radio\n                    Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee):  Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                     Bold as Love , which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series,  Bold as Live , which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer)  is author of\n                     Rockin Out : Popular Music in the USA  and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. ","Andy Hollinden (moderator/interviewer)  teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music:  Moving Earth\n                    from There to Here  (1994),  Boot rouge et\n                    swabs  (1996),  Heat to Fragrance  (2000),\n                     Begging's Not Endearing  (2002),  Stick It in Your Sound Hole  (2004),  Trust Yourself  (2006), and  Grieve\n                    for the Living  (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. ","Maureen Mahon (moderator/interviewer)  is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of  Right to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race  (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at  EbonyJet.com . Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee):  A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary  Afro-punk , which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album,  Children of God's Fire  (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album,  The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee)  is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album  Searching for Rick Rubin  (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee)  is a filmmaker and\n                fine artist. His award-winning debut feature documentary  Afro-punk  has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with  White Lies, Black Sheep  (2007). ","Stew (panelist/interviewee)  is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving  Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical  Passing\n                    Strange , which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of  Passing\n                    Strange , which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work  Making\n                    It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes  Post\n                    Minstrel Syndrome  (1997),  Joys and\n                    Concerns  (1999),  Guest Host  (2000),\n                     The Naked Dutch Painter  (2002),  Welcome Black  (2002),  Something\n                    Deeper than these Changes  (2003), and the cast album of  Passing Strange  (2008). ","Tamar-kali (panelist/interviewee): \n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film  Afro-punk , Tamar-kali has been featured in  Vibe ,  Fader  and  Village Voice  magazines. ","Greg Tate (panelist)  is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                     Village Voice , Tate has published widely, with\n                writings on art, music, and culture appearing in  The New York\n                    Times ,  Rolling Stone ,  The Washington Post ,  Spin ,  Artforum ,  The\n                    Nation ,  DownBeat , and Africa-based\n                magazines such as  Glendora Review  and  Chimurenga . The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                     YouTube . His books include  Flyboy in the Buttermilk  (1992),  Midnight\n                    Lightning : Jimi Hendrix and the Black Experience  (2003), and  Everything but the Burden : What White People Are Taking from\n                    Black Culture  (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. ","Kamara Thomas (panelist/interviewee),  along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album,  Soft\n                    Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including  The New Yorker ,  Spin ,\n                     Rolling Stone ,  Brooklyn\n                    Vegan , and  Pitchfork . Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album  Suspicious Package . ","Suzanne Thomas (panelist/interviewee):  A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. ","Linda Tillery (panelist/interviewee):  Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                     Sweet Linda Divine , on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album,  Meg/Cris Live at\n                    Carnegie  (1983). In 1985, Tillery released  Secrets  on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. ","Ike Willis (panelist/interviewee)  first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums  Joe's Garage ,  Tinsel Town Rebellion , and  You\n                    Are What You Is . He also played the title character and narrator in\n                Zappa's off-Broadway musical,  Thing-Fish . Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. ","On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n                    Music  brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. ","This collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            ","Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"," Materials are in  English . "],"unitid_tesim":["SC\n                151"],"normalized_date_ssm":["2008-2010"],"normalized_title_ssm":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"collection_title_tesim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"collection_ssim":["Reclaiming the Right to Rock : Black\n                Experiences in Rock Music Collection, 2008-2010"],"repository_ssm":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"repository_ssim":["Indiana University, Archives of African American Music and Culture (AAAMC)"],"creator_ssm":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creator_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creator_corpname_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"creators_ssim":["Indiana University, Archives of\n                    African American Music and Culture (AAAMC)"],"acqinfo_ssim":["All education rights for conference session footage and one-on-one interviews\n                    with the panelists was released to the Indiana University Board of Trustees in\n                    November 2009. "],"access_subjects_ssim":["African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"access_subjects_ssm":["African American rock\n                                musicians--Interviews","Music and race","Rock music--History and criticism","Sound recording industry","African Americans--Music","Rock concerts","Racism--United States"],"has_online_content_ssim":["false"],"extent_ssm":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"extent_tesim":["46 video files (HD QuickTime) (21 hours, 45 minutes)"],"physfacet_tesim":[" :\n                    sound, color ; 1440 x 1080, 35 MBps, 29.97 fps + 28 videocassettes (miniDV)\n                    (circa 21 hours), 1 box documentation, assorted audio, video, and image\n                    files"],"date_range_isim":[2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is open to the public. MiniDV videocassettes require the creation of\n                reference copies. If you are interested in viewing the contents of the miniDVs,\n                please contact the AAAMC staff well in advance of your visit for details."],"arrangement_html_tesm":["\u003cp\u003eArranged in five series: \u003clist type=\"marked\"\u003e\n               \u003citem\u003eSeries 1. Conference Sessions\u003c/item\u003e\n               \u003citem\u003eSeries 2. One-on-One Interviews\u003c/item\u003e\n               \u003citem\u003eSeries 3. Conference-Related Events\u003c/item\u003e\n               \u003citem\u003eSeries 4. Miscellaneous Audiovisual Materials\u003c/item\u003e\n               \u003citem\u003eSeries 5. AAAMC Production Materials\u003c/item\u003e\n            \u003c/list\u003e\n         \u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged in five series:  Series 1. Conference Sessions Series 2. One-on-One Interviews Series 3. Conference-Related Events Series 4. Miscellaneous Audiovisual Materials Series 5. AAAMC Production Materials"],"bioghist_html_tesm":["\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eKandia Crazy Horse (panelist/interviewee):\u003c/emph\u003e Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including \u003ctitle render=\"italic\"\u003ePaper\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eHarp\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, \u003ctitle render=\"italic\"\u003ePopmatters.com\u003c/title\u003e, and the \u003ctitle render=\"italic\"\u003eSan Francisco Bay\n                    Guardian\u003c/title\u003e. She supported Afrofuturism by editing \u003ctitle render=\"italic\"\u003eRip It Up : The Black Experience in Rock 'n' Roll\u003c/title\u003e (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026amp; Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled \u003ctitle render=\"italic\"\u003eRadio\n                    Free Dixie-- or, De Dirty South Brokedown\u003c/title\u003e. Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"\u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eRob Fields (panelist/interviewee):\u003c/emph\u003e Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                    \u003ctitle render=\"italic\"\u003eBold as Love\u003c/title\u003e, which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series, \u003ctitle render=\"italic\"\u003eBold as Live\u003c/title\u003e, which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eReebee Garofalo (moderator/interviewer)\u003c/emph\u003e is author of\n                    \u003ctitle render=\"italic\"\u003eRockin Out : Popular Music in the USA\u003c/title\u003e and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eAndy Hollinden (moderator/interviewer)\u003c/emph\u003e teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music: \u003ctitle render=\"italic\"\u003eMoving Earth\n                    from There to Here\u003c/title\u003e (1994), \u003ctitle render=\"italic\"\u003eBoot rouge et\n                    swabs\u003c/title\u003e (1996), \u003ctitle render=\"italic\"\u003eHeat to Fragrance\u003c/title\u003e (2000),\n                    \u003ctitle render=\"italic\"\u003eBegging's Not Endearing\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eStick It in Your Sound Hole\u003c/title\u003e (2004), \u003ctitle render=\"italic\"\u003eTrust Yourself\u003c/title\u003e (2006), and \u003ctitle render=\"italic\"\u003eGrieve\n                    for the Living\u003c/title\u003e (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eMaureen Mahon (moderator/interviewer)\u003c/emph\u003e is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of \u003ctitle render=\"italic\"\u003eRight to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race\u003c/title\u003e (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at \u003ctitle render=\"italic\"\u003eEbonyJet.com\u003c/title\u003e. Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eMoe Mitchell (panelist/interviewee):\u003c/emph\u003e A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album, \u003ctitle render=\"italic\"\u003eChildren of God's Fire\u003c/title\u003e (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album, \u003ctitle render=\"italic\"\u003eThe Joyous Collapse\u003c/title\u003e, in late 2009. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eNetic (panelist/interviewee)\u003c/emph\u003e is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album \u003ctitle render=\"italic\"\u003eSearching for Rick Rubin\u003c/title\u003e (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eJames Spooner (panelist/interviewee)\u003c/emph\u003e is a filmmaker and\n                fine artist. His award-winning debut feature documentary \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with \u003ctitle render=\"italic\"\u003eWhite Lies, Black Sheep\u003c/title\u003e (2007). \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eStew (panelist/interviewee)\u003c/emph\u003e is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving \u003ctitle render=\"italic\"\u003eEntertainment Weekly\u003c/title\u003e's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical \u003ctitle render=\"italic\"\u003ePassing\n                    Strange\u003c/title\u003e, which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of \u003ctitle render=\"italic\"\u003ePassing\n                    Strange\u003c/title\u003e, which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work \u003ctitle render=\"italic\"\u003eMaking\n                    It\u003c/title\u003e, commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes \u003ctitle render=\"italic\"\u003ePost\n                    Minstrel Syndrome\u003c/title\u003e (1997), \u003ctitle render=\"italic\"\u003eJoys and\n                    Concerns\u003c/title\u003e (1999), \u003ctitle render=\"italic\"\u003eGuest Host\u003c/title\u003e (2000),\n                    \u003ctitle render=\"italic\"\u003eThe Naked Dutch Painter\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eWelcome Black\u003c/title\u003e (2002), \u003ctitle render=\"italic\"\u003eSomething\n                    Deeper than these Changes\u003c/title\u003e (2003), and the cast album of \u003ctitle render=\"italic\"\u003ePassing Strange\u003c/title\u003e (2008). \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eTamar-kali (panelist/interviewee):\u003c/emph\u003e\n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film \u003ctitle render=\"italic\"\u003eAfro-punk\u003c/title\u003e, Tamar-kali has been featured in \u003ctitle render=\"italic\"\u003eVibe\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eFader\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e magazines. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eGreg Tate (panelist)\u003c/emph\u003e is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                    \u003ctitle render=\"italic\"\u003eVillage Voice\u003c/title\u003e, Tate has published widely, with\n                writings on art, music, and culture appearing in \u003ctitle render=\"italic\"\u003eThe New York\n                    Times\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe Washington Post\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eArtforum\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eThe\n                    Nation\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eDownBeat\u003c/title\u003e, and Africa-based\n                magazines such as \u003ctitle render=\"italic\"\u003eGlendora Review\u003c/title\u003e and \u003ctitle render=\"italic\"\u003eChimurenga\u003c/title\u003e. The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                    \u003ctitle render=\"italic\"\u003eYouTube\u003c/title\u003e. His books include \u003ctitle render=\"italic\"\u003eFlyboy in the Buttermilk\u003c/title\u003e (1992), \u003ctitle render=\"italic\"\u003eMidnight\n                    Lightning : Jimi Hendrix and the Black Experience\u003c/title\u003e (2003), and \u003ctitle render=\"italic\"\u003eEverything but the Burden : What White People Are Taking from\n                    Black Culture\u003c/title\u003e (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eKamara Thomas (panelist/interviewee),\u003c/emph\u003e along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album, \u003ctitle render=\"italic\"\u003eSoft\n                    Targets\u003c/title\u003e, was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including \u003ctitle render=\"italic\"\u003eThe New Yorker\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eSpin\u003c/title\u003e,\n                    \u003ctitle render=\"italic\"\u003eRolling Stone\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eBrooklyn\n                    Vegan\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003ePitchfork\u003c/title\u003e. Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album \u003ctitle render=\"italic\"\u003eSuspicious Package\u003c/title\u003e. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eSuzanne Thomas (panelist/interviewee):\u003c/emph\u003e A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026amp;B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eLinda Tillery (panelist/interviewee):\u003c/emph\u003e Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026amp;\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                    \u003ctitle render=\"italic\"\u003eSweet Linda Divine\u003c/title\u003e, on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album, \u003ctitle render=\"italic\"\u003eMeg/Cris Live at\n                    Carnegie\u003c/title\u003e (1983). In 1985, Tillery released \u003ctitle render=\"italic\"\u003eSecrets\u003c/title\u003e on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. \u003c/p\u003e","\u003cp\u003e\n            \u003cemph render=\"bold\"\u003eIke Willis (panelist/interviewee)\u003c/emph\u003e first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums \u003ctitle render=\"italic\"\u003eJoe's Garage\u003c/title\u003e, \u003ctitle render=\"italic\"\u003eTinsel Town Rebellion\u003c/title\u003e, and \u003ctitle render=\"italic\"\u003eYou\n                    Are What You Is\u003c/title\u003e. He also played the title character and narrator in\n                Zappa's off-Broadway musical, \u003ctitle render=\"italic\"\u003eThing-Fish\u003c/title\u003e. Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Kandia Crazy Horse (panelist/interviewee):  Raised on a\n                variety of music, from P-Funk to Supertramp, electric guitar evangelism to country\n                and western, D.C. native Kandia Crazy Horse has worked as a rock critic for over a\n                decade. Crazy Horse began writing, in her words, \"simply because I could ‘speak so\n                well’ like Colin Powell; read and write; and had a favorite band throughout the '90s\n                that got awful press and a lot of disdain: the Black Crowes. As a New Southerner\n                with a brain, I figured it was my job to champion them because they made great Black\n                music.\" The Brooklyn-based writer was formerly the music editor at Creative Loafing\n                in Charlotte, N.C., and has contributed to numerous publications, including  Paper ,  Harp ,  Village Voice ,  Popmatters.com , and the  San Francisco Bay\n                    Guardian . She supported Afrofuturism by editing  Rip It Up : The Black Experience in Rock 'n' Roll  (2004), noted for\n                being \"an eclectic mix of interviews and essays on Black rock 'n' roll--filled with\n                fascinating information and provocative ideas.\" Crazy Horse was the 2008-2009\n                Anschutz Distinguished Fellow in American Studies at Princeton University, where she\n                taught the course \"Roll over Beethoven : Black Rock \u0026 Cultural Revolt,\" and\n                organized and mounted a Southern rock symposium titled  Radio\n                    Free Dixie-- or, De Dirty South Brokedown . Crazy Horse challenges Black\n                readers to take pride in the history of Black rock, to \"attempt to conserve it,\n                don't just fritter it away and then lament it being lost forever after.\"","Rob Fields (panelist/interviewee):  Self-described \"Black\n                rock evangelist\" Rob Fields writes about Black rock and Black culture on his blog\n                     Bold as Love , which focuses on exploring,\n                celebrating and evangelizing the growing music genre known as Black rock, Afro-punk\n                or urban alternative (URB ALT). In conjunction with his blog, he runs a live event\n                series,  Bold as Live , which creates new opportunities\n                for audiences to discover Black rock through shows, lectures, and discussions. He\n                has worked professionally in the Black rock scene since the early 1990s, when he\n                became Director of PR for the Black Rock Coalition. Following this, he went into\n                artist management, working for Capitol Records and representing alternative Black\n                artists such as trombonist Josh Roseman and M-Base cofounder Graham Haynes. With his\n                background in marketing, Rob's interest lies in providing context for audiences\n                (particularly Black audiences) to understand and enjoy what they're hearing in Black\n                rock, and to help Black rock artists find ways to make Black rock matter in the\n                marketplace. Rob has been a guest several times on NPR, and was a panelist at the\n                2009 SXSW Music Conference. ","Reebee Garofalo (moderator/interviewer)  is author of\n                     Rockin Out : Popular Music in the USA  and has\n                been a professor at the College of Public and Community Service at U Mass Boston\n                since 1978. He is also affiliated with the American Studies Program. Professor\n                Garofalo is an internationally known scholar of popular music studies who has\n                written numerous articles on music and politics, racism, censorship, and the\n                globalization of the music industry and has lectured widely on a broad range of\n                subjects relating to the operations of the music industry. At CPCS he has been\n                spearheading the Community Media and Technology Major—a cutting edge media and\n                technology program designed to encourage a combination of technical proficiency and\n                social vision. ","Andy Hollinden (moderator/interviewer)  teaches at the\n                Jacobs School of Music at Indiana University, where he has developed several courses\n                on popular music that have become widely favored by students on the campus. Such\n                courses include the history of blues, rock, Frank Zappa, and Jimi Hendrix. In\n                addition to Hollinden's professorial duties, he composes and produces music for\n                videos and has performed and recorded with numerous rock bands. So far, he has\n                written and produced seven CDs of his own music:  Moving Earth\n                    from There to Here  (1994),  Boot rouge et\n                    swabs  (1996),  Heat to Fragrance  (2000),\n                     Begging's Not Endearing  (2002),  Stick It in Your Sound Hole  (2004),  Trust Yourself  (2006), and  Grieve\n                    for the Living  (2008). As one of the moderators for this conference,\n                Hollinden brings a broad historical awareness of the roots of rock music, which is\n                centered in the African American cultural tradition, along with the understanding of\n                musical, racial and political negotiations between Black and White musicians who\n                have been associated with the genre. ","Maureen Mahon (moderator/interviewer)  is an associate\n                professor in the Department of Music at New York University. A cultural\n                anthropologist, her research interests include African American history and culture;\n                the construction and performance of race and gender in music; and the relationship\n                between race, class, generation, and culture. She is the author of  Right to Rock : The Black Rock Coalition and the Cultural\n                    Politics of Race  (Duke University Press, 2004) and has published\n                articles on African Americans and rock music in academic venues and at  EbonyJet.com . Her current research on the music and\n                legacy of Black women in rock examines the intersection of gender, race, sexuality,\n                and music production. She has held fellowships from the National Science Foundation,\n                the Ford Foundation, and the American Association of University Women and has taught\n                at Wesleyan University and UCLA. ","Moe Mitchell (panelist/interviewee):  A graduate of Howard\n                University, Moe Mitchell has established himself as an activist and musician in the\n                underground punk scene. His band Cipher, founded in 1996, is committed to opening\n                critical spaces in underground music to reawaken the legacy of dissent in today's\n                hardcore, weaving together elements of hardcore and metal with melodicism and\n                politically radical lyrics to form a provocative, probing treatment of race, gender,\n                and class. Mitchell was one of the four artists profiled in James Spooner's 2003\n                documentary  Afro-punk , which explored issues of race\n                identity within the punk scene. Cipher was formed in 1996 by longtime friends who\n                wanted to bring something new to underground music. Elements of hardcore and metal\n                are woven with politically radical lyrics to form a provocative, probing treatment\n                of race, gender, and class. Cipher's most recent album,  Children of God's Fire  (2005), was released to critical acclaim as \"an\n                unrelenting, neo-revolutionary musical statement, transcending genres and provoking\n                thoughts.\" As one reviewer put it, \"In front of ambitiously bruising slabs of\n                hardcore, Cipher front man Moe Mitchell ponders everything from patriarchy to the\n                pharmaceutical industry.\" Cipher released their second album,  The Joyous Collapse , in late 2009. ","Netic (panelist/interviewee)  is one of the founders as\n                well as the lead vocalist of the Brooklyn-born band Game Rebellion. Before rhyming\n                with Game Rebellion, he was a brain and cognitive sciences major at Massachusetts\n                Institute of Technology (MIT) in Cambridge, Massachusetts, where he enrolled at the\n                age of sixteen. Game Rebellion is an all-Black, all-outta-Brooklyn band whose metal,\n                punk, and rudeboy skanking licks sound as credible and crunchy as their hip-hop\n                lyrics and head nodding bounce. The lyrical prowess and production of Netic provide\n                an unobstructed view of the angst of young rebels everywhere. Game Rebellion has\n                been making big waves on the New York scene for about three years. In that short\n                time they've ventured out even further to slam heads, rock houses and muddy the lily\n                white waters of hip-hop and rock from NYC and Cali to Puerto Rico and the UK. They\n                just may be the best-kept secret in music right now. Their album  Searching for Rick Rubin  (2008) explores classic hip-hop\n                songs originally produced by studio legend Rick Rubin, re-imagined in Game\n                Rebellion’s own style and mixed by J.period. ","James Spooner (panelist/interviewee)  is a filmmaker and\n                fine artist. His award-winning debut feature documentary  Afro-punk  has screened at festivals in the U.S. and abroad, including\n                the Toronto International Film Festival, New York's Urbanworld Film Festival, the\n                American Black Film Festival, Mar del Plata International Film Festival (Argentina),\n                and the London Lesbian and Gay Film Festival. The film has been incorporated in a\n                program for high school students on race identity by the New Museum in New York, and\n                has inspired an Afro-Punk Film Festival at the Brooklyn Academy of Music, which he\n                has been co-curating. He was Resident Video Installation Artist at the Ase Dance\n                Theatre Collective in New York, where he created new media works with a\n                choreographer. Prior to working in film, he was a sculptor, whose work showed in\n                galleries in New York and Seattle. He has also been an editor and an editing\n                consultant. More recently, Spooner made his narrative film debut with  White Lies, Black Sheep  (2007). ","Stew (panelist/interviewee)  is a Tony Award-winning\n                singer/songwriter/playwright from Los Angeles. Together with his collaborator Heidi\n                Rodewald, Stew leads two critically acclaimed bands: The Negro Problem and Stew,\n                both of which were formed in the early 1990s. By the turn of the millennium, The\n                Negro Problem was enjoying considerable success, receiving  Entertainment Weekly 's Album of the Year award in both 2000 and 2002.\n                In 2004, Stew and Heidi Rodewald received the support of the Sundance Institute and\n                The Public Theater to produce the musical  Passing\n                    Strange , which has had successful runs at the Berkeley Repertory\n                Theater, The Public Theater (NYC), and the Belasco Theatre on Broadway. More\n                recently, Spike Lee directed a film version of  Passing\n                    Strange , which is receiving glowing praise at film festivals and aired\n                on PBS in the spring of 2010. As a result of his various creative ventures, Stew has\n                been the recipient of numerous awards, including a 2008 Tony for Best Book of a\n                Musical, two Obie awards for Best New Theater Piece and Best Ensemble as a cast\n                member, and is a four-time Tony nominee. Stew was also the recipient of a 2009 Meet\n                the Composer grant for a new multi-media work  Making\n                    It , commissioned by St. Ann’s Warehouse in New York and scheduled for\n                performance in 2010. Stew’s recorded output includes  Post\n                    Minstrel Syndrome  (1997),  Joys and\n                    Concerns  (1999),  Guest Host  (2000),\n                     The Naked Dutch Painter  (2002),  Welcome Black  (2002),  Something\n                    Deeper than these Changes  (2003), and the cast album of  Passing Strange  (2008). ","Tamar-kali (panelist/interviewee): \n                Songwriter-vocalist-guitarist Tamar-kali came on the New York rock scene around 1993\n                while performing with the band Funkface. Shortly thereafter, she became the front\n                woman for Song of Seven, another New York-based rock band. Eventually, Tamar-kali's\n                strength as a woman in a male-dominated genre led to creative conflict and compelled\n                her toward her own expression as a songwriter and vocalist, which resulted into her\n                eclectic musical style. Her band 5ive Piece incorporates hard-core funk, melodic\n                guitar riffs, dissonant harmonies, even and odd-metered grooves and unorthodox song\n                forms. In addition to the instrumental styles of 5ive Piece, Tamar-kali's diverse\n                vocal range allows her to execute warm, round, dark and raspy tones from low to high\n                registers upon demand. She also performs with the string quartet Psycho Chamber\n                Ensemble, which performs renditions of songs by 5ive Piece as well as those arranged\n                and composed specifically for strings by Tamar-kali. Along with leading her diverse\n                ensembles and heading up her own production company, Flaming Yoni Productions,\n                Tamar-kali has worked with other artists in hip-hop and rock such as Outkast and\n                Fishbone. In addition to appearing in the film  Afro-punk , Tamar-kali has been featured in  Vibe ,  Fader  and  Village Voice  magazines. ","Greg Tate (panelist)  is an American author who has spent\n                the last two decades formulating a critical language that has redefined African\n                American cultural theory and writing. An essayist and long time staff writer for\n                     Village Voice , Tate has published widely, with\n                writings on art, music, and culture appearing in  The New York\n                    Times ,  Rolling Stone ,  The Washington Post ,  Spin ,  Artforum ,  The\n                    Nation ,  DownBeat , and Africa-based\n                magazines such as  Glendora Review  and  Chimurenga . The impact of Tate's writing lies in the\n                seminal productive tensions he navigates between post-structural theory and Black\n                cultural nationalism, academia and street culture. Tate has been inspired by Black\n                innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton, and the\n                artist Jean-Michel Basquiat. Furthermore, Tate has defied fixed notions about what\n                constitutes authentic Black culture, and has inscribed a new radical trajectory that\n                is simultaneously rebellious yet intelligently written. Now in his 50s, Tate\n                continues to challenge cultural hegemony, writing on everything from hip-hop to\n                     YouTube . His books include  Flyboy in the Buttermilk  (1992),  Midnight\n                    Lightning : Jimi Hendrix and the Black Experience  (2003), and  Everything but the Burden : What White People Are Taking from\n                    Black Culture  (2003). He is also a founding member of the Black Rock\n                Coalition and the conductor and music director of Burnt Sugar, a band that fuses\n                jazz, rock, funk, and African music in a lyrical, exploratory and improvisational\n                manner. ","Kamara Thomas (panelist/interviewee),  along with Matt\n                Whyte, is one of the founding members of the band Earl Greyhound. Living and working\n                in New York City, the pair began performing regularly as a duo. All along, they were\n                crafting the sound and songs that would form the foundation for a colossal rock band\n                influenced by the strident English three- and four-pieces of the '70s, the dark pop\n                and heavy grooves of the '90s, and the transcendental, noisy acid sounds of modern\n                rock. The band's first full-length album,  Soft\n                    Targets , was recorded in Los Angeles and Brooklyn in 2005 and earned the\n                group many fans and critical acclaim from publications including  The New Yorker ,  Spin ,\n                     Rolling Stone ,  Brooklyn\n                    Vegan , and  Pitchfork . Even more so, the\n                band's live show quickly drew heaps of attention and gained a steady reputation\n                among critics and fans alike as a veritable rock-n-roll wrecking ball. Earl\n                Greyhound toured relentlessly for the next two years all over the U.S., Canada, and\n                Japan, and autumn 2007 was spent playing theatres as openers for the band's good\n                friend Shooter Jennings, as well as for Soundgarden and Audioslave's Chris Cornell.\n                In spring 2010 Earl Greyhound released their sophomore album  Suspicious Package . ","Suzanne Thomas (panelist/interviewee):  A real deal blues\n                guitarist and vocalist, Suzanne Thomas no stranger to the blues. Life for Thomas\n                started out as an abandoned biracial child in South Korea, where she lived in an\n                orphanage until an American family adopted her into the States at five. She began\n                studying organ at the age of six and, as fate would have it, Thomas was given her\n                first music lessons and introduction to the organ by the great Jimmy Smith. Thomas\n                abandoned dental school at Ohio State to attend music school in Los Angeles. After\n                time in all-female groups such as School Boy Crush, Software, and PMS, Thomas formed\n                Crank, a 3-piece hard rock band that shared the stage with Ice T and Body Count,\n                Fishbone, and Macy Gray. Thomas has also been hired out as a guitarist to several\n                funk and R\u0026B bands, notably doubling on guitar and bass in the Grammy-winning\n                band A Taste of Honey. She took second place in the 7th annual Jimi Hendrix contest,\n                and played in Japan, France, and New York at various music festivals and events\n                including the Manhattan Music Center. Thomas currently performs with her band The\n                Blues Church. ","Linda Tillery (panelist/interviewee):  Before becoming a\n                prominent figure in women's music in the 1990s, San Francisco native Linda Tillery\n                began her singing career in the 1960s with the gender and racially integrated\n                psychedelic/soul band The Loading Zone, which was modeled somewhat after Sly \u0026\n                the Family Stone. After two albums with that band, Tillery released her solo debut,\n                     Sweet Linda Divine , on CBS in 1970 to\n                enthusiastic reviews and high praise. She spent most of the 1970s singing and\n                playing drums on over forty albums, including those by Mary Watkins and Teresa\n                Trull. Having become a staff musician and producer at Olivia Records, Tillery\n                released her second solo album, a self-titled effort, on the label in 1978,\n                garnering a Bay Area Music Award for Best Independently Produced Album. Tillery has\n                twice gone on to win Bay Area Jazz awards for Outstanding Female Vocalist. In\n                subsequent years, Tillery collaborated with female musical powerhouses including\n                June Millington, Deidre McCalla, Barbara Higbie, and Margie Adam, as well as on the\n                Olivia Records 10th anniversary album,  Meg/Cris Live at\n                    Carnegie  (1983). In 1985, Tillery released  Secrets  on her own 411 label which returned her to center stage. In\n                recent years, she has assembled a large band, Skin Tight, which plays jazzy, funky\n                blues. She has also performed with the ZaSu Pitts Memorial Orchestra and has\n                branched out into radio, film, theater, and television commercials. She has worked\n                for the National Endowment for the Arts and appeared with artists ranging from\n                Santana, Kenny Loggins, and Huey Lewis to the Turtle Island String Quartet, Bobby\n                McFerrin, and Holly Near. In 1992, Tillery created the Cultural Heritage Choir as an\n                outlet for her desire to perform the traditional spiritual music of African American\n                slaves and their descendants. ","Ike Willis (panelist/interviewee)  first met Frank Zappa\n                while studying political science at Washington University. Willis volunteered to\n                help with the concert committee just so he could get a backstage pass to meet Frank\n                Zappa. As a result of this meeting in 1978, Willis became Zappa's lead singer and\n                rhythm guitarist for nearly fifteen years. In addition to touring, Willis performed\n                on Zappa's albums  Joe's Garage ,  Tinsel Town Rebellion , and  You\n                    Are What You Is . He also played the title character and narrator in\n                Zappa's off-Broadway musical,  Thing-Fish . Willis'\n                distinct baritone vocals coupled with his melodic guitar style continues to solidify\n                the musical legacy of Frank Zappa, which Willis promotes not only through his own\n                music, but also via performances with ensembles around the world that perform Frank\n                Zappa's music, such as Bogus Pomp, Project/Object, Ugly Radio Rebellion, and The\n                Central Scrutinizer Band. "],"scopecontent_html_tesm":["\u003cp\u003eOn November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.\u003c/p\u003e","\u003cp\u003e\n            \u003ctitle render=\"italic\"\u003eReclaiming the Right to Rock : Black Experiences in Rock\n                    Music\u003c/title\u003e brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.\u003c/p\u003e","\u003cp\u003eThe core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"\u003c/p\u003e","\u003cp\u003eIn conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.\u003c/p\u003e","\u003cp\u003eIn addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["On November 13th and 14th, the Archives of African American Music and Culture (AAAMC)\n                hosted a two-day conference on Black rock on the Indiana University-Bloomington\n                campus. The conference and related activities were open to local and regional\n                musicians, scholars, students, and the general public.","Reclaiming the Right to Rock : Black Experiences in Rock\n                    Music  brought together Black rock musicians from different generations\n                and regions with music critics and scholars to discuss the socio-political history,\n                musical developments, and the future of Black rock. The main component of the\n                conference was a set of three panels, each exploring one of the following topics: 1)\n                the conceptualization and origins of Black rock; 2) the politics of Black rock; 3)\n                the face of Black rock in the 21st century.","The core panelists were those artists considered to be innovators and practitioners\n                of Black rock in the United States, including representatives from the East and West\n                Coasts such as Linda Tillery, Ike Willis, Tamar-kali, and Netic. The conference also\n                celebrated the 25th anniversary of the Black Rock Coalition, which was founded to\n                create \"a united atmosphere conducive to the maximum development, exposure, [and]\n                acceptance of Black alternative music.\"","In conjunction with the conference, the AAAMC also collaborated with a number of\n                units and organizations at Indiana University to arrange a series of film\n                screenings, concerts, and workshops, which were hosted on the Bloomington campus\n                during the conference weekend and throughout the Fall 2009 semester.","In addition to professionally videotaped footage of the three conference sessions,\n                the IU Union Board Concert, and one-on-one interviews with each of the panelists\n                (minus Greg Tate), a number of volunteers assisted with documenting the conference\n                and conference-related events. The professionally videotaped footage consists of\n                high definition QuickTime files provided by IU's Radio and Television Services\n                (RTVS). Conference volunteers produced miniDVs as well as image, audio, and video\n                files in a variety of formats. Also included in the collection are a number of\n                internal documents produced by AAAMC staff members during the production of the\n                conference, including publicity materials, contract templates, grant materials, and\n                planning documents. "],"abstract_html_tesm":["\u003cabstract encodinganalog=\"520\" label=\"Abstract\"\u003eThis collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            \u003c/abstract\u003e"],"abstract_tesim":["This collection consists of\n                documentation and one-on-one interviews from the AAAMC's two-day conference on Black\n                rock hosted on the Indiana University-Bloomington campus on November 13-14, 2009.\n                The conference and related activities were open to local and regional musicians,\n                scholars, students, and brought together Black rock musicians from different\n                generations and regions with music critics and scholars to discuss the\n                socio-political history, musical developments, and the future of Black rock.\n            "],"names_ssim":["Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353","Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"corpname_ssim":["Indiana University, Archives of African American Music and Culture\n                    (AAAMC)","Indiana University, Archives of\n                    African American Music and Culture (AAAMC)","Blues Church (Musical group)","Indiana University, Radio and Television\n                                Services","IU Soul Revue","Monroe County Public Library, Community\n                                Access Television Services","Students enrolled in Telecommunications\n                                T-353"],"persname_ssim":["Crazy Horse, Kandia","Fields, Rob","Garofalo, Reebee","Hollinden, Andy, 1961-","Mahon, Maureen","Mitchell, Moe","Netic","Spooner, James","Stew, 1961-","Tamar-kali","Tate, Greg","Thomas, Kamara","Thomas, Suzanne","Tillery, Linda","Willis, Ike","Hollinden, Andy","Stew","McAlpin, Michael","Batcheller, Anna","Sewald, Ronda L.","Allbrittin, Deanna","Berry, William","Brown, Clayton","Ford, Starla","Rizzi, Jessica","Rowley, Ariel","Williams, Lorrin[?]","Orjuela, Fernando[?]","Burnim, Mellonee","Wilkins, Langston","Nelson-Strauss, Brenda","Estrada, Zilia C.","Walter, Rich","Kreiger, Meryl","Unidentified student from Paul Mahern's\n                                \"Audio production\" course","Wallner, Jessie","Ozdegirmenci, Izlem","Cooper, Kailee","Fales, Cornelia","Lee, Mike","Unidentified student from Paul Mahern's\n                                \"Audio Production\" course","Guest-Scott, Anthony","Hatlen, Merrill","Hsu, Hsin-Wen","Teo, Bertrand","Kilpin, Jordan","Powell, Gary","Lamping, Nicholas","Davis, Gareth","Cooper, Tyron"],"language_ssim":[" Materials are in  English . "],"total_component_count_is":84,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"VAB9846","timestamp":"2025-02-18T23:03:22.038Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/VAB9846_VAB9846-00046"}},{"id":"media0001-xml_aspace_ref143_kb1","type":"File","attributes":{"title":"Gary Snyder - Treson, Fall 1964","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/media0001-xml_aspace_ref143_kb1#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref143_kb1","ref_ssm":["aspace_ref143_kb1","aspace_ref143_kb1"],"id":"media0001-xml_aspace_ref143_kb1","title_filing_ssi":"Gary Snyder - Treson, Fall 1964","title_ssm":["Gary Snyder - Treson, Fall 1964"],"title_tesim":["Gary Snyder - Treson, Fall 1964"],"normalized_title_ssm":["Gary Snyder - Treson, Fall 1964"],"text":["Gary Snyder - Treson, Fall 1964","Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","folder 68"],"component_level_isim":[1],"parent_ssim":["media0001-xml"],"parent_ssi":"media0001-xml","parent_ids_ssim":["media0001-xml"],"parent_unittitles_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"parent_unittitles_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"parent_levels_ssm":["collection"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"collection_ssim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":68,"parent_access_restrict_tesm":["Collection is open for research; materials must be requested at least 24 hours in advance of intended use."],"parent_access_terms_tesm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"containers_ssim":["folder 68"],"_nest_path_":"/components#67","_nest_parent_":"media0001-xml","_root_":"media0001-xml","timestamp":"2025-02-18T23:10:01.773Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"media0001-xml","title_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles"],"title_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles"],"ead_ssi":"media0001.xml","unitdate_ssm":["1959-1969"],"unitdate_inclusive_ssm":["1959-1969"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS.MEDIA.0001"],"text":["MSS.MEDIA.0001","Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969","Collection is open for research; materials must be requested at least 24 hours in advance of intended use.","Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.","Department of Special Collections and University Archives","Creeley, Robert, 1926-2005","Undetermined"],"unitid_tesim":["MSS.MEDIA.0001"],"normalized_date_ssm":["1959-1969"],"normalized_title_ssm":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"collection_title_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"collection_ssim":["Audio tapes related to Robert Creeley and his personal and artistic circles, 1959-1969"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Creeley, Robert, 1926-2005"],"creator_ssim":["Creeley, Robert, 1926-2005"],"creator_persname_ssim":["Creeley, Robert, 1926-2005"],"creators_ssim":["Creeley, Robert, 1926-2005"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"acqinfo_ssim":["Purchased, 2002"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet"],"extent_tesim":["2 Linear Feet"],"date_range_isim":[1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research; materials must be requested at least 24 hours in advance of intended use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["Collection is open for research; materials must be requested at least 24 hours in advance of intended use."],"prefercite_html_tesm":["\u003cp\u003eAudio tapes related to Robert Creeley and his personal and artistic circles, MSS MEDIA 0001. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["Audio tapes related to Robert Creeley and his personal and artistic circles, MSS MEDIA 0001. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content of Collection"],"scopecontent_tesim":["Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"abstract_html_tesm":["\u003cabstract id=\"aspace_9260437809abb0e424e5e2582150d2fa\"\u003eCollection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of 71 reel to reel audio tapes documenting poetry readings and lectures of many of the better known 20th century poets."],"names_ssim":["Department of Special Collections and University Archives","Creeley, Robert, 1926-2005"],"corpname_ssim":["Department of Special Collections and University Archives"],"names_coll_ssim":["Creeley, Robert, 1926-2005"],"persname_ssim":["Creeley, Robert, 1926-2005"],"language_ssim":["Undetermined"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":71,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"media0001-xml","timestamp":"2025-02-18T23:10:01.773Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/media0001-xml_aspace_ref143_kb1"}},{"id":"reimagining_aspace_912376282dbb1ad66a60af967a328131","type":"File","attributes":{"title":"Gates, Mary, 2016-03-07","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/reimagining_aspace_912376282dbb1ad66a60af967a328131#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_912376282dbb1ad66a60af967a328131","ref_ssm":["aspace_912376282dbb1ad66a60af967a328131","aspace_912376282dbb1ad66a60af967a328131"],"id":"reimagining_aspace_912376282dbb1ad66a60af967a328131","title_filing_ssi":"Gates, Mary","title_ssm":["Gates, Mary"],"title_tesim":["Gates, Mary"],"unitdate_inclusive_ssm":["2016-03-07"],"normalized_date_ssm":["2016-03-07"],"normalized_title_ssm":["Gates, Mary, 2016-03-07"],"text":["Gates, Mary, 2016-03-07","Re-Imagining Collection, 1993-2016","Oral History Interviews, 2015-2016","85"],"component_level_isim":[2],"parent_ssim":["reimagining","aspace_f08d141f66b3e7894d65cdf5c3b4efc6"],"parent_ssi":"aspace_f08d141f66b3e7894d65cdf5c3b4efc6","parent_ids_ssim":["reimagining","reimagining_aspace_f08d141f66b3e7894d65cdf5c3b4efc6"],"parent_unittitles_ssm":["Re-Imagining Collection, 1993-2016","Oral History Interviews, 2015-2016"],"parent_unittitles_tesim":["Re-Imagining Collection, 1993-2016","Oral History Interviews, 2015-2016"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["85"],"repository_ssim":["David M. Rubenstein Rare Book and Manuscript Library"],"collection_ssim":["Re-Imagining Collection, 1993-2016"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":26,"parent_access_restrict_tesm":["Collection is open for research."],"parent_access_terms_tesm":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"digital_objects_ssm":["{\"label\":\"Gates, Mary\",\"href\":\"https://idn.duke.edu/ark:/87924/r4222t852\"}"],"_nest_path_":"/components#0/components#20","_nest_parent_":"reimagining_aspace_f08d141f66b3e7894d65cdf5c3b4efc6","_root_":"reimagining","timestamp":"2025-02-18T22:58:40.698Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"reimagining","title_ssm":["Re-Imagining Collection"],"title_tesim":["Re-Imagining Collection"],"ead_ssi":"reimagining","unitdate_ssm":["1993-2016"],"unitdate_inclusive_ssm":["1993-2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RL.11352"],"text":["RL.11352","Re-Imagining Collection, 1993-2016","Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)","Collection is open for research.","Oral histories arranged alphabetically, conference materials arranged chronologically.","Re-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.","Processed by Craig Breaden, April, 2017","Accessions described in this collection guide: 2016-0317","Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.","The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library.","Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.","David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois","English","English","Materials in English"],"unitid_tesim":["RL.11352"],"normalized_date_ssm":["1993-2016"],"normalized_title_ssm":["Re-Imagining Collection, 1993-2016"],"collection_title_tesim":["Re-Imagining Collection, 1993-2016"],"collection_ssim":["Re-Imagining Collection, 1993-2016"],"repository_ssm":["David M. Rubenstein Rare Book and Manuscript Library"],"repository_ssim":["David M. Rubenstein Rare Book and Manuscript Library"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"acqinfo_ssim":["The Re-Imagining Collection was received by the David M. Rubenstein Rare Book \u0026\n        Manuscript Library as a gift in 2016."],"access_subjects_ssim":["Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)"],"access_subjects_ssm":["Feminist theology","Re-Imagining Conference (1993 :\n        Minneapolis, Minn.)","Ecumenical Decade of the Churches in\n        Solidarity with Women (Program)"],"has_online_content_ssim":["true"],"extent_ssm":["3 Linear Feet Two boxes of audio cassettes, one box of papers.","5.7 Gigabytes MP3 audio files, electronic text files"],"extent_tesim":["3 Linear Feet Two boxes of audio cassettes, one box of papers.","5.7 Gigabytes MP3 audio files, electronic text files"],"date_range_isim":[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 for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eOral histories arranged alphabetically, conference materials arranged chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Oral histories arranged alphabetically, conference materials arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eRe-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.\u003c/p\u003e","\u003cp\u003eDr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical note","Biographical Note"],"bioghist_tesim":["Re-Imagining: A Global Theological Conference By Women: For Men and Women, was organized by\n        Mary Ann Lundy (Director of the Presbyterian Church USA's Women's Unit), Sally Hill, and\n        other mainline protestant leaders in the United States, to be part of the World Council of\n        Churches' Ecumenical Decade: Churches in Solidarity with Women 1988–1998. The 2,200\n        attendees, met at the Minneapolis Convention Center on November 4 to 7, 1993, participating\n        in presentations and rituals re-imagining male-centric images and language of traditional\n        Christianity.","Dr. Sherry Jordon was awarded her Ph.D in Theology from Yale in 1995 and is currently\n        Associate Professor of Theology at the University of St. Thomas. She specializes in\n        historical theology, particularly the Reformation period, and Women's Studies. Jordon served\n        on the Coordinating Council of the Re-Imagining Community from 1998-2003, spoke at the 2003\n        Re-Imagining Gathering, and wrote an essay on feminist theology for Bless Sophia: Worship,\n        Liturgy, and Ritual of the Re-Imagining Community. As part of her current research on the\n        history and theology of Re-Imagining, she completed sixty-five oral interviews with members\n        of the Re-Imagining Community, leading feminist and womanist theologians who presented at\n        the conferences, people who were on the national staff of the women's units in the\n        Presbyterian (USA) and United Methodist churches, and authors who have written books related\n        to Christian feminism and/or Re-Imagining."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Re-Imagining Collection, David M. Rubenstein Rare Book \u0026amp;\n        Manuscript Library, Duke University.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Re-Imagining Collection, David M. Rubenstein Rare Book \u0026\n        Manuscript Library, Duke University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Craig Breaden, April, 2017\u003c/p\u003e","\u003cp\u003eAccessions described in this collection guide: 2016-0317\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Craig Breaden, April, 2017","Accessions described in this collection guide: 2016-0317"],"scopecontent_html_tesm":["\u003cp\u003eRe-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter.\u003c/p\u003e"],"scopecontent_heading_ssm":["Collection Overview"],"scopecontent_tesim":["Re-Imagining is an ecumenical, radical, Christian movement focused on creating ways of\n        understanding Womanist, Feminist, Mujerista, and Asian Feminist theologies, and opening\n        spaces for dialogue with the church, diverse religious communities, and the world.\n        Eighty-two audio files comprise an oral history project by Sherry E. Jordon with 72\n        participants in the Re-Imagining conferences, including the first gathering in 1993,\n        Re-Imagining: A Global Theological Conference By Women: For Men and Women. Additionally, 127\n        mp3 files and 79 audiocassettes comprising Re-Imagining conference sessions and rituals from\n        gatherings in 1993, 1994, 1995, 1996, 1998, and 2000, as well as papers documenting Jordon's\n        work with Re-Imagining. Interviewees and speakers include Martha O. Adams, Jann\n        Aldredge-Clanton, Gail Allan, Elizabeth Andrew, Diana Butler Bass, Mary Farrell Bednarowski,\n        Elizabeth Bettenhausen, Nadean Bishop, Kathy Black, Donna Blackstock, Steven Blons, Robert\n        Brinkley, Rita Nakashima Brock, John M. Buchanan, Nancy Chinn, Faye Christensen, Hyun Kyung\n        Chung, Susan Cole, J. Ann Craig, Susan Halcomb Craig, Kathy Deacon-Weber, Sister Holy Spirit\n        DeSouza, Heather Murray Elkins, Sara M. Evans, Marylee Fithian, Mary Gates, Marchelle\n        Hallman, Susan Hames, Robin Henry, Maren Hinderlie, José Hobday, Mary E. Hunt, Pamela Carter\n        Joern, Sally Howell Johnson, Katie Johnson, Barbara Anne Keely, Betty Kersting, Judith Allen\n        Kim, Annie Wu King, Rebecca Lynn Kiser, Mary Kuhns, Pui-lan Kwok, Barbara Lund, Barbara K.\n        Lundblad, Mary Ann Weese Lundy, Katherine Austin Mahle, Eily Marlow, Joan M. Martin, Mary\n        Kaye Medinger, Joyce Ann Mercer, Virginia R. Mollenkott, Melanie S. Morrison, Susan\n        Morrison, Mary Clark Moschella, Vivian Jenkins Nelsen, Randy Nelson, Christie Neuger, John\n        Niles, Manley Olson, Ofelia Ortega, Doris Pagelkopf, Rebecca Todd Peters, Virginia Pharr,\n        Joy Mincey Powell, Mary Preus, Anne Primavesi, Bernice Johnson Reagon, Jo Ringgenberg, Mary\n        Kay Sauter, Jeanyne B. Slettom, Jerie Smith, Joyce D. Sohl, Hilda Spann, Allison Stokes,\n        John Strausz-Clement, Judith Strausz-Clement, Sue Swanson, Hal Taussig, Margaret Thomas,\n        Rebecca Tollefson, Carmen Valenzuela, Johanna W.H. Van Wijk-Bos, Emily Wigger, Delores S.\n        Williams, Eugenia Williams, Lois Wilson, and Miriam Therese Winter."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026amp; Manuscript Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to Duke University.\n        For more information, consult the copyright section of the Regulations and Procedures of the\n        David M. Rubenstein Rare Book \u0026 Manuscript Library."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f7f6d2f5ebd091a28e15eeda3b5ef959\"\u003eRe-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining.\u003c/abstract\u003e"],"abstract_tesim":["Re-Imagining is an ecumenical, radical,\n        Christian movement focused on creating ways of understanding Womanist, Feminist, Mujerista,\n        and Asian Feminist theologies, and opening spaces for dialogue with the church, diverse\n        religious communities, and the world. Eighty-two audio files comprise an oral history\n        project by Sherry E. Jordon with 73 participants in the Re-Imagining conferences, including\n        the first gathering in 1993, Re-Imagining: A Global Theological Conference By Women: For Men\n        and Women. Additionally, 127 mp3 files and 79 audiocassettes comprising Re-Imagining\n        conference sessions and rituals from gatherings in 1993, 1994, 1995, 1996, 1998, and 2000,\n        as well as three linear feet of papers documenting Jordon's work with\n        Re-Imagining."],"names_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library","Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"corpname_ssim":["David M. Rubenstein Rare Book \u0026 Manuscript Library"],"names_coll_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"persname_ssim":["Andrew, Elizabeth, 1969-","Bass, Diana Butler, 1959-","Bednarowski, Mary Farrell","Bettenhausen, Elizabeth","Bishop, Nadean","Black, Kathy, 1956-","Blackstock, Donna, 1942-","Blons, Steven","Brinkley, Robert","Brock, Rita Nakashima","Buchanan, John M., 1938-","Chinn, Nancy, 1940-","Christensen, Faye, 1944-","Chung, Hyun Kyung","Cole, Susan, 1945-","Craig, J. Ann","Craig, Susan Halcomb, 1941-","Deacon-Weber, Kathy, 1954-","DeSouza, Sister Holy Spirit","Elkins, Heather Murray","Evans, Sara M. (Sara Margaret), 1943-","Fithian, Marylee, 1936-","Gates, Mary, 1934-","Hallman, Marchelle","Hames, Susan, 1944-","Henry, Robin, 1952-","Hinderlie, Maren","Hobday, José","Hunt, Mary E., 1951-","Joern, Pamela Carter, 1948-","Johnson, Katie","Johnson, Sally Howell","Jordon, Sherry E. (Sherry Elaine)","Keely, Barbara Anne, 1952-","Kersting, Betty, 1936-","Kim, Judith Allen, 1946-","King, Annie Wu, 1933-","Kiser, Rebecca Lynn, 1954-","Kuhns, Mary, 1945-","Kwok, Pui-lan","Lund, Barbara, 1964-","Lundblad, Barbara K., 1944-","Lundy, Mary Ann Weese, 1933-","Mahle, Katherine Austin, 1945-","Marlow, Eily, 1975-","Martin, Joan M. (Joan Marie)","Medinger, Mary Kaye, 1946-","Mercer, Joyce Ann, 1957-","Mollenkott, Virginia R.","Morrison, Susan, 1943-","Moschella, Mary Clark","Nelsen, Vivian Jenkins","Nelson, Randy, 1941-","Niles, John, 1945-","Olson, Manley, 1936-","Pagelkopf, Doris, 1938-","Peters, Rebecca Todd","Pharr, Virginia","Powell, Joy Mincey","Preus, Mary","Primavesi, Anne, 1934-","Reagon, Bernice Johnson, 1942-","Ringgenberg, Jo","Sauter, Mary Kay","Slettom, Jeanyne B.","Smith, Jerie","Sohl, Joyce D.","Stokes, Allison, 1942-","Strausz-Clement, John","Strausz-Clement, Judith","Swanson, Sue","Taussig, Hal","Thomas, Margaret","Tollefson, Rebecca","Valenzuela, Carmen","Van Wijk-Bos, Johanna W. H., 1940-","Wigger, Emily","Williams, Delores S.","Williams, Eugenia","Winter, Miriam Therese","Spann, Hilda","Ortega, Ofelia","Morrison, Melanie, 1949-","Adams, Martha O.","Aldredge-Clanton, Jann, 1946-","Allan, Gail, 1954-","Neuger, Christine Cozad, 1952-","Wilson, Lois"],"language_ssim":["English","English","Materials in English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":345,"online_item_count_is":65,"component_level_isim":[0],"sort_isi":0,"_root_":"reimagining","timestamp":"2025-02-18T22:58:40.698Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/reimagining_aspace_912376282dbb1ad66a60af967a328131"}},{"id":"umich-bhl-2014137_aspace_fc4da0c277ee453e3a271e4138f435f8","type":"File","attributes":{"title":"GEM Project (Livonia/Northville-Plymouth-Canton-Novi branches), 1990","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137_aspace_fc4da0c277ee453e3a271e4138f435f8#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_fc4da0c277ee453e3a271e4138f435f8","ref_ssm":["aspace_fc4da0c277ee453e3a271e4138f435f8","aspace_fc4da0c277ee453e3a271e4138f435f8"],"id":"umich-bhl-2014137_aspace_fc4da0c277ee453e3a271e4138f435f8","title_filing_ssi":"GEM Project (Livonia/Northville-Plymouth-Canton-Novi branches)","title_ssm":["GEM Project (Livonia/Northville-Plymouth-Canton-Novi branches)"],"title_tesim":["GEM Project (Livonia/Northville-Plymouth-Canton-Novi branches)"],"unitdate_inclusive_ssm":["1990"],"normalized_date_ssm":["1990"],"normalized_title_ssm":["GEM Project (Livonia/Northville-Plymouth-Canton-Novi branches), 1990"],"text":["GEM Project (Livonia/Northville-Plymouth-Canton-Novi branches), 1990","League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Issues","Environmental Issues","box 1"],"component_level_isim":[3],"parent_ssim":["umich-bhl-2014137","aspace_888fd0bffe15e97738776be21b868f2b","aspace_bb17b6ca6af1b28dc67e35781ad7fffc"],"parent_ssi":"aspace_bb17b6ca6af1b28dc67e35781ad7fffc","parent_ids_ssim":["umich-bhl-2014137","umich-bhl-2014137_aspace_888fd0bffe15e97738776be21b868f2b","umich-bhl-2014137_aspace_bb17b6ca6af1b28dc67e35781ad7fffc"],"parent_unittitles_ssm":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Issues","Environmental Issues"],"parent_unittitles_tesim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Issues","Environmental Issues"],"parent_levels_ssm":["collection","Series","File"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":5,"parent_access_restrict_tesm":["The collection is open to research."],"parent_access_terms_tesm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"date_range_isim":[1990],"containers_ssim":["box 1"],"_nest_path_":"/components#0/components#0/components#2","_nest_parent_":"umich-bhl-2014137_aspace_bb17b6ca6af1b28dc67e35781ad7fffc","_root_":"umich-bhl-2014137","timestamp":"2025-02-18T23:13:58.686Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-2014137","title_ssm":["League of Women Voters of Northwest Wayne County records"],"title_tesim":["League of Women Voters of Northwest Wayne County records"],"ead_ssi":"umich-bhl-2014137","unitdate_ssm":["1957-2013","1973-1992"],"unitdate_bulk_ssim":["1973-1992"],"unitdate_inclusive_ssm":["1957-2013"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["2014137 Aa 2"],"text":["2014137 Aa 2","League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992","Wayne County (Mich.) -- Politics and government.","Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes.","The collection is open to research.","No further additions to the records are expected.","The records are divided into three series based on content and type: Issues, Organizational Records, and  Voter  Newsletter.","The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.","Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records","The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.","Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.","Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.","Bentley Historical Library","League of Women Voters of Northwest Wayne County.","English","The material is in  English"],"unitid_tesim":["2014137 Aa 2"],"normalized_date_ssm":["1957-2013, bulk 1973-1992"],"normalized_title_ssm":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_title_tesim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"collection_ssim":["League of Women Voters of Northwest Wayne County records, 1957-2013, bulk 1973-1992"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Wayne County (Mich.) -- Politics and government."],"geogname_ssim":["Wayne County (Mich.) -- Politics and government."],"creator_ssm":["League of Women Voters of Northwest Wayne County."],"creator_ssim":["League of Women Voters of Northwest Wayne County."],"creator_corpname_ssim":["League of Women Voters of Northwest Wayne County."],"creators_ssim":["League of Women Voters of Northwest Wayne County."],"places_ssim":["Wayne County (Mich.) -- Politics and government."],"access_terms_ssm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The record group was donated by the League of Women Voters of Northwest Wayne County (donor no.  11100 ) in May 2014."],"access_subjects_ssim":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"access_subjects_ssm":["Environmental protection -- Michigan -- Wayne County.","Intergovernmental relations in the United States -- Michigan.","Women -- Michigan -- Wayne County.","Women -- Political activity -- Michigan -- Wayne County.","Videotapes."],"has_online_content_ssim":["false"],"extent_ssm":["3 linear feet"],"extent_tesim":["3 linear feet"],"genreform_ssim":["Videotapes."],"date_range_isim":[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\u003eThe collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the records are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the records are expected."],"arrangement_html_tesm":["\u003cp\u003eThe records are divided into three series based on content and type: Issues, Organizational Records, and \u003ctitle render=\"italic\"\u003eVoter\u003c/title\u003e Newsletter.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The records are divided into three series based on content and type: Issues, Organizational Records, and  Voter  Newsletter."],"bioghist_html_tesm":["\u003cp\u003eThe League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920.\u003c/p\u003e\n","\u003cp\u003e Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students.\u003c/p\u003e\n","\u003cp\u003e Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The League of Women Voters (LWV) is a nonpartisan political organization that strives to increase active and knowledgeable participation by voters in the electoral process, educates citizens about critical public policy issues, and shapes these policies through its advocacy and educational programs. The LWV of Livonia, Mich. began with thirty-five members in 1960 and aimed to encourage active participation of local voters in the democratic process. In 2001, the branch was renamed the League of Women Voters of Northwest Wayne County; by 2014, its scope encompassed Livonia, Plymouth, Canton, Redford, Wayne, Garden City, Westland, and Northville Township. As of 2010, the Northwest Wayne County League had fifty volunteer members, both male and female. Members are also part of the League of Women Voters of Michigan (LWVMI) and the national League of Women Voters, both founded in 1920."," Northwest Wayne County's branch educates individuals to devise positive solutions to public policy problems and emphasizes conflict management. The organization maintains a nonpartisan stance, providing information on candidates but never endorsing or opposing any politician or political party. The League publishes free voter guides and \"They Represent You,\" a pamphlet furnishing contact information for local, state, and federal government representatives. Interested voters may also attend candidate forums and educational meetings about ballot proposals and public policy concerns of interest to northwest Wayne County. The group frequently undertakes intensive studies of policy issues ranging from waste disposal to education to prison reform, making a recommendation only after members reach consensus. Furthermore, with money from dues, donations, and fundraisers, the branch funds scholarships for local students."," Members of the Northwest Wayne County group have received awards from the University of Michigan-Dearborn and other organizations for their community service and others have gone on to serve as LWVMI officers."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, League of Women Voters of Northwest Wayne County records, Bentley Historical Library, University of Michigan"],"relatedmaterial_html_tesm":["\u003cp\u003eResearchers may also wish to consult the following collections:\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Allen Park, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Berrien and Cass Counties, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Dearborn-Dearborn Heights (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Grosse Pointe, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Michigan, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Monroe (Mich.), records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of Mount Clemens-Clinton Area, records\u003c/p\u003e\n","\u003cp\u003e League of Women Voters of the Ann Arbor Area, records\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Researchers may also wish to consult the following collections:"," League of Women Voters of Allen Park, records"," League of Women Voters of Berrien and Cass Counties, records"," League of Women Voters of Dearborn-Dearborn Heights (Mich.), records"," League of Women Voters of Grosse Pointe, records"," League of Women Voters of Michigan, records"," League of Women Voters of Monroe (Mich.), records"," League of Women Voters of Mount Clemens-Clinton Area, records"," League of Women Voters of the Ann Arbor Area, records"],"scopecontent_html_tesm":["\u003cp\u003eThe records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The records of the League of Women Voters (LWV) of Northwest County include organizational documents and publications, correspondence, membership rosters, local studies, and extensive meeting minutes drawn from all predecessor organizations but primarily from the LWV of Livonia. Although the documents encompass the years from 1957 to 2013, most are from the 1970s, 1980s, and 1990s. Researchers will find records of LWV operations, such as fundraising and board elections, as well as a wealth of information relating to urban challenges, social issues, and environmental concerns of the greater Detroit area in the late 20th century. A glimpse into broader state issues, such as Michigan's penitential system, also emerges in the documents. Extensive collections of LWV newsletters from the Livonia and Northville-Plymouth-Canton-Novi branches, as well as the subsequent merged organization, will also be of interest to those researching the political participation of women during and after the women's liberation movement."],"userestrict_html_tesm":["\u003cp\u003eCopyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1194f506255c3ab03350e6f4d84d06ca\"\u003eRecords of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups.\u003c/abstract\u003e"],"abstract_tesim":["Records of the League of Women Voters (LWV) of Northwest Wayne County in Michigan and its predecessor organizations, the LWV of Livonia and the LWV of Northville-Plymouth-Canton-Novi. Collection includes organizational records, newsletters, correspondence, and other records documenting the activities of the three groups."],"names_coll_ssim":["League of Women Voters of Northwest Wayne County."],"names_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"corpname_ssim":["Bentley Historical Library","League of Women Voters of Northwest Wayne County."],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":80,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-2014137","timestamp":"2025-02-18T23:13:58.686Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-2014137_aspace_fc4da0c277ee453e3a271e4138f435f8"}},{"id":"m0292-xml_aspace_ref238_kmw","type":"File","attributes":{"title":"Genealogical material","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/m0292-xml_aspace_ref238_kmw#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_ref238_kmw","ref_ssm":["aspace_ref238_kmw","aspace_ref238_kmw"],"id":"m0292-xml_aspace_ref238_kmw","title_filing_ssi":"Genealogical material","title_ssm":["Genealogical material"],"title_tesim":["Genealogical material"],"normalized_title_ssm":["Genealogical material"],"text":["Genealogical material","Clarke Family Papers, 1904-1968","PAMPHLETS","box 15","folder 1"],"component_level_isim":[2],"parent_ssim":["m0292-xml","aspace_ref215_1ba"],"parent_ssi":"aspace_ref215_1ba","parent_ids_ssim":["m0292-xml","m0292-xml_aspace_ref215_1ba"],"parent_unittitles_ssm":["Clarke Family Papers, 1904-1968","PAMPHLETS"],"parent_unittitles_tesim":["Clarke Family Papers, 1904-1968","PAMPHLETS"],"parent_levels_ssm":["collection","File"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"collection_ssim":["Clarke Family Papers, 1904-1968"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":224,"parent_access_restrict_tesm":["None."],"parent_access_terms_tesm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"containers_ssim":["box 15","folder 1"],"_nest_path_":"/components#8/components#22","_nest_parent_":"m0292-xml_aspace_ref215_1ba","_root_":"m0292-xml","timestamp":"2025-02-18T23:07:35.736Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"m0292-xml","title_ssm":["Clarke Family Papers"],"title_tesim":["Clarke Family Papers"],"ead_ssi":"m0292.xml","unitdate_ssm":["1904-1968"],"unitdate_inclusive_ssm":["1904-1968"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["M0292"],"text":["M0292","Clarke Family Papers, 1904-1968","None.","1. Palmer, J.P.:  Jade  Spring Books; London, 1967.","2.  The Encyclopedia Sinica  Couling, Samuel Kelly \u0026 Walsh; Shanghai, 1917.","3. Thiel, albert W.R.:  Chinese Pottery and Stoneware  Thos. nelson \u0026 Sons; N.Y., N.D.","4. Goette, John:  Jade Lore  Kelly \u0026 Walsh; Shanghai, 1936.","5. Forsyth, Robb. Coventry:  Shanting, The Sacred Province of China  Christian Literature Society; Shanghai, 1912","6. Graham, Dorothy:  Through the moon Door  J. H. Sears \u0026 Co.; N.Y., 1926.","7. Brandt, J.:  Introduction to Literary Chinese  North China Union Language School; Peking, 1927.","8. Weale, B.L. Putnam:  The Vanished Empire  Macmillan \u0026 Co.; London, 1926.","9. Jennu, Delia:  Letter from Peking  Oxford UP; London, 1967.","10. Busheel, Stephen W.:  Chinese [UNK]  V. I Eyre \u0026 Spottiswoode; London, 1909.","11. Smith, Arthur H.:  Chinese Characteristics  3rd ed. Fleming H. Revell Co.; n.y., 1894.","12. Grubb, Norman P.:  C.T.Studd,  Cricketer \u0026 Pioneer  Religious Tract Society; London, 1933.","13. Martin, W.A.P.:  The Siege in Peking  Oliphant Anderson \u0026 Ferrier; Edinburgh, 1900.","14. Lymn, Jermyn Chi-Hung:  Social Life of The Chinese in Peking  China Booksellers; Peking, 1928.","15. Strong, [UNK] [UNK]:  a Sketch of Chinese Cuts \u0026 Crafts  China Bhsellers; Peking, 1926.","The daughter of Dr. Charles Fletcher Johnson and Agnes Elliott Johnson, Ruth Clarke was born on April 2, 1890 in Wei Hsien, Shantung, China where she quickly mastered Mandarin Chinese. She was educated at Miss Jewell's School in Shanghai which was also attended by Miss Pearl Buck. After visiting her Uncle Hosmer Johnson in Washington D.C., Ruth entered and graduated from Wilson College (Chambersburg, Pa.) in 1912. She then returned to Shanghai to accept a teaching position at Miss Jewell's.","In 1916 Ruth Johnson accepted a new position in the Peking American School. It was there that she met J. Eric G. Clarke whom she married on June 21, 1916 in Tsinanfu, Shantung. The Rev. W. P. Chalfant officiated. Kathleen Clarke, Margaret Emma Johnson, Gerald Clarke and Hosmer F. Johnson were members of the wedding party Dating from this ceremony, the couple often signed their combined correspondence Rutheric. Following a brief honeymoon in Tai Shan, the couple returned to Peking where they resided for the next 16 years. During this period Mrs. Clarke made several trips to the United States where she exhibited many of the fabulous Oriental art treasures she had collected throughout her stay in China.","Soon after the couple moved to Shanghai the threat of war between Japan and China became reality. Overnight, internment camps were set up for aliens like the Clarkes. Their homes were occupied by Japanese soldiers as soon as they were evacuated by the local Occupation authorities. From April 10, 1943 until a few weeks following the Japanese surrender to MacArthur on August 14, 1945, the Clarkes were confined at Lung Hwa Camp near Peking.","Among the nearly 1800 interns at Lung Hwa were men and women from all professions and backgrounds. Although spirits were high during the first season at the camp, morale worsened during the winter--food became scarce and poorer in quality and the stoves which the Japanese installed on each floor of the ten dormitories were never lit. The cubicles they occupied were 4`8 by 22' long. Despite the difficult conditions they encountered at the camp, the Clarkes and their fellow inmates managed to maintain a high level of personal development which is reflected in the many activities enjoyed at the camp: lectures, plays, musical productions and many other kinds of intellectual stimulation. One of the most amusing highlights of their stay was the development of a game called Dictionary Please. Because of their limited reading material, the Clarkes designed a game which relied only upon the dictionary they brought with them and their active imaginations. The game was so successful that it became a partial livelihood following their return to America in 1946.","Residing in Portland, Oregon, Mr. and Mrs. Clarke remained active socially and intellectually. Mrs. Clarke served as president of Zonta International and the Lewis and Clarke's Women's League. Mrs. Clarke now resides in Mountain View, California.","Gift of Ruth Elliott Johnson Clarke.","Correspondence, photographs (of China), books and pamphlets about Chinese art, etc.","Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.","Department of Special Collections and University Archives","Clarke family","English"],"unitid_tesim":["M0292"],"normalized_date_ssm":["1904-1968"],"normalized_title_ssm":["Clarke Family Papers, 1904-1968"],"collection_title_tesim":["Clarke Family Papers, 1904-1968"],"collection_ssim":["Clarke Family Papers, 1904-1968"],"repository_ssm":["Stanford University Libraries. Special Collections and University Archives"],"repository_ssim":["Stanford University Libraries. Special Collections and University Archives"],"creator_ssm":["Clarke family"],"creator_ssim":["Clarke family"],"creator_famname_ssim":["Clarke family"],"creators_ssim":["Clarke family"],"access_terms_ssm":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["10 Linear Feet ca. 10 linear ft."],"extent_tesim":["10 Linear Feet ca. 10 linear ft."],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["None."],"bibliography_html_tesm":["\u003cbibref\u003e1. Palmer, J.P.: \u003cemph render=\"italic\"\u003eJade \u003c/emph\u003eSpring Books; London, 1967.\u003c/bibref\u003e","\u003cbibref\u003e2. \u003cemph render=\"italic\"\u003eThe Encyclopedia Sinica \u003c/emph\u003eCouling, Samuel Kelly \u0026amp; Walsh; Shanghai, 1917.\u003c/bibref\u003e","\u003cbibref\u003e3. Thiel, albert W.R.: \u003cemph render=\"italic\"\u003eChinese Pottery and Stoneware \u003c/emph\u003eThos. nelson \u0026amp; Sons; N.Y., N.D.\u003c/bibref\u003e","\u003cbibref\u003e4. Goette, John: \u003cemph render=\"italic\"\u003eJade Lore \u003c/emph\u003eKelly \u0026amp; Walsh; Shanghai, 1936.\u003c/bibref\u003e","\u003cbibref\u003e5. Forsyth, Robb. Coventry: \u003cemph render=\"italic\"\u003eShanting, The Sacred Province of China \u003c/emph\u003eChristian Literature Society; Shanghai, 1912\u003c/bibref\u003e","\u003cbibref\u003e6. Graham, Dorothy: \u003cemph render=\"italic\"\u003eThrough the moon Door \u003c/emph\u003eJ. H. Sears \u0026amp; Co.; N.Y., 1926.\u003c/bibref\u003e","\u003cbibref\u003e7. Brandt, J.: \u003cemph render=\"italic\"\u003eIntroduction to Literary Chinese \u003c/emph\u003eNorth China Union Language School; Peking, 1927.\u003c/bibref\u003e","\u003cbibref\u003e8. Weale, B.L. Putnam: \u003cemph render=\"italic\"\u003eThe Vanished Empire \u003c/emph\u003eMacmillan \u0026amp; Co.; London, 1926.\u003c/bibref\u003e","\u003cbibref\u003e9. Jennu, Delia: \u003cemph render=\"italic\"\u003eLetter from Peking \u003c/emph\u003eOxford UP; London, 1967.\u003c/bibref\u003e","\u003cbibref\u003e10. Busheel, Stephen W.: \u003cemph render=\"italic\"\u003eChinese [UNK] \u003c/emph\u003eV. I Eyre \u0026amp; Spottiswoode; London, 1909.\u003c/bibref\u003e","\u003cbibref\u003e11. Smith, Arthur H.: \u003cemph render=\"italic\"\u003eChinese Characteristics \u003c/emph\u003e3rd ed. Fleming H. Revell Co.; n.y., 1894.\u003c/bibref\u003e","\u003cbibref\u003e12. Grubb, Norman P.: \u003cemph render=\"italic\"\u003eC.T.Studd, \u003c/emph\u003e\u003cemph render=\"italic\"\u003eCricketer \u0026amp; Pioneer \u003c/emph\u003eReligious Tract Society; London, 1933.\u003c/bibref\u003e","\u003cbibref\u003e13. Martin, W.A.P.: \u003cemph render=\"italic\"\u003eThe Siege in Peking \u003c/emph\u003eOliphant Anderson \u0026amp; Ferrier; Edinburgh, 1900.\u003c/bibref\u003e","\u003cbibref\u003e14. Lymn, Jermyn Chi-Hung: \u003cemph render=\"italic\"\u003eSocial Life of The Chinese in Peking \u003c/emph\u003eChina Booksellers; Peking, 1928.\u003c/bibref\u003e","\u003cbibref\u003e15. Strong, [UNK] [UNK]: \u003cemph render=\"italic\"\u003ea Sketch of Chinese Cuts \u0026amp; Crafts \u003c/emph\u003eChina Bhsellers; Peking, 1926.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Reference Materials"],"bibliography_tesim":["1. Palmer, J.P.:  Jade  Spring Books; London, 1967.","2.  The Encyclopedia Sinica  Couling, Samuel Kelly \u0026 Walsh; Shanghai, 1917.","3. Thiel, albert W.R.:  Chinese Pottery and Stoneware  Thos. nelson \u0026 Sons; N.Y., N.D.","4. Goette, John:  Jade Lore  Kelly \u0026 Walsh; Shanghai, 1936.","5. Forsyth, Robb. Coventry:  Shanting, The Sacred Province of China  Christian Literature Society; Shanghai, 1912","6. Graham, Dorothy:  Through the moon Door  J. H. Sears \u0026 Co.; N.Y., 1926.","7. Brandt, J.:  Introduction to Literary Chinese  North China Union Language School; Peking, 1927.","8. Weale, B.L. Putnam:  The Vanished Empire  Macmillan \u0026 Co.; London, 1926.","9. Jennu, Delia:  Letter from Peking  Oxford UP; London, 1967.","10. Busheel, Stephen W.:  Chinese [UNK]  V. I Eyre \u0026 Spottiswoode; London, 1909.","11. Smith, Arthur H.:  Chinese Characteristics  3rd ed. Fleming H. Revell Co.; n.y., 1894.","12. Grubb, Norman P.:  C.T.Studd,  Cricketer \u0026 Pioneer  Religious Tract Society; London, 1933.","13. Martin, W.A.P.:  The Siege in Peking  Oliphant Anderson \u0026 Ferrier; Edinburgh, 1900.","14. Lymn, Jermyn Chi-Hung:  Social Life of The Chinese in Peking  China Booksellers; Peking, 1928.","15. Strong, [UNK] [UNK]:  a Sketch of Chinese Cuts \u0026 Crafts  China Bhsellers; Peking, 1926."],"bioghist_html_tesm":["\u003cp\u003eThe daughter of Dr. Charles Fletcher Johnson and Agnes Elliott Johnson, Ruth Clarke was born on April 2, 1890 in Wei Hsien, Shantung, China where she quickly mastered Mandarin Chinese. She was educated at Miss Jewell's School in Shanghai which was also attended by Miss Pearl Buck. After visiting her Uncle Hosmer Johnson in Washington D.C., Ruth entered and graduated from Wilson College (Chambersburg, Pa.) in 1912. She then returned to Shanghai to accept a teaching position at Miss Jewell's.\u003c/p\u003e\n","\u003cp\u003eIn 1916 Ruth Johnson accepted a new position in the Peking American School. It was there that she met J. Eric G. Clarke whom she married on June 21, 1916 in Tsinanfu, Shantung. The Rev. W. P. Chalfant officiated. Kathleen Clarke, Margaret Emma Johnson, Gerald Clarke and Hosmer F. Johnson were members of the wedding party Dating from this ceremony, the couple often signed their combined correspondence Rutheric. Following a brief honeymoon in Tai Shan, the couple returned to Peking where they resided for the next 16 years. During this period Mrs. Clarke made several trips to the United States where she exhibited many of the fabulous Oriental art treasures she had collected throughout her stay in China.\u003c/p\u003e\n","\u003cp\u003eSoon after the couple moved to Shanghai the threat of war between Japan and China became reality. Overnight, internment camps were set up for aliens like the Clarkes. Their homes were occupied by Japanese soldiers as soon as they were evacuated by the local Occupation authorities. From April 10, 1943 until a few weeks following the Japanese surrender to MacArthur on August 14, 1945, the Clarkes were confined at Lung Hwa Camp near Peking.\u003c/p\u003e\n","\u003cp\u003eAmong the nearly 1800 interns at Lung Hwa were men and women from all professions and backgrounds. Although spirits were high during the first season at the camp, morale worsened during the winter--food became scarce and poorer in quality and the stoves which the Japanese installed on each floor of the ten dormitories were never lit. The cubicles they occupied were 4`8 by 22' long. Despite the difficult conditions they encountered at the camp, the Clarkes and their fellow inmates managed to maintain a high level of personal development which is reflected in the many activities enjoyed at the camp: lectures, plays, musical productions and many other kinds of intellectual stimulation. One of the most amusing highlights of their stay was the development of a game called Dictionary Please. Because of their limited reading material, the Clarkes designed a game which relied only upon the dictionary they brought with them and their active imaginations. The game was so successful that it became a partial livelihood following their return to America in 1946.\u003c/p\u003e\n","\u003cp\u003eResiding in Portland, Oregon, Mr. and Mrs. Clarke remained active socially and intellectually. Mrs. Clarke served as president of Zonta International and the Lewis and Clarke's Women's League. Mrs. Clarke now resides in Mountain View, California.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["The daughter of Dr. Charles Fletcher Johnson and Agnes Elliott Johnson, Ruth Clarke was born on April 2, 1890 in Wei Hsien, Shantung, China where she quickly mastered Mandarin Chinese. She was educated at Miss Jewell's School in Shanghai which was also attended by Miss Pearl Buck. After visiting her Uncle Hosmer Johnson in Washington D.C., Ruth entered and graduated from Wilson College (Chambersburg, Pa.) in 1912. She then returned to Shanghai to accept a teaching position at Miss Jewell's.","In 1916 Ruth Johnson accepted a new position in the Peking American School. It was there that she met J. Eric G. Clarke whom she married on June 21, 1916 in Tsinanfu, Shantung. The Rev. W. P. Chalfant officiated. Kathleen Clarke, Margaret Emma Johnson, Gerald Clarke and Hosmer F. Johnson were members of the wedding party Dating from this ceremony, the couple often signed their combined correspondence Rutheric. Following a brief honeymoon in Tai Shan, the couple returned to Peking where they resided for the next 16 years. During this period Mrs. Clarke made several trips to the United States where she exhibited many of the fabulous Oriental art treasures she had collected throughout her stay in China.","Soon after the couple moved to Shanghai the threat of war between Japan and China became reality. Overnight, internment camps were set up for aliens like the Clarkes. Their homes were occupied by Japanese soldiers as soon as they were evacuated by the local Occupation authorities. From April 10, 1943 until a few weeks following the Japanese surrender to MacArthur on August 14, 1945, the Clarkes were confined at Lung Hwa Camp near Peking.","Among the nearly 1800 interns at Lung Hwa were men and women from all professions and backgrounds. Although spirits were high during the first season at the camp, morale worsened during the winter--food became scarce and poorer in quality and the stoves which the Japanese installed on each floor of the ten dormitories were never lit. The cubicles they occupied were 4`8 by 22' long. Despite the difficult conditions they encountered at the camp, the Clarkes and their fellow inmates managed to maintain a high level of personal development which is reflected in the many activities enjoyed at the camp: lectures, plays, musical productions and many other kinds of intellectual stimulation. One of the most amusing highlights of their stay was the development of a game called Dictionary Please. Because of their limited reading material, the Clarkes designed a game which relied only upon the dictionary they brought with them and their active imaginations. The game was so successful that it became a partial livelihood following their return to America in 1946.","Residing in Portland, Oregon, Mr. and Mrs. Clarke remained active socially and intellectually. Mrs. Clarke served as president of Zonta International and the Lewis and Clarke's Women's League. Mrs. Clarke now resides in Mountain View, California."],"custodhist_html_tesm":["\u003cp\u003eGift of Ruth Elliott Johnson Clarke.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Gift of Ruth Elliott Johnson Clarke."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item] Clarke Family Papers, M0292, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item] Clarke Family Papers, M0292, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif."],"scopecontent_html_tesm":["\u003cp\u003eCorrespondence, photographs (of China), books and pamphlets about Chinese art, etc.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Correspondence, photographs (of China), books and pamphlets about Chinese art, etc."],"userestrict_html_tesm":["\u003cp\u003eProperty rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections."],"names_ssim":["Department of Special Collections and University Archives","Clarke family"],"corpname_ssim":["Department of Special Collections and University Archives"],"names_coll_ssim":["Clarke family"],"famname_ssim":["Clarke family"],"language_ssim":["English"],"total_component_count_is":348,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"m0292-xml","timestamp":"2025-02-18T23:07:35.736Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/m0292-xml_aspace_ref238_kmw"}},{"id":"umich-bhl-9840_aspace_527374c243831041598a3afd1fd3bfa6","type":"File","attributes":{"title":"General","breadcrumbs":{"id":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-9840_aspace_527374c243831041598a3afd1fd3bfa6#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"aspace_527374c243831041598a3afd1fd3bfa6","ref_ssm":["aspace_527374c243831041598a3afd1fd3bfa6","aspace_527374c243831041598a3afd1fd3bfa6"],"id":"umich-bhl-9840_aspace_527374c243831041598a3afd1fd3bfa6","title_filing_ssi":"General","title_ssm":["General"],"title_tesim":["General"],"normalized_title_ssm":["General"],"text":["General","Charles W. Lane papers, 1935-1997, bulk 1958-1969","World War II Military Service","box 6"],"component_level_isim":[2],"parent_ssim":["umich-bhl-9840","aspace_58990490f71df193ccbe063d89c04004"],"parent_ssi":"aspace_58990490f71df193ccbe063d89c04004","parent_ids_ssim":["umich-bhl-9840","umich-bhl-9840_aspace_58990490f71df193ccbe063d89c04004"],"parent_unittitles_ssm":["Charles W. Lane papers, 1935-1997, bulk 1958-1969","World War II Military Service"],"parent_unittitles_tesim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969","World War II Military Service"],"parent_levels_ssm":["collection","Series"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"collection_ssim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":120,"parent_access_restrict_tesm":["The collection is open to research, except for some files in box 2 that are restricted to staff use only."],"parent_access_terms_tesm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"containers_ssim":["box 6"],"_nest_path_":"/components#4/components#1","_nest_parent_":"umich-bhl-9840_aspace_58990490f71df193ccbe063d89c04004","_root_":"umich-bhl-9840","timestamp":"2025-02-18T23:24:36.652Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"umich-bhl-9840","title_ssm":["Charles W. Lane papers"],"title_tesim":["Charles W. Lane papers"],"ead_ssi":"umich-bhl-9840","unitdate_ssm":["1935-1997","1958-1969"],"unitdate_bulk_ssim":["1958-1969"],"unitdate_inclusive_ssm":["1935-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["9840 Aa 2"],"text":["9840 Aa 2","Charles W. Lane papers, 1935-1997, bulk 1958-1969","Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945.","Architectural practice -- Michigan -- Ann Arbor.","Architects -- Michigan -- Ann Arbor.","Buildings, Prefabricated.","Mobile home parks -- Michigan.","Schools -- Michigan -- Ann Arbor.","World War, 1939-1945.","Architectural drawings.","Iwo Jima, Battle of, Japan, 1945.","World War, 1939-1945.","World War, 1939-1945 -- Campaigns -- Japan -- Okinawa Island.","Military art and science.","Mobile homes.","Schools -- Michigan.","Schools -- Michigan -- Ann Arbor.","War damage -- Japan -- Iwo Jima (Volcano Islands)","War damage -- Japan -- Nagasaki-Shi.","War damage -- Japan -- Okinawa Island.","War damage -- Japan -- Wakayama-Shi.","War damage -- Philippines -- Manila.","World War, 1939-1945 -- Destruction and pillage.","World War, 1939-1945 -- Military personnel.","World War, 1939-1945 -- Military life.","Architectural drawings.","Photographs.","The collection is open to research, except for some files in box 2 that are restricted to staff use only.","No further additions to the papers are expected.","Charles Wesley Lane was born in 1919. He began his career as an architect by working at construction sites during his summer breaks from the University of Michigan, from 1937 through 1941. He then worked for the U.S. Army Corps of Engineers on the MacArthur Lock in Sault St. Marie. Following Lane's graduation from the University of Michigan he served in World War II. He was in Louisiana for a short time, helping to supervise construction of a blimp hangar. He then began work as a Photo Interpretation officer and was part of the landing at Iwo Jima and Okinawa. He also spent some time in Nagasaki after the atomic bomb. Upon returning he went to work as an architect for George Brigham in Ann Arbor. Brigham's office was divided into two areas, research and production. Lane was assigned to work in research as an architect for Brigham's Progressive Homes Corporation (PHC). The goal of PHC was to design a completely prefabricated home that could be erected in eight hours (with the footings already in place) for the price of $1500. Brigham began the company with funders that included Eugene Cassaroll of Dual Motors. Lane describes the other investors as \"auto people from Detroit.\" The investors disassociated Brigham from the research division when his pace of development did not move along as quickly as they had hoped. The head of PHC was Ira E. \"Mickey\" Gillen, a former production manager for Chrysler Motors."," Gillen and the investors acquired 100,000 square feet of space in Pine Bluff, Arkansas to manufacture their homes. Gillen arranged for the building supplies to come from a variety of companies across the U.S. In a reflection of Gillen's automotive background, he wanted the pieces of the houses brought to Arkansas and assembled as pieces of a car are brought to a central location to be assembled. Gillen set up dealerships for the houses in every state and in England, France and South America. In South America he had a contract for 10,000 homes and in California a naval station wanted 5,000 houses, if they were financed by the Federal Housing Administration. The first two manufactured homes were built in Indiana, then Wisconsin. At about the fifth or sixth house, the local authorities would not issue a building permit because the local plumbers union was against the use of stamped steel in the building. Gillen had the support of the Federal Housing Administration (FHA) over the plumbers, but the FHA still would not finance the homes. This was the end of the company because no one would finance the building of the houses. Since 1947, 400 homes had come off of the assembly line. Those homes were built around Washington D.C. because of a contract the PHC had with the government, which the latter was forced to honor. By 1948, about 250 similar companies producing manufactured homes had sprung up around the United States."," After the failure of PHC, Lane went to work for the Walter Aneche firm in Ann Arbor; he worked at the firm from 1948 to 1952. Lane designed drawings for  Good Housekeeping  and schools in Michigan. In 1952 Lane established his own firm in Ann Arbor with architects Alex Riebe and Keith Weiland. Lane developed a 24 x 36 steel sheet that was repetitive and was used in about 400 schools in Michigan. Lane designed many schools and residences throughout Michigan with his firm. The firm was hired in the 1960s to design Huron High School in Ann Arbor, Michigan. This was the largest, most unique school that he designed. He originally made 17 designs of the building, all which were rectangular in shape. In an effort to save money he created a circular design that reduced corridor space and cost. Lane was lauded for the unique design and budget reducing measures. In addition to the actual structure, Lane also made recommendations, which were followed, on where Huron Parkway should be placed."," In 1971, shortly after the completion of Huron High School, Lane left his firm to pursue his interest in manufactured housing. Alex Riebe moved the firm to Farmington, Michigan. Lane saw that many of the same obstacles remained, with the exception of the invention of the mobile home park. In the late 1960s Lane designed a mobile home park in Almont, Michigan which was unique because it had paved streets, parking, and landscaping.","The collection is arranged into five series, Brigham Building System, Lane Projects, Huron High School, Personal and World War II Military Service. The series include the many projects that Charles Wesley Lane worked on during his architectural career and some materials from his military service as well. The collection is composed of photographs, slides, microfilm, microfiche and prints. The researcher will be interested in the variety of architectural projects in which Lane was involved, which include schools, mobile homes, churches, and other types of structures. A small number of photographs of Nagasaki after the atomic bomb may also be of interest.","Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.","Architect based in Ann Arbor, Michigan. Project files relate to work with George Brigham and his system of constructing prefabricated homes, 1944-1947; files relating to design and construction of Huron High School in Ann Arbor; other projects concern design of mobile home parks and other Michigan school buildings.","Bentley Historical Library","Huron High School (Ann Arbor, Mich.)","Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-","English","The material is in  English"],"unitid_tesim":["9840 Aa 2"],"normalized_date_ssm":["1935-1997, bulk 1958-1969"],"normalized_title_ssm":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"collection_title_tesim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"collection_ssim":["Charles W. Lane papers, 1935-1997, bulk 1958-1969"],"repository_ssm":["University of Michigan. Bentley Historical Library"],"repository_ssim":["University of Michigan. Bentley Historical Library"],"geogname_ssm":["Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945."],"geogname_ssim":["Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945."],"creator_ssm":["Lane, Charles W. (Charles Wesley), 1919-"],"creator_ssim":["Lane, Charles W. (Charles Wesley), 1919-"],"creator_persname_ssim":["Lane, Charles W. (Charles Wesley), 1919-"],"creators_ssim":["Lane, Charles W. (Charles Wesley), 1919-"],"places_ssim":["Ann Arbor (Mich.) -- Buildings, structures, etc.","Hawaii.","Houma (La.)","Iwo Jima (Volcano Islands, Japan)","Manila (Philippines)","Nagasaki-Shi (Japan) -- History -- Bombardment, 1945.","Okinawa Island (Japan)","Wakayama-Shi (Japan) -- History -- Bombardment, 1945."],"access_terms_ssm":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"acqinfo_ssim":["The collection was donated by Charles Wesley Lane (donor  8716 ) in 1998; additions were received from the family in 2008."],"access_subjects_ssim":["Architectural practice -- Michigan -- Ann Arbor.","Architects -- Michigan -- Ann Arbor.","Buildings, Prefabricated.","Mobile home parks -- Michigan.","Schools -- Michigan -- Ann Arbor.","World War, 1939-1945.","Architectural drawings.","Iwo Jima, Battle of, Japan, 1945.","World War, 1939-1945.","World War, 1939-1945 -- Campaigns -- Japan -- Okinawa Island.","Military art and science.","Mobile homes.","Schools -- Michigan.","Schools -- Michigan -- Ann Arbor.","War damage -- Japan -- Iwo Jima (Volcano Islands)","War damage -- Japan -- Nagasaki-Shi.","War damage -- Japan -- Okinawa Island.","War damage -- Japan -- Wakayama-Shi.","War damage -- Philippines -- Manila.","World War, 1939-1945 -- Destruction and pillage.","World War, 1939-1945 -- Military personnel.","World War, 1939-1945 -- Military life.","Architectural drawings.","Photographs."],"access_subjects_ssm":["Architectural practice -- Michigan -- Ann Arbor.","Architects -- Michigan -- Ann Arbor.","Buildings, Prefabricated.","Mobile home parks -- Michigan.","Schools -- Michigan -- Ann Arbor.","World War, 1939-1945.","Architectural drawings.","Iwo Jima, Battle of, Japan, 1945.","World War, 1939-1945.","World War, 1939-1945 -- Campaigns -- Japan -- Okinawa Island.","Military art and science.","Mobile homes.","Schools -- Michigan.","Schools -- Michigan -- Ann Arbor.","War damage -- Japan -- Iwo Jima (Volcano Islands)","War damage -- Japan -- Nagasaki-Shi.","War damage -- Japan -- Okinawa Island.","War damage -- Japan -- Wakayama-Shi.","War damage -- Philippines -- Manila.","World War, 1939-1945 -- Destruction and pillage.","World War, 1939-1945 -- Military personnel.","World War, 1939-1945 -- Military life.","Architectural drawings.","Photographs."],"has_online_content_ssim":["false"],"extent_ssm":["4.5 linear feet in 6 boxes","7 oversize folders"],"extent_tesim":["4.5 linear feet in 6 boxes","7 oversize folders"],"genreform_ssim":["Architectural drawings.","Photographs."],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to research, except for some files in box 2 that are restricted to staff use only.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to research, except for some files in box 2 that are restricted to staff use only."],"accruals_html_tesm":["\u003cp\u003eNo further additions to the papers are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["No further additions to the papers are expected."],"bioghist_html_tesm":["\u003cp\u003eCharles Wesley Lane was born in 1919. He began his career as an architect by working at construction sites during his summer breaks from the University of Michigan, from 1937 through 1941. He then worked for the U.S. Army Corps of Engineers on the MacArthur Lock in Sault St. Marie. Following Lane's graduation from the University of Michigan he served in World War II. He was in Louisiana for a short time, helping to supervise construction of a blimp hangar. He then began work as a Photo Interpretation officer and was part of the landing at Iwo Jima and Okinawa. He also spent some time in Nagasaki after the atomic bomb. Upon returning he went to work as an architect for George Brigham in Ann Arbor. Brigham's office was divided into two areas, research and production. Lane was assigned to work in research as an architect for Brigham's Progressive Homes Corporation (PHC). The goal of PHC was to design a completely prefabricated home that could be erected in eight hours (with the footings already in place) for the price of $1500. Brigham began the company with funders that included Eugene Cassaroll of Dual Motors. Lane describes the other investors as \"auto people from Detroit.\" The investors disassociated Brigham from the research division when his pace of development did not move along as quickly as they had hoped. The head of PHC was Ira E. \"Mickey\" Gillen, a former production manager for Chrysler Motors.\u003c/p\u003e\n","\u003cp\u003e Gillen and the investors acquired 100,000 square feet of space in Pine Bluff, Arkansas to manufacture their homes. Gillen arranged for the building supplies to come from a variety of companies across the U.S. In a reflection of Gillen's automotive background, he wanted the pieces of the houses brought to Arkansas and assembled as pieces of a car are brought to a central location to be assembled. Gillen set up dealerships for the houses in every state and in England, France and South America. In South America he had a contract for 10,000 homes and in California a naval station wanted 5,000 houses, if they were financed by the Federal Housing Administration. The first two manufactured homes were built in Indiana, then Wisconsin. At about the fifth or sixth house, the local authorities would not issue a building permit because the local plumbers union was against the use of stamped steel in the building. Gillen had the support of the Federal Housing Administration (FHA) over the plumbers, but the FHA still would not finance the homes. This was the end of the company because no one would finance the building of the houses. Since 1947, 400 homes had come off of the assembly line. Those homes were built around Washington D.C. because of a contract the PHC had with the government, which the latter was forced to honor. By 1948, about 250 similar companies producing manufactured homes had sprung up around the United States.\u003c/p\u003e\n","\u003cp\u003e After the failure of PHC, Lane went to work for the Walter Aneche firm in Ann Arbor; he worked at the firm from 1948 to 1952. Lane designed drawings for \u003ctitle render=\"italic\"\u003eGood Housekeeping\u003c/title\u003e and schools in Michigan. In 1952 Lane established his own firm in Ann Arbor with architects Alex Riebe and Keith Weiland. Lane developed a 24 x 36 steel sheet that was repetitive and was used in about 400 schools in Michigan. Lane designed many schools and residences throughout Michigan with his firm. The firm was hired in the 1960s to design Huron High School in Ann Arbor, Michigan. This was the largest, most unique school that he designed. He originally made 17 designs of the building, all which were rectangular in shape. In an effort to save money he created a circular design that reduced corridor space and cost. Lane was lauded for the unique design and budget reducing measures. In addition to the actual structure, Lane also made recommendations, which were followed, on where Huron Parkway should be placed.\u003c/p\u003e\n","\u003cp\u003e In 1971, shortly after the completion of Huron High School, Lane left his firm to pursue his interest in manufactured housing. Alex Riebe moved the firm to Farmington, Michigan. Lane saw that many of the same obstacles remained, with the exception of the invention of the mobile home park. In the late 1960s Lane designed a mobile home park in Almont, Michigan which was unique because it had paved streets, parking, and landscaping.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Charles Wesley Lane was born in 1919. He began his career as an architect by working at construction sites during his summer breaks from the University of Michigan, from 1937 through 1941. He then worked for the U.S. Army Corps of Engineers on the MacArthur Lock in Sault St. Marie. Following Lane's graduation from the University of Michigan he served in World War II. He was in Louisiana for a short time, helping to supervise construction of a blimp hangar. He then began work as a Photo Interpretation officer and was part of the landing at Iwo Jima and Okinawa. He also spent some time in Nagasaki after the atomic bomb. Upon returning he went to work as an architect for George Brigham in Ann Arbor. Brigham's office was divided into two areas, research and production. Lane was assigned to work in research as an architect for Brigham's Progressive Homes Corporation (PHC). The goal of PHC was to design a completely prefabricated home that could be erected in eight hours (with the footings already in place) for the price of $1500. Brigham began the company with funders that included Eugene Cassaroll of Dual Motors. Lane describes the other investors as \"auto people from Detroit.\" The investors disassociated Brigham from the research division when his pace of development did not move along as quickly as they had hoped. The head of PHC was Ira E. \"Mickey\" Gillen, a former production manager for Chrysler Motors."," Gillen and the investors acquired 100,000 square feet of space in Pine Bluff, Arkansas to manufacture their homes. Gillen arranged for the building supplies to come from a variety of companies across the U.S. In a reflection of Gillen's automotive background, he wanted the pieces of the houses brought to Arkansas and assembled as pieces of a car are brought to a central location to be assembled. Gillen set up dealerships for the houses in every state and in England, France and South America. In South America he had a contract for 10,000 homes and in California a naval station wanted 5,000 houses, if they were financed by the Federal Housing Administration. The first two manufactured homes were built in Indiana, then Wisconsin. At about the fifth or sixth house, the local authorities would not issue a building permit because the local plumbers union was against the use of stamped steel in the building. Gillen had the support of the Federal Housing Administration (FHA) over the plumbers, but the FHA still would not finance the homes. This was the end of the company because no one would finance the building of the houses. Since 1947, 400 homes had come off of the assembly line. Those homes were built around Washington D.C. because of a contract the PHC had with the government, which the latter was forced to honor. By 1948, about 250 similar companies producing manufactured homes had sprung up around the United States."," After the failure of PHC, Lane went to work for the Walter Aneche firm in Ann Arbor; he worked at the firm from 1948 to 1952. Lane designed drawings for  Good Housekeeping  and schools in Michigan. In 1952 Lane established his own firm in Ann Arbor with architects Alex Riebe and Keith Weiland. Lane developed a 24 x 36 steel sheet that was repetitive and was used in about 400 schools in Michigan. Lane designed many schools and residences throughout Michigan with his firm. The firm was hired in the 1960s to design Huron High School in Ann Arbor, Michigan. This was the largest, most unique school that he designed. He originally made 17 designs of the building, all which were rectangular in shape. In an effort to save money he created a circular design that reduced corridor space and cost. Lane was lauded for the unique design and budget reducing measures. In addition to the actual structure, Lane also made recommendations, which were followed, on where Huron Parkway should be placed."," In 1971, shortly after the completion of Huron High School, Lane left his firm to pursue his interest in manufactured housing. Alex Riebe moved the firm to Farmington, Michigan. Lane saw that many of the same obstacles remained, with the exception of the invention of the mobile home park. In the late 1960s Lane designed a mobile home park in Almont, Michigan which was unique because it had paved streets, parking, and landscaping."],"prefercite_html_tesm":["\u003cp\u003e[item], folder, box, Charles W. Lane papers, Bentley Historical Library, University of Michigan\u003c/p\u003e"],"prefercite_tesim":["[item], folder, box, Charles W. Lane papers, Bentley Historical Library, University of Michigan"],"scopecontent_html_tesm":["\u003cp\u003eThe collection is arranged into five series, Brigham Building System, Lane Projects, Huron High School, Personal and World War II Military Service. The series include the many projects that Charles Wesley Lane worked on during his architectural career and some materials from his military service as well. The collection is composed of photographs, slides, microfilm, microfiche and prints. The researcher will be interested in the variety of architectural projects in which Lane was involved, which include schools, mobile homes, churches, and other types of structures. A small number of photographs of Nagasaki after the atomic bomb may also be of interest.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is arranged into five series, Brigham Building System, Lane Projects, Huron High School, Personal and World War II Military Service. The series include the many projects that Charles Wesley Lane worked on during his architectural career and some materials from his military service as well. The collection is composed of photographs, slides, microfilm, microfiche and prints. The researcher will be interested in the variety of architectural projects in which Lane was involved, which include schools, mobile homes, churches, and other types of structures. A small number of photographs of Nagasaki after the atomic bomb may also be of interest."],"userestrict_html_tesm":["\u003cp\u003eCopyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright is held by the Regents of the University of Michigan but the collection may contain third-party materials for which copyright is not held. Patrons are responsible for determining the appropriate use or reuse of materials."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1711e8ec6440e36b108652ca8e44f52e\"\u003eArchitect based in Ann Arbor, Michigan. Project files relate to work with George Brigham and his system of constructing prefabricated homes, 1944-1947; files relating to design and construction of Huron High School in Ann Arbor; other projects concern design of mobile home parks and other Michigan school buildings.\u003c/abstract\u003e"],"abstract_tesim":["Architect based in Ann Arbor, Michigan. Project files relate to work with George Brigham and his system of constructing prefabricated homes, 1944-1947; files relating to design and construction of Huron High School in Ann Arbor; other projects concern design of mobile home parks and other Michigan school buildings."],"names_coll_ssim":["Huron High School (Ann Arbor, Mich.)","Huron High School (Ann Arbor, Mich.)","Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-","Lane, Charles W. (Charles Wesley), 1919-"],"names_ssim":["Bentley Historical Library","Huron High School (Ann Arbor, Mich.)","Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-"],"corpname_ssim":["Bentley Historical Library","Huron High School (Ann Arbor, Mich.)"],"persname_ssim":["Lane, Charles W. (Charles Wesley), 1919-","Brigham, George Bickford, 1889-"],"language_ssim":["English","The material is in  English"],"descrules_ssm":["Finding aid prepared using Describing Archives: A Content Standard (DACS)"],"total_component_count_is":135,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"umich-bhl-9840","timestamp":"2025-02-18T23:24:36.652Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog/umich-bhl-9840_aspace_527374c243831041598a3afd1fd3bfa6"}}],"included":[{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Clarke Family Papers, 1904-1968","value":"Clarke Family Papers, 1904-1968","hits":346},"links":{"self":"https://arclight-demo.projectblacklight.org/catalog.json?f%5Bcollection%5D%5B%5D=Clarke+Family+Papers%2C+1904-1968\u0026f%5Blevel%5D%5B%5D=File\u0026view=list"}},{"attributes":{"label":"David V. 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