Rubenstein Technical Services
Since August, I’ve had the pleasure of arranging and describing the papers of Reverend Jeanne Audrey Powers. In 1958, Rev. Powers became one of the first women to be ordained in the United Methodist Church, and in 1995, she publicly came out as a lesbian in her most famous sermon, “The Journey.” The reactions she faced as a result of coming out were mixed. Many, like the GCCUIC (General Commission on Christian Unity and Interreligious Concerns) supported her unswervingly, while others, most notably the Institute on Religion & Democracy, campaigned against her, hoping to force Powers into an early retirement.Interchurch Center Chapel in New York City, 1980
Reverend Powers was heavily involved in the “Goddess” Movement and the Re-Imagining Conference, which took place in Minnesota in November of 1993. Re-Imagining was a Christian feminist conference held in 1993 in Minnesota. The “Goddess” movement surrounding the conference pictured God as a female entity called “Sophia.” The movement had participants from both Methodist and Presbyterian churches. (For more information about the Goddess Movement, check out this 1994 article in the New York Times about the conference and the controversy that erupted afterward. )From a card distributed by OLOC, Old Lesbians Organizing for Change. Taken by Lynn Carpenter Schelitzhe in 2001 when Powers was 69. There is a quote on the back of the card by Gloria Steinem that reads, “One day, an army of grey haired women may quietly take over earth.”
The collection contains planning materials, conference recordings (on cassette tapes, which I hadn’t seen for years!), and material regarding the backlash from the conference by opposing groups. These materials are set aside as their own series within the collection because we already know of researchers who will want to use them.Riverside Church, from part of a “pre-article” for People Magazine, 1980
The collection documents Rev. Powers’ extensive professional accomplishments as well as personal materials. Photographs from her childhood, stories about her family, and even two locks of hair can be found within the 98 boxes of material. The materials about Rev. Powers’ activism, including her support for equal treatment for all persons in the church are my favorite feature of the collection.
In 1984, in response to “unwelcoming policies toward lesbian, gay, and bisexual persons,” a group called Affirmation: United Methodists for Lesbian/Gay Concerns “issued a call to local churches to reaffirm that their ministry was open to all persons, including gays and lesbians.” The “Open the Doors” campaign was sponsored by the Reconciling Congregation group. The idea was to go to the United Methodist Church’s 1996 General Conference in Denver, Colorado and foster discussion to create a more welcoming atmosphere in the church for lesbian and gay members. The campaign had a moderate level of success, with several hundred people attending “Open the Doors” events at the General Conference. However, the UMC policies discriminating against gays and lesbians were not changed.
Overall, the Powers Collection is a treasure of materials that I have greatly enjoyed processing. It’s hard to believe that they will be ready for researchers to use quite soon—an exciting prospect!Rev. Powers in 2007, age 75
Post contributed by Rachel Sanders, Technical Services Intern for the Sallie Bingham Center.
The post “The Journey” of Reverend Jeanne Audrey Powers’ Papers at Duke appeared first on The Devil's Tale.
Are you interested in painting but aren’t sure how to mix your colors? The Jennie Chambers Papers might be able to help. The Chambers family lived in Harpers Ferry, West Virginia, in the mid-nineteenth century. Jennie Chambers was an author and amateur artist who went on to write for Harper’s Magazine, publishing “What a School-Girl Saw of John Brown’s Raid” in 1902 (still available online today). Duke has held the Jennie Chambers Papers for several decades, but I recently revisited the collection to enhance its online description and update its housing to our current standards. Most of the papers are letters between Jennie and her family or drafts of Jennie’s writings. But I most enjoyed finding this kind-of-grimy paper that includes all of her notes about mixing paint colors. It looks like she frequently used these notes for her paintings. I love the spots of paint and the smears of oil that stain the page, and it was really fun to see what sorts of things she painted. For foliage, mix deep green, Prussian blue, and yellow ochre. Do you want to paint mahogany? Mix Indian red, vermillion, and Vandyke brown.
My archivist’s heart also loves that she signed and dated the page. The only thing missing from the collection are her actual paintings.
Post contributed by Meghan Lyon, Technical Services Archivist.
I can claim without controversy that the web is among the more popular avenues for communicating, publishing, and otherwise interacting with information. Although professionals involved in the creation of websites often have titles (engineer, web designer, information architect) that borrow the language of corollaries in the physical world, information on the web and how one experiences it is inherently ephemeral. Relics of the early web still extant online often owe their continued life to chance, such as the website for the 1996 film Space Jam or the long-thought-lost-until-a-copy-was-discovered-on-a-floppy-disk first website.
In order to preserve Duke’s web presence, in 2010 the University Archives partnered with Archive-It, a service of the Internet Archive, to take snapshots of various websites. In the five years since we have captured close to 500 Duke-related websites. Comparing a site’s evolution over time can be striking. This portal allows one to compare Duke homepages at different times. For example:Duke University homepage, 2010
Duke University homepage, 2015
The following screencaps are for the Duke Chapel’s website.Duke University Chapel homepage, 2010
Duke University Chapel homepage, 2015
While the above examples are changes that are, at least in part, cosmetic changes to information, capturing web content allows us to preserve and provide access to the social and intellectual conversations on campus. We have had success capturing Develle Dish in both DukeGroups and their more recent Sites.Duke iteration.
Because the Duke Fact Checker was not officially associated with the university, his blog went down after his passing in early 2014. Though its no longer available at its original URL, we were able to get annual captures of his commentary between 2012 and 2014.
All of this is great but was previously difficult to access without knowing how to use the system. As of February 2015, there are two easy ways to browse and search through the Duke Web Archives. First, the University Archives created a collection guide to the Duke-related websites. The 500 or so URLs are arranged loosely by organizational type and can be browsed here.
Because of the way the web is crawled, some sites may have been crawled that don’t appear in the collection guide. To help address this problem as well as provide another avenue into the collection, there is a search function provided by Archive-It and their Wayback Machine here. Using the Wayback search, one can search for any URL. If the site appears in our collection, even if only partially, the search will return it.
We are currently at work to address Social Media, so look for future posts around that subject.
Post contributed by Matthew Farrell, Digital Records Archivist.
When Angier B. Duke (1884-1923) and Mary L. Duke (Biddle) (1887-1960) were born, Trinity College was still plodding away in Randolph County, and the American Tobacco Company was just a twinkle in James B. Duke’s eye. Still, W. Duke, Sons, and Company, the family business founded by Washington Duke, was so successful that parents Benjamin N. and Sarah P. Duke could already afford to give their son and daughter a childhood that wildly exceeded that of previous generations in terms of comfort and education. The couple’s first son, George Washington Duke, died at about two or three years of age in the early 1880s. His life preceded the time span of most of the papers held by the Rubenstein Library, and only a few reminders of his brief existence can be found, such as the haunting note from Ken Roney, Ben’s uncle, following the death of Roney’s son: “You know and I know now, how hard it is to give up a promising son.” Given this tragic past, the couple’s second and third children were much doted upon by their parents.
Among the few remaining mementos of their childhoods in the Benjamin Duke papers, some of the most amusing are the letters the children wrote to their father when he was away on business in New York. A young Angier was full of demands—for a sword case, a pair of shoes, and a visit from “Uncle Buck”: “when he comes he must stay with us longer.”
In 1893 he also sent along his first school composition, an essay on Christopher Columbus (historical myths intact). Mary delighted in telling her father of her April Fools’ Day pranks:
“I have had a right good time April fooling people. I fooled Mrs. Robinson, and brother, and many other people. I don’t think you can fool anybody much up there.”
While the ties between the Duke family and Trinity College were obviously very strong (“Duke University,” need I say more?), it still seems extraordinary how closely connected Angier and Mary were with the campus community from a young age. A steady stream of professors were welcomed at the Duke home, including former presidents Crowell, Kilgo, Few, and many other names you might be able to pick off a university building in passing. Sarah P. Duke hosted literary societies such as the Shakespeare Club, and guest speakers also lodged at the Duke home. Angier and Mary’s private tutor was Arthur H. Meritt, whose day job was professor of Latin, German, and Greek.
Community events also drew together the Dukes and other Durham residents with the college faculty, including spelling bees and athletic matches. An 1896 letter from Angier to his father conveys his enthusiasm for an upcoming “kite-sailing” contest to be held by Professors Lockwood and Meritt. The same Professor Lockwood (physics and biology) used a nine-year old Mary, or rather four Mary’s, as the subject of one of his trick photograph experiments.Mary L. Duke (Biddle)
When the time came for Angier and Mary to attend college—well, it’s safe to say that Carolina wasn’t on the table. By the time they began their respective terms at Trinity (Angier in 1901 and Mary in 1903), the siblings already had buildings named after them, built with funds from their father and grandfather. The Mary Duke Women’s Building was demolished long ago to make way for new dormitories, while the Angier B. Duke Gymnasium, better known by the nickname “The Ark”, still stands on Duke University’s East Campus.
While the siblings lived in New York after they graduated, they always maintained a connection to Durham and their alma mater. Angier served on the Trinity College Board of Trustees, was president of the Trinity Alumni Association, contributed to the construction of the first fraternity dwellings sanctioned by the college, and left a generous bequest in his will, which was executed after his untimely death in 1923. He and Mary both donated considerable sums to realize the completion of the Alumni Memorial Gymnasium, built in honor of the students and alumni who perished during World War I. Perhaps the greatest testaments to Mary Duke Biddle’s philanthropy are the Sarah P. Duke Gardens and her support of the arts through the Mary Duke Biddle Foundation. Like their parents, uncle and grandfather, both Angier and Mary succeeded in leaving a mark on the institution that had truly become part of the family.Post contributed by Mary Mellon, library intern at The Rubenstein.
In April 2013, the Rubenstein Library acquired materials from the Southern Poverty Law Center’s (SPLC) Intelligence Project. In its efforts to monitor hate and other extremist groups, the SPLC collected publications produced by these groups and individuals from about the 1940s to 2000s. Many of these groups can be described as aligning not just on the fringes, but outside of the political spectrum, including advocating white supremacy. However, some publications expressed views that just fell outside mainstream American politics.
When the collection arrived in 2013, Technical Services Archivist Meghan Lyon assessed the contents and concluded that various serial publications were housed across 90 record cartons of materials. Within these record cartons were also ephemeral and archival materials such as pamphlets, clippings, fliers, and correspondence. In considering the various formats present in the collection and the best possible descriptive outcomes, we decided to create two distinct workflows for processing the collection. The ephemeral material was processed as an archival collection. The serial publications were removed and cataloged separately by Serials Cataloger Mandy Hurt, allowing each title to be discoverable in the online catalog.
In planning for the cataloging of the serials publications, we had the opportunity to ensure the consistency of the metadata. Mandy included relevant political terms from the Rare Book and Manuscripts Section controlled vocabularies for genre terms and also applied standard geographical names from the Library of Congress geographical headings.
From the beginning we were interested in creating a visualization of the publications represented in the collection – mapping the type of literature and where it was published. After meeting with Angela Zoss from Data and Visualization Services at Duke University Libraries, we settled on using Tableau Public to map the collection. The resulting visualization can be viewed here.
Post contributed by Lauren Reno, Rare Materials Cataloger. //
It’s confession time: I started working at the Rubenstein after we moved onto the 3rd floor of Perkins. This means that I never gazed up at the ceiling archway of the Gothic Reading Room, and I never wandered our old stacks, traveling the well-trod paths—literally and figuratively– of those librarians who came before me. Our impermanent home is the only one I’ve known. And in truth, I’ve always had a hard time imagining what came before and what comes after. Architectural plans, while incredibly helpful, don’t always capture grand staircases and hidden crannies.Rare Book Room
Luckily for all of us, Kat Stefko, the head of Rubenstein Technical Services, and I recently returned to our once and future home. We put on our fanciest construction gear and walked around the floors, all the while marveling at the differences in scale between our temporary location and our new one. Check out the maps cabinets! They are the very definition of bright young things.maps cabinets (sideways!)
With a handy ruler, we were also able to measure the shelf clearance for our new manuscript shelving units. I’m happy to report that our larger manuscript boxes will fit safely and snuggly on each shelf. Can you imagine these filled with boxes?
And just because I mentioned the scale earlier, look at how tall these units actually are! I’m not a small person, but these are the equivalent of two of me. (Don’t worry, fellow staff members and curious readers: our ladders will be sturdy and strong.)
Although we at the Rubenstein love a good field trip, we didn’t tour the stacks just to tour the stacks. We wanted to gain a better sense of how to move our materials from our current abode to our new one. As July 1st swirls closer, we need a solid moving plan, one that takes into account tight turns and elevators, lines of visibility and door widths. Our spaces aren’t quite complete, but we found it incredibly helpful to walk the pathways we’ll take in July, to imagine materials moving at fast clips down hallways and into elevators. It was all enormously satisfying: we know that we can make this move happen, and we’re well on our way to figuring out how to do it.
Post contributed by Liz Adams, Rubenstein Move Coordinator.
Tomorrow night, the famed basketball rivals meet again. Fans in North Carolina and across the country will don their Duke or Carolina blue and gather to watch the game. And Duke’s Cameron Crazies will go crazy, carrying on the tradition of post-game celebrations and bonfires.Bonfire after NCAA National Semifinal Men’s Basketball Game, April 2-3, 1994. From the University Photography Visual Materials Collection.
Although Duke students were lighting bonfires to celebrate the annual Duke-UNC football game decades ago, the tradition of marking major basketball games with a blaze is of a newer vintage. The newly-processed Duke University Police Department Records provide insight into this period of history.
According to the records, Duke’s bonfire and bench-burning tradition began in 1986, when there was a large screen set up on the quad for students to watch the NCAA final game between Duke and Louisville. Duke lost, and a few angry spectators reacted with assaults and vandalism. The Police Department was unprepared for such a result, but learned from the experience. During the 1990 tournament, the Police Department opted for a more controlled option of a large screen in Cameron for the Duke vs. UNLV game, with a Duke ID card required to enter. They also sponsored a bonfire in the Card Gym parking lot—with no idea this would set the precedent for a beloved tradition—but few students braved the bad weather.
1991 was an explosive and fiery year: after the watching the game between Duke vs. UNC on screen in Cameron Stadium, students spontaneously set up a mudslide and multiple bonfires. Planned fires for subsequent games burned too big and were too crowded. Duke Police had prepared with stadium evacuation plans and ambulances on standby, but were unprepared for the intensity of student energy—often directed harmlessly, but occasionally leading to violence.
Following the Duke-UNC game and some student injuries, Director of Public Safety Paul Dumas worried for students’ safety during the post-game celebrations. The Police Department organized a special committee to establish policies regulating the bonfires, but as many a Chronicle editorial pointed out, these well-intentioned regulations were difficult or impossible to enforce. For example, a March 25, 1991 editorial noted, “Parts of the policy are ridiculous. Why would a living group ever ‘contribute its bench willingly’ to the fire, as the policy suggests? In reality, the first partiers who get to the quad determine which bench gets sacrificed.”
1992 was even more out of control: many games were followed by unauthorized fires on various quads around campus, as well as some break-ins and emergency room visits. In 1994, the Police Department decided not to support any bonfires despite numerous student petitions, and began citing students for starting unpermitted fires. Yet the momentum was building; Duke was now expected to make it to the national championships each year, and, with memories of bonfires and bench-burnings from previous years, students wanted to celebrate in their own way.
Over the next few years, students insisted on commemorating games with bench burnings, and student-administration tensions increased. During the 1998 season, twenty-five students were arrested for disorderly conduct and starting unauthorized fires, while student editorials accused police of excessive force when responding to unauthorized fires. That year, the administration refused to allow the traditional bonfires and planned giant foam parties instead to celebrate major victories–unsurprisingly, most students were not enthused. In a February 5, 1998 Chronicle article titled “Students reject foam, beg for fire,” freshmen expressed disappointment about missing out on an established tradition and upperclassmen also rejected the plan: “the administration’s heart is in the right place, but foam is kind of a moronic idea.”Front page of the Chronicle, March 4, 1998.
Three days after the Duke-UNC game, on March 3, 1998 students burned many benches despite regulations, strategically organizing a decoy to draw police attention away from the real fire. A quote from a Chronicle article following the incident states eloquently: “They took away our alcohol, and we stood by and watched. Then they took away our housing, and we stood by and watched. Then they tried to take away our bonfires, and we went to war.” It was a clever display of student unity to fight back against the administration’s perceived encroachment on their rights, and it worked: the administration sanctioned bonfires and bench burning as long as it adhered to city fire codes.
Duke Police adapted from year to year and recognized a trend of increasingly intense—and, for a few people, dangerous—parties. They tried to engage in public awareness campaigns by requesting support from the University President, Vice Presidents, student government, and Coach K, to encourage safe behavior. The department also began partnering with the Durham Police Department and the highway patrol to enlist enough officers. Yet there was only so much they could do to prevent injury or crime. And, while the police records focus on the number of incidents of injuries or assaults, most students had a good time celebrating their basketball team. It’s an interesting lesson on perspective: depending on your vantage point, you might see the bonfires of the 1990s as riots or as celebrations. Either way, the seeds of a tradition were planted. So whether or not you gather around a bonfire on February 18, enjoy a safe and exciting game!
Post contributed by Jamie Burns, Isobel Craven Drill Intern, Duke University Archives.
It’s hard to kiss and make up. This Valentine Cupid, sweet as he is, carried no red roses to Democrats in 1954, only a satirical reminder of “broken promises” made in 1952, the year Republican Dwight D. Eisenhower was elected (along with running mate Richard M. Nixon). This Valentine’s Day, hug your favorite Republican — or Democrat!By Leo Herschfield; Democratic Digest Records, Box 24
This cartoon cover art comes from the records of the Democratic Digest (1953-1961). The small-format magazine was the official mouthpiece of the Democratic National Committee. In addition to correspondence from readers, critics, and Democratic senators and governors, chiefly in response to political issues of the day (among which McCarthyism, civil rights, labor, nuclear weapons, farm subsidies, and party politics), about a third of the collection consists of hundreds of pieces of color and black-and-white layout art, including political cartoons by noted illustrator Leo Hershfield and others. There are also smaller amounts of editorial files and printed material. The Democratic Digest was continued in 1961 as The Democrat.
Post contributed by Paula J Mangiafico, Visual Materials Processing Archivist.
If you live or have spent much time in Durham, you’ve probably seen a few of the annual Duke men’s basketball posters in stores and restaurants. Every year since Coach K arrived at Duke, the men’s basketball team has released a limited-edition team poster featuring that season’s players looking ready to rumble. Each of these posters has a theme, which vary from the inspirational (Believe) to the cinematic (Goodfellas) to the trendy (Networking) to the punny (Duke Rocks).
A few weeks ago, Jim Jarvis, the graphic designer designer who collaborated with Mickie and Debbie Krzyzewski to create these images, gave many of his basketball posters to the University Archives. The majority of them are signed by the entire team and Coach K himself, who often wrote a personal thank-you to Mr. Jarvis on the poster. Many were framed, and hung proudly in Mr. Jarvis’s home for years.
During processing, we almost always remove items from their frames. We do this for a few reasons, mainly to protect and preserve the item, and to make it easier to store and access. Aside from not having enough walls to display the many awesome items in our collections, ambient light shining on displays leads to fading and damage to the materials over time. Sometimes the glass in a frame adheres to the poster, photograph, or document in the frame, leading to irreversible damage to the original, and most materials used in commercial or home framing are not archival quality, meaning acid and other chemicals present accelerate the deterioration of the framed items.
Happily for everyone, Mr. Jarvis’s posters are in great condition. University Archives Drill Intern Jamie Burns and I worked on removing them from the frames, which come in two basic styles: metal 4-piece frames and wooden frames. The metal frames are four metal sides kept together with metal brackets and screws, and are fairly easy to disassemble and reassemble using just a screwdriver.
The wooden frames secure the poster using small metal pieces nailed into the wood before the whole back of the frame is covered in paper. These frames require a sharp blade to remove the paper and small pliers to carefully work out the “nails.”
Once removed from their frames, the posters were placed in very large folders and will be kept in the Rubenstein Library stacks in either large boxes or very large cabinets, often called map cases. Mr. Jarvis’s posters will form the core of a Men’s Basketball Posters Collection, together with some basketball posters previously collected by the Archives, all of which will be available to researchers who want to view them in person.
Receiving this collection was great fun for Tech Services staff, most of whom gathered at my processing table at some point during this process to exclaim over their favorites. New to Duke or a longtime veteran, casual or serious sports fan, we all enjoyed the creative effort and love of the team that went in to these posters.
All of the men’s basketball posters (though not the ones signed to Mr. Jarvis) have been made digitally available through Blue Planet Shots, and you can find them here.
Post contributed by Tracy Jackson, Technical Services Archivist.
Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford
A body of color photography by Kristin Bedford recently acquired as part of the Rubenstein Library Archive of Documentary Arts offers striking images of religious practices in two very different communities of faith, and at the same time challenges cultural stereotypes of African-American worship. The two projects that came out of her experience are titled “Be Still: A Storefront Church in Durham,” and “The Perfect Picture.”
While an MFA student at Duke University, Bedford visited and photographed adults and children in the urban congregation of the Apostolic Deliverance Rebirth Outreach Ministries in Durham, North Carolina for a period of ten months. During worship, she sat in the pews among the congregants, capturing in these rich color portraits what she calls “stillness, contemplation, and the moments between the moments.”Cario, September 30, 2012
Larya, March 17, 2013
Quadir, February 10, 2013
Credit: Kristin Bedford photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University
Bedford’s approach to joining these worshippers while photographing them also informed her stay with a utopian community founded by Father Divine in the 1930’s, whose members call themselves the “International Peace Mission Movement.” Bedford lived and worked with the community for five weeks in the summer of 2013 at their estate near Philadelphia, Pennsylvania. She documented their faith as it is lived out in everyday acts of racial harmony and guided by the divine nature of work: a form of the medieval commandment of “ora et labora.” Bedford came away with extraordinary views of a community that remains devout and committed to the movement despite a declining membership. She titled this project “The Perfect Picture,” an acknowledgment of Father Divine’s credo that the act of taking a photograph is akin to the faith-driven act of striving for unity and perfection in life.The Perfect Picture
Mother and Father Divine Ornaments for “American Christmas”
Father’s Estate, “The Mountain of the House of the Lord”
Credit: Kristin Bedford photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University
The photographs and supporting materials in “Be Still: A Storefront Church in Durham,” and “The Perfect Picture,” are available for research use in the David M. Rubenstein Rare Book & Manuscript Library. An online guide has been prepared for the collection. Please contact a reference archivist before coming to use this collection.
Post contributed by Lisa McCarty, Curator of the Archive of Documentary Arts, and Paula Jeannet Mangiafico, Visual Materials Processing Archivist.