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Instant Replay: Game 1 Under Coach1K

UA Filtered - Thu, 01/22/2015 - 21:37

Do you remember what you were doing at the end of November in 1980? Ronald Reagan had just been elected, and the Iran Hostage Crisis entered its second year. Kenny Rogers’s timeless serenade “Lady” topped the charts. Audiences were reeling from finding out who shot J.R. And on November 29, 1980, Mike Krzyzewski entered Cameron Indoor Stadium to coach the Blue Devils during their first match up of the season. It was also his first game at Duke as the new head coach.

Their opponents were the Stetson University Hatters, and the first half was a little shaky for both teams. But in the second half the Blue Devils, who included Gene Banks and Kenny Dennard, pulled away for a definitive 67-49 win, thanks to Tom Emma’s shooting. The new coach deemed the game “a good opener,” but suggested that they would need to fill out the team’s ranks in the years to come.

He wasn’t yet Coach K, and the pronunciation of his name wasn’t common knowledge. The court itself wasn’t named for him, and there was no Krzyzewskiville. But it was the first step toward a legendary program, now with an astonishing 926 wins at Duke. Add those to 73 previous wins at Army, and Krzyzewski now stands at 999 career wins.

The November 29, 1980 game film from the Duke University Archives is now available through Duke Digital Collections. The film includes no sound—no color commentary!—because it was made for coaching staff. This film is one of hundreds held by the University Archives, documenting Duke University sports history.

The next men’s basketball game, on Sunday against St. John’s in Madison Square Garden, may be Mike Krzyzewski’s 1000th career win. He will no doubt be crouched on the sidelines, just as he is in this very first Duke outing, leading his team to yet another victory.

Post Contributed by Val Gillispie, University Archivist

The post Instant Replay: Game 1 Under Coach1K appeared first on The Devil's Tale.

Instant Replay: Game 1 Under Coach1K

Devil's Tale Posts - Thu, 01/22/2015 - 21:37

Do you remember what you were doing at the end of November in 1980? Ronald Reagan had just been elected, and the Iran Hostage Crisis entered its second year. Kenny Rogers’s timeless serenade “Lady” topped the charts. Audiences were reeling from finding out who shot J.R. And on November 29, 1980, Mike Krzyzewski entered Cameron Indoor Stadium to coach the Blue Devils during their first match up of the season. It was also his first game at Duke as the new head coach.

Their opponents were the Stetson University Hatters, and the first half was a little shaky for both teams. But in the second half the Blue Devils, who included Gene Banks and Kenny Dennard, pulled away for a definitive 67-49 win, thanks to Tom Emma’s shooting. The new coach deemed the game “a good opener,” but suggested that they would need to fill out the team’s ranks in the years to come.

He wasn’t yet Coach K, and the pronunciation of his name wasn’t common knowledge. The court itself wasn’t named for him, and there was no Krzyzewskiville. But it was the first step toward a legendary program, now with an astonishing 926 wins at Duke. Add those to 73 previous wins at Army, and Krzyzewski now stands at 999 career wins.

The November 29, 1980 game film from the Duke University Archives is now available through Duke Digital Collections. The film includes no sound—no color commentary!—because it was made for coaching staff. This film is one of hundreds held by the University Archives, documenting Duke University sports history.

The next men’s basketball game, on Sunday against St. John’s in Madison Square Garden, may be Mike Krzyzewski’s 1000th career win. He will no doubt be crouched on the sidelines, just as he is in this very first Duke outing, leading his team to yet another victory.

Post Contributed by Val Gillispie, University Archivist

The post Instant Replay: Game 1 Under Coach1K appeared first on The Devil's Tale.

Instant Replay: Game 1 Under Coach1K

UArchives blog posts - Thu, 01/22/2015 - 21:37

Do you remember what you were doing at the end of November in 1980? Ronald Reagan had just been elected, and the Iran Hostage Crisis entered its second year. Kenny Rogers’s timeless serenade “Lady” topped the charts. Audiences were reeling from finding out who shot J.R. And on November 29, 1980, Mike Krzyzewski entered Cameron Indoor Stadium to coach the Blue Devils during their first match up of the season. It was also his first game at Duke as the new head coach.

Their opponents were the Stetson University Hatters, and the first half was a little shaky for both teams. But in the second half the Blue Devils, who included Gene Banks and Kenny Dennard, pulled away for a definitive 67-49 win, thanks to Tom Emma’s shooting. The new coach deemed the game “a good opener,” but suggested that they would need to fill out the team’s ranks in the years to come.

He wasn’t yet Coach K, and the pronunciation of his name wasn’t common knowledge. The court itself wasn’t named for him, and there was no Krzyzewskiville. But it was the first step toward a legendary program, now with an astonishing 926 wins at Duke. Add those to 73 previous wins at Army, and Krzyzewski now stands at 999 career wins.

The November 29, 1980 game film from the Duke University Archives is now available through Duke Digital Collections. The film includes no sound—no color commentary!—because it was made for coaching staff. This film is one of hundreds held by the University Archives, documenting Duke University sports history.

The next men’s basketball game, on Sunday against St. John’s in Madison Square Garden, may be Mike Krzyzewski’s 1000th career win. He will no doubt be crouched on the sidelines, just as he is in this very first Duke outing, leading his team to yet another victory.

Post Contributed by Val Gillispie, University Archivist

The post Instant Replay: Game 1 Under Coach1K appeared first on The Devil's Tale.

University Photography Faculty and Staff Photographs, 1960-2002.

UArchives New Collections - Wed, 01/21/2015 - 00:00

Author: Duke University Photography.

Currently held at: DUKE

Rights! Camera! Action! Presents “Granito: How to Nail a Dictator” (2011)

Human Rights Archive Blog Posts - Mon, 01/19/2015 - 15:00

Date: Thursday January 22, 2014
Time: 7:00-9:00pm
Location: FHI Garage, Bay 4, Smith Warehouse
Granito: How to Nail a Dictator, 2011 (Total Running Time: 103 minutes)
Directors: Director: Pamela Yates Producers: Paco de Onis

In a stunning milestone for justice in Central America, a Guatemalan court recently charged former dictator Efraín Rios Montt with genocide for his brutal war against the country’s Mayan people in the 1980s — and Pamela Yates’ 1983 documentary, When the Mountains Tremble, provided key evidence for bringing the indictment. Granito: How to Nail a Dictator tells the extraordinary story of how a film, aiding a new generation of human rights activists, became a granito — a tiny grain of sand — that helped tip the scales of justice.

The screening will begin at 7 p.m. A panel discussion with Director Pamela Yates and Producer Paco de Onis follows the screening. Date:

Sponsors: Duke Human Rights Center@ FHI, the Human Rights Archive, and the Archive of Documentary Arts and Screen/Society. Cosponsored by Commissioning Truths, a Trent Foundation project.

For further information contact Patrick Stawski, Duke University patrick.stawski@duke.edu  919-660-5823.

The post Rights! Camera! Action! Presents “Granito: How to Nail a Dictator” (2011) appeared first on The Devil's Tale.

Rights! Camera! Action! Presents “Granito: How to Nail a Dictator” (2011)

Documentary Arts Blog Posts - Mon, 01/19/2015 - 15:00

Date: Thursday January 22, 2014
Time: 7:00-9:00pm
Location: FHI Garage, Bay 4, Smith Warehouse
Granito: How to Nail a Dictator, 2011 (Total Running Time: 103 minutes)
Directors: Director: Pamela Yates Producers: Paco de Onis

In a stunning milestone for justice in Central America, a Guatemalan court recently charged former dictator Efraín Rios Montt with genocide for his brutal war against the country’s Mayan people in the 1980s — and Pamela Yates’ 1983 documentary, When the Mountains Tremble, provided key evidence for bringing the indictment. Granito: How to Nail a Dictator tells the extraordinary story of how a film, aiding a new generation of human rights activists, became a granito — a tiny grain of sand — that helped tip the scales of justice.

The screening will begin at 7 p.m. A panel discussion with Director Pamela Yates and Producer Paco de Onis follows the screening. Date:

Sponsors: Duke Human Rights Center@ FHI, the Human Rights Archive, and the Archive of Documentary Arts and Screen/Society. Cosponsored by Commissioning Truths, a Trent Foundation project.

For further information contact Patrick Stawski, Duke University patrick.stawski@duke.edu  919-660-5823.

The post Rights! Camera! Action! Presents “Granito: How to Nail a Dictator” (2011) appeared first on The Devil's Tale.

Rights! Camera! Action! Presents “Granito: How to Nail a Dictator” (2011)

Devil's Tale Posts - Mon, 01/19/2015 - 15:00

Date: Thursday January 22, 2014
Time: 7:00-9:00pm
Location: FHI Garage, Bay 4, Smith Warehouse
Granito: How to Nail a Dictator, 2011 (Total Running Time: 103 minutes)
Directors: Director: Pamela Yates Producers: Paco de Onis

In a stunning milestone for justice in Central America, a Guatemalan court recently charged former dictator Efraín Rios Montt with genocide for his brutal war against the country’s Mayan people in the 1980s — and Pamela Yates’ 1983 documentary, When the Mountains Tremble, provided key evidence for bringing the indictment. Granito: How to Nail a Dictator tells the extraordinary story of how a film, aiding a new generation of human rights activists, became a granito — a tiny grain of sand — that helped tip the scales of justice.

The screening will begin at 7 p.m. A panel discussion with Director Pamela Yates and Producer Paco de Onis follows the screening. Date:

Sponsors: Duke Human Rights Center@ FHI, the Human Rights Archive, and the Archive of Documentary Arts and Screen/Society. Cosponsored by Commissioning Truths, a Trent Foundation project.

For further information contact Patrick Stawski, Duke University patrick.stawski@duke.edu  919-660-5823.

The post Rights! Camera! Action! Presents “Granito: How to Nail a Dictator” (2011) appeared first on The Devil's Tale.

We’re on the Move!

Devil's Tale Posts - Fri, 01/16/2015 - 19:49

 

While we at the Rubenstein were unable to commemorate the New Year with a ball (or perhaps pickle?) drop, we do have a lot to be excited for in this newest of years. After a stint on the third floor of Perkins, we’re finally making the trek to our permanent location—a location that while physically close, has occasionally felt as though it were light years away. In July 2015, the staff and collections of the Rubenstein will move (ourselves) home.

Perhaps because we conquered a move once before, we’re feeling ambitious, even a little daring. In addition to moving nearly 18,000 linear feet of onsite material (plus offsite material!), we’re also reclassifying our entire print holdings into a single, unified system: the Library of Congress classification. No longer will we have 120+ different call number systems, ranging from Riess C246I to E F#1275. Now, all our call numbers will follow the same alphanumeric system, one that is used by the larger Duke Libraries system. Here’s how the two call numbers above might be classed in the future:

A brief lesson about Library of Congress classification: those lines of alphanumeric text all have specific meanings outlined the Library of Congress classification schedules and its associated texts. The first lines of letters and numbers (e.g., HV6533) always refer to the subject of the work. In case you were wondering, HV refers to the subject “Social pathology. Social and public welfare. Criminology.” The subsequent lines are then used to provide additional clarity, narrowing in on topics, geographic locations, authors, title, and even formats. The LC classification thus packs a huge amount of information into a scant amount of space.

So how will this help the Rubenstein (and you)? By moving to a single system, we’re making our collections more browsable, both for staff and for researchers. Since every call number has a subject associated with it, we can conduct both granular and broad searches in our catalog (and if you’re staff, in the stacks). We’re also making it easier for our staff to pinpoint the locations of items. With 120+ call numbers, there are lots of pockets in the stacks where an item might live. Library of Congress will not only unify our call number system but will also create stronger shelving practices. There will be a place for everything, and everything in its place.

Some of these advantages won’t be felt until we move into our new space and finish out the reclassification project. Others are already making their presence known. Because our call numbers are now tied to specific subjects, we can use our current data to pinpoint collection strengths, weaknesses, and gaps. We’ve been able to develop some very cool data visualization:

While we knew (and probably could have guessed) that a substantial proportion of our print work falls into Language and Literature, other topics are a little more surprising. Who knew we had works about general Agriculture (S), Plant Culture (SB), and Animal Culture (SF)?  I certainly didn’t, but now that I know, I might just be tempted to brush up on my knowledge of farm life.

There’s still a lot to do, but we’re making steady progress in our reclassification project and our many other move preparation projects.  And we’re very happy to say the Rubenstein Library is on the move!

A special thanks to Noah Huffman and Angela Zoss in Data Visualization for creating the incredible visualization featured in this blog post. It’s a real beauty.

 Post contributed by Liz Adams, Collections Move Coordinator at the Rubenstein. 

 

The post We’re on the Move! appeared first on The Devil's Tale.

ABC’s of John Hope Franklin – (B) Brooklyn College

Devil's Tale Posts - Fri, 01/16/2015 - 15:00

In 1956, John Hope Franklin was appointed Professor and Chair of the History Department at Brooklyn College, a predominantly White institution. Franklin’s appointment marked the first time that an African American was appointed chair of any department at a traditionally White institution. The New York Times found Franklin’s appointment so newsworthy that on February 15, 1956, they published an announcement with his photograph on the front page. The headline read: “Negro Educator Chosen to Head Department at Brooklyn College. Howard University Professor Will be First of Race to Hold That Rank Here.” The article noted that Franklin was the first African-American chair of any academic department in the New York State college system.

Washington Evening Start Article, 1956

Franklin was a professor at Brooklyn College from 1956 to 1964 and served as chairman of the History Department over that period. During his tenure at Brooklyn College, Franklin published three important books: The Militant South, 1800-1860 (1956), Reconstruction after the Civil War (1961), and The Emancipation Proclamation (1963).

John Hope Franklin describes his experiences living as an African American in Brooklyn. Brooklyn College Newsletter, 1963

After leaving Brooklyn College, Franklin maintained strong ties with the institution. In 1981, he was invited to be the commencement speaker, and in 1990 he delivered the second Charles R. Lawrence II memorial lecture of the Department of Sociology and President’s Office of Brooklyn College.

After Franklin’s death, in an obituary published in The New York Times, Senator Barbara Boxer, Democrat of California, one of  Franklin’s former students, said of him: “Having John Hope Franklin at Brooklyn College in the 1960’s was like having a real star in our midst. Students who were lucky enough to get into his class bragged about him from morning until night.”

This series is apart of Duke University’s John Hope Franklin@100: Scholar, Activist, Citizen year-long celebration of the life and legacy of Dr. John Hope Franklin

Submitted by Gloria Ayee, Franklin Research Center Intern

 

The post ABC’s of John Hope Franklin – (B) Brooklyn College appeared first on The Devil's Tale.

ABC’s of John Hope Franklin – (B) Brooklyn College

Franklin Research Center News - Fri, 01/16/2015 - 15:00

In 1956, John Hope Franklin was appointed Professor and Chair of the History Department at Brooklyn College, a predominantly White institution. Franklin’s appointment marked the first time that an African American was appointed chair of any department at a traditionally White institution. The New York Times found Franklin’s appointment so newsworthy that on February 15, 1956, they published an announcement with his photograph on the front page. The headline read: “Negro Educator Chosen to Head Department at Brooklyn College. Howard University Professor Will be First of Race to Hold That Rank Here.” The article noted that Franklin was the first African-American chair of any academic department in the New York State college system.

Washington Evening Start Article, 1956

Franklin was a professor at Brooklyn College from 1956 to 1964 and served as chairman of the History Department over that period. During his tenure at Brooklyn College, Franklin published three important books: The Militant South, 1800-1860 (1956), Reconstruction after the Civil War (1961), and The Emancipation Proclamation (1963).

John Hope Franklin describes his experiences living as an African American in Brooklyn. Brooklyn College Newsletter, 1963

After leaving Brooklyn College, Franklin maintained strong ties with the institution. In 1981, he was invited to be the commencement speaker, and in 1990 he delivered the second Charles R. Lawrence II memorial lecture of the Department of Sociology and President’s Office of Brooklyn College.

After Franklin’s death, in an obituary published in The New York Times, Senator Barbara Boxer, Democrat of California, one of  Franklin’s former students, said of him: “Having John Hope Franklin at Brooklyn College in the 1960’s was like having a real star in our midst. Students who were lucky enough to get into his class bragged about him from morning until night.”

This series is apart of Duke University’s John Hope Franklin@100: Scholar, Activist, Citizen year-long celebration of the life and legacy of Dr. John Hope Franklin

Submitted by Gloria Ayee, Franklin Research Center Intern

 

The post ABC’s of John Hope Franklin – (B) Brooklyn College appeared first on The Devil's Tale.

H. Lee Waters Now Online

Devil's Tale Posts - Wed, 01/14/2015 - 15:09
Still from H. Lee Waters’ film “Granite Falls 1941”

The Rubenstein Library, in partnership with the Duke Libraries Digital Projects team, announce today the online debut of the H. Lee Waters Film collection. The evolution of this long-awaited website, featuring Waters’ “Movies of Local People” shot in towns across the region from 1936 to 1942, is detailed here on the Digital Projects Bitstreams blog.

The post H. Lee Waters Now Online appeared first on The Devil's Tale.

Jewish Voices from the Selma-to-Montgomery March

Human Rights Archive Blog Posts - Wed, 01/14/2015 - 14:34

“For many of us the march from Selma to Montgomery was about protest and prayer. Legs are not lips and walking is not kneeling. And yet our legs uttered songs. Even without words, our march was worship. I felt my legs were praying.”

Rabbi Abraham Joshua Heschel wrote these words soon after returning from participating in the Selma-to-Montgomery March on March 21, 1965—indelibly connecting his activism with his faith. According to Professor Eric Meyers, Director Center of Jewish Studies at Duke, “The participation of so many Jews in the civil rights movement was formative for an entire generation of American Jews. It is a shame that the movie Selma and associated celebrations overlook this element in the movement. It was the participation of Rabbi Abraham Joshua Heschel, a leading Conservative theologian, and close friend of Rev. King, that gave further momentum to the march in Selma after which Rabbi Heschel famously proclaimed that as a result he had learned to ‘pray with his legs.’ Rabbi Heschel’s writings before and after the march espousing human rights for all still inspire and Duke is proud to have his writings housed at the University in the David M. Rubenstein Rare Book & Manuscript Library.”

Rabbi Heschel saved accounts written by several of the rabbis and laypeople who had also answered Dr. King’s call to come to Selma. These accounts are now part of the Heschel collection at Duke. All were written and published within weeks of the march. The accounts emphasize fear and danger in equal measure with exhilaration and gratitude. Rabbi William Frankel (Wilmette, Illinois) remembered that the night before he left for Alabama, “a Synagogue officer called me to inform me, in the name of the Board of Directors, that I would be going south not merely as an individual but as a representative of my congregation.” This support pleased him, but he recognized that racism was not found solely in the South. In words that sound prescient today, he asked, “How will we [in Illinois] react when the battleground will not be in distant Alabama but in our own backyard, even in the suburbs of Chicago?”

In another account from the Heschel collection, Barbara R. Krasner, a mother of five from Radnor, Pennsylvania, who had been jailed in North Carolina for participating in a sit-in one year earlier, writes that she was under no illusions about what lay ahead. She went despite being told that women were being discouraged from going to Selma. She remembered the ways in which the march, confronted by violence, resulted “in the communion of black and white, Christian and Jew, believer and non-believer, as our hearts linked together in prayer.”

The rabbis were easily identified among the protestors. Albert Hoschander Friedlander (then the rabbi for students at Columbia University) noted in his account, “Since the ministers generally wore ‘collars,’ we wore yarmulkes. But a problem presented itself: the yarmulke was becoming fashionable! Called ‘freedom cap’ by the Negroes, it became a mark of distinction in Selma—and the hottest item on the market.” Several of the rabbis remembered Sabbath services with particular warmth. Rabbi Herbert D. Teitelbaum (Redwood City, California) described one service in his journal: “Toward evening, as the Sabbath approached, my fellow rabbis appointed me to conduct the shabbat service we had planned to hold in Brown’s Chapel. As we worshiped, I was amazed at the extent of the participation. Quite a few of the people, it turned out, were Jewish. We sang the closing hymn, Adon Olam, to the melody of ‘We Shall Overcome.’” Many of the rabbis remember services attended by people of all faiths—some in jails.

Rabbi Friedlander noted that the participation of the rabbis in the protests rekindled an interest in Judaism among some of the students. He recorded his surprise in an article he wrote for The Reconstructionist (April 30, 1965): “Students crossed the street to talk to us! For years they had stayed away from synagogues, had thought of them as ‘bar mitzvah factories,’ having no relevance to their lives. Now they saw their rabbis in Selma; and they felt a deep pride in this. Their religion, after all, was still relevant. And we would sit down on the doorsteps of ramshackle houses and talk about a living Judaism that had dealt with these problems since the days of Amos.”

Dan Bockman, editor of The Voice of Temple Beth Jacob (Redwood City, California), introduced excerpts from Rabbi Teitelbaum’s Selma journal by reminding readers that the Selma march was part of a longer struggle: “We suggest that you make this edition of the VOICE available to your children. This struggle will soon be theirs.”

“Reading these contemporary accounts adds nuance to our understanding of the motivations and experiences of those who participated,” writes Naomi Nelson, Director of the Rubenstein Library. “We are pleased to be able to make these accounts available to the public as the nation recognizes the 50th anniversary of this historic protest.”

For more information about the Abraham Joshua Heschel papers please visit http://bit.ly/1u20k3z.

In photograph, leaders of the third Selma-to-Montgomery March being interviewed by the press. Front row: Ralph David Abernathy; Martin Luther King, Jr.; Ralph Bunche; Rabbi Abraham Joshua Heschel; Frederick Douglas Reese. Photographer unknown. Abraham Joshua Heschel papers.

The post Jewish Voices from the Selma-to-Montgomery March appeared first on The Devil's Tale.

Jewish Voices from the Selma-to-Montgomery March

Devil's Tale Posts - Wed, 01/14/2015 - 14:34

“For many of us the march from Selma to Montgomery was about protest and prayer. Legs are not lips and walking is not kneeling. And yet our legs uttered songs. Even without words, our march was worship. I felt my legs were praying.”

Rabbi Abraham Joshua Heschel wrote these words soon after returning from participating in the Selma-to-Montgomery March on March 21, 1965—indelibly connecting his activism with his faith. According to Professor Eric Meyers, Director Center of Jewish Studies at Duke, “The participation of so many Jews in the civil rights movement was formative for an entire generation of American Jews. It is a shame that the movie Selma and associated celebrations overlook this element in the movement. It was the participation of Rabbi Abraham Joshua Heschel, a leading Conservative theologian, and close friend of Rev. King, that gave further momentum to the march in Selma after which Rabbi Heschel famously proclaimed that as a result he had learned to ‘pray with his legs.’ Rabbi Heschel’s writings before and after the march espousing human rights for all still inspire and Duke is proud to have his writings housed at the University in the David M. Rubenstein Rare Book & Manuscript Library.”

Rabbi Heschel saved accounts written by several of the rabbis and laypeople who had also answered Dr. King’s call to come to Selma. These accounts are now part of the Heschel collection at Duke. All were written and published within weeks of the march. The accounts emphasize fear and danger in equal measure with exhilaration and gratitude. Rabbi William Frankel (Wilmette, Illinois) remembered that the night before he left for Alabama, “a Synagogue officer called me to inform me, in the name of the Board of Directors, that I would be going south not merely as an individual but as a representative of my congregation.” This support pleased him, but he recognized that racism was not found solely in the South. In words that sound prescient today, he asked, “How will we [in Illinois] react when the battleground will not be in distant Alabama but in our own backyard, even in the suburbs of Chicago?”

In another account from the Heschel collection, Barbara R. Krasner, a mother of five from Radnor, Pennsylvania, who had been jailed in North Carolina for participating in a sit-in one year earlier, writes that she was under no illusions about what lay ahead. She went despite being told that women were being discouraged from going to Selma. She remembered the ways in which the march, confronted by violence, resulted “in the communion of black and white, Christian and Jew, believer and non-believer, as our hearts linked together in prayer.”

The rabbis were easily identified among the protestors. Albert Hoschander Friedlander (then the rabbi for students at Columbia University) noted in his account, “Since the ministers generally wore ‘collars,’ we wore yarmulkes. But a problem presented itself: the yarmulke was becoming fashionable! Called ‘freedom cap’ by the Negroes, it became a mark of distinction in Selma—and the hottest item on the market.” Several of the rabbis remembered Sabbath services with particular warmth. Rabbi Herbert D. Teitelbaum (Redwood City, California) described one service in his journal: “Toward evening, as the Sabbath approached, my fellow rabbis appointed me to conduct the shabbat service we had planned to hold in Brown’s Chapel. As we worshiped, I was amazed at the extent of the participation. Quite a few of the people, it turned out, were Jewish. We sang the closing hymn, Adon Olam, to the melody of ‘We Shall Overcome.’” Many of the rabbis remember services attended by people of all faiths—some in jails.

Rabbi Friedlander noted that the participation of the rabbis in the protests rekindled an interest in Judaism among some of the students. He recorded his surprise in an article he wrote for The Reconstructionist (April 30, 1965): “Students crossed the street to talk to us! For years they had stayed away from synagogues, had thought of them as ‘bar mitzvah factories,’ having no relevance to their lives. Now they saw their rabbis in Selma; and they felt a deep pride in this. Their religion, after all, was still relevant. And we would sit down on the doorsteps of ramshackle houses and talk about a living Judaism that had dealt with these problems since the days of Amos.”

Dan Bockman, editor of The Voice of Temple Beth Jacob (Redwood City, California), introduced excerpts from Rabbi Teitelbaum’s Selma journal by reminding readers that the Selma march was part of a longer struggle: “We suggest that you make this edition of the VOICE available to your children. This struggle will soon be theirs.”

“Reading these contemporary accounts adds nuance to our understanding of the motivations and experiences of those who participated,” writes Naomi Nelson, Director of the Rubenstein Library. “We are pleased to be able to make these accounts available to the public as the nation recognizes the 50th anniversary of this historic protest.”

For more information about the Abraham Joshua Heschel papers please visit http://bit.ly/1u20k3z.

In photograph, leaders of the third Selma-to-Montgomery March being interviewed by the press. Front row: Ralph David Abernathy; Martin Luther King, Jr.; Ralph Bunche; Rabbi Abraham Joshua Heschel; Frederick Douglas Reese. Photographer unknown. Abraham Joshua Heschel papers.

The post Jewish Voices from the Selma-to-Montgomery March appeared first on The Devil's Tale.

Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford

Devil's Tale Posts - Tue, 01/13/2015 - 18:24

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.

The post Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford appeared first on The Devil's Tale.

Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford

Tech Services Feed - Tue, 01/13/2015 - 18:24

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.

The post Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford appeared first on The Devil's Tale.

Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford

Documentary Arts Blog Posts - Tue, 01/13/2015 - 18:24

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.

The post Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford appeared first on The Devil's Tale.

Event: The Archive of Documentary Arts Photobook Club

Devil's Tale Posts - Mon, 01/12/2015 - 19:59

Tuesday, January 27, 6:00-7:30 p.m.
Center for Documentary Studies Library, 
1317 W Pettigrew Street, Durham, NC 27707

Join us for the second meeting of The Archive of Documentary Arts Photobook Club where we will be discussing Helen Levitt’s first photobook, A Way of Seeing.

Book Discussion Group, Free and Open to the Public, byo beverage and/or snack.

New York, 1940 (Fraenkel Gallery)

Three editions are on reserve for public use prior to the meeting in the David M. Rubenstein Rare Book & Manuscript Library.

Examine these editions for yourself in person, and/or read more about the book and Ms. Levitt online at the links below:

NY Times Lens Blog,   The TelegraphFraenkel Gallery

**Please note – Discussion will take place at the Center for Documentary Studies while the books themselves are held at The Rubenstein Library.**

Contact: Lisa McCarty, Curator of the Archive of Documentary Arts | lisa.mccarty@duke.edu

The post Event: The Archive of Documentary Arts Photobook Club appeared first on The Devil's Tale.

Event: The Archive of Documentary Arts Photobook Club

Documentary Arts Blog Posts - Mon, 01/12/2015 - 19:59

Tuesday, January 27, 6:00-7:30 p.m.
Center for Documentary Studies Library, 
1317 W Pettigrew Street, Durham, NC 27707

Join us for the second meeting of The Archive of Documentary Arts Photobook Club where we will be discussing Helen Levitt’s first photobook, A Way of Seeing.

Book Discussion Group, Free and Open to the Public, byo beverage and/or snack.

New York, 1940 (Fraenkel Gallery)

Three editions are on reserve for public use prior to the meeting in the David M. Rubenstein Rare Book & Manuscript Library.

Examine these editions for yourself in person, and/or read more about the book and Ms. Levitt online at the links below:

NY Times Lens Blog,   The TelegraphFraenkel Gallery

**Please note – Discussion will take place at the Center for Documentary Studies while the books themselves are held at The Rubenstein Library.**

Contact: Lisa McCarty, Curator of the Archive of Documentary Arts | lisa.mccarty@duke.edu

The post Event: The Archive of Documentary Arts Photobook Club appeared first on The Devil's Tale.

How the DPC Magically Digitizes Old Formats for Rubenstein Researchers

Devil's Tale Posts - Fri, 01/09/2015 - 19:16

Here in Rubenstein Library Research Services, we always strive to fulfill our researchers’ wishes to use our inspiring materials in their work. However, rare materials often come in formats that pose a challenge to standard modern imaging equipment. We frequently receive requests from researchers to digitize books and maps that are too big or too tightly bound for our scanning equipment. Researchers also seek digital files of obsolete audio and A/V formats, such as records, VHS tapes, and audio reel tapes, but our ancient VHS players and reel tape decks went the way of the dinosaur, even as we kept pace with the latest technology for imaging paper, discs, and microfilm.

There’s valuable archival content on that long, slowly degrading strip of plastic film.

Thankfully, the buck doesn’t stop here in Research Services. We have an amazing digitization resource right here in the Libraries: the Digital Production Center, or DPC, as it is fondly known. DPC staff are highly-trained digitization experts, and their lab is filled with the latest digitizing technology. Mostly they digitize collections (hence our wonderful online Digital Collections!), but when we have a Rubenstein request that can’t be imaged on our equipment, the DPC takes up the challenge and works their magic.

I was invited to train with the DPC wizards recently, studying how they fulfill these challenging requests. Although I learned a lot about how the digitization process works, I still think it’s partly magical.

For visual images such as maps or books, the DPC’s computer monitor must first be calibrated to render the colors with absolute accuracy, or the scanned image might end up with an undesirable color cast. This is done using a color target, X-rite Photo Pro software, and the i1 PhotoPro 2 spectrophotometer, which optically “reads” the colors on the monitor in a magical fashion, just by touching the screen.

Like St. Patrick with the snakes, Mike Adamo casts out those slithery color casts

The lighting in the lab uses true full-spectrum daylight bulbs. Even the walls in the imaging areas are painted the exact shade of 18% grey used by photographers to achieve accurate white balance; in this case it also helps to prevent color casts from affecting the image.

For most paper originals, the DPC uses a Phase One camera capable of producing 1200 dpi images. Softboxed sidelighting on two sides provides even illumination. To capture large items, the camera must be raised high on a stand. Too high, and the image will be too pixelated; too low, and the edges of the image could get clipped. Like Goldilocks’ porridge, the height has to be just right.

Zeke Graves adjusts the camera height. Maybe the Phase One should be named Goldilocks.

The DPC can also digitize the many obsolete audio recordings on reel tape, records, or cassettes found in our twentieth-century and newer collections. This kind of magic is especially astonishing: sound vibrations are captured as magnetic density on the tape, which the audio analog-digital interface then samples electronically and translates into 1’s and 0’s. The computer then renders this data visually on the monitor, before assembling it back into sound as an mp3 or wav file.

Old technology made recording a lot less spur-of-the moment than lifting up an iPhone Volume Unit meter: the audiophiles’ way to view perceived loudness

Of course, we can’t forget about the ever-popular medium of video. Rubenstein collections include video on several types of exotic tape cassettes, such as VHS, U-matic, Betacam and Hi-8. The DPC rises to the challenge, with media capture decks that play obsolete tape formats and send their signals through analog-to-digital converters to create a tidy audio file.

Alex Marsh operates the video deck bank. Tellingly, the digital conversion decks are made by the ‘Blackmagic’ company

After stringent quality control checks, logging of the work done, and backing up to the server, the digital file is uploaded and shared via a media sharing service, and Abracadabra! The millions of zeros and ones reassemble themselves on the researcher’s computer into a perfect facsimile of the original object.

Now, that’s just plain magic.

To see the DPC’s take on the training sessions, check out the Digital Project Team’s Bitstreams blog post.

Post contributed by Megan O’Connell, Reproduction Services Manager

The post How the DPC Magically Digitizes Old Formats for Rubenstein Researchers appeared first on The Devil's Tale.

Helmy Baligh papers 1970-1990s

UArchives New Collections - Wed, 01/07/2015 - 00:00

Author: Baligh, Helmy H.

Currently held at: DUKE

Pages

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