Category Archives: Technical Stuff

Coke in the Jumbo Size, Sir?

The John W. Hartman Center recently acquired the papers of Adrienne Cohen, an advertising copy writer and creative director who worked for several agencies from the 1960s to the 1990s, including Young & Rubicam, McCann-Erickson and a number of agencies in the Atlanta, Ga. area. Ms. Cohen was the recipient of numerous advertising industry awards and was highly regarded in her field.

Adrienne Cohen
Adrienne Cohen in 1974.

She worked on the Coca-Cola account during the early 1960s, and her papers include several pamphlets produced for the food and beverage industry intended to provide sales and comportment training to waitresses. The pamphlets sought to show restaurant and café managers how the wait staff could boost sales through a program called “Plusmanship” that emphasized the waitress’s power of suggestion to guide diners’ menu item selection.  The title quote and image below come from two of the pamphlets.

These materials add to the Hartman Center’s growing collection of sales and sales training literature, and especially materials pertaining to Coca-Cola retailing.

Post contributed by Rick Collier, Technical Services Archivist for the Hartman Center.

Get a Group (Number)!

What is one way to become an expert in all things Duke? Go through all of its records!

Ashley Brown, the University Archives' King Intern, reviews Duke organizational charts.
Ashley Brown, the University Archives’ King Intern, reviews Duke organizational charts.

OK, claiming to be an expert in all things Duke may be a little ambitious, but I was able to learn a lot as the William E. King intern at the Duke University Archives. My name is Ashley and this summer I was tasked with creating a records group system for the University Archives.

A record group is “a collection of records that share the same provenance and are of a convenient size for administration.”  To simplify this definition from the Society of American Archivists, a record group numbering system is one way for archivists to show how records originate within one entity such as Duke University. Each record group can be broken down into a subgroup, which corresponds to an organizational subdivision; and then the individual record makes up the smallest unit known as a series.  Each record, subgroup, and series is given a number and the combination of those three numbers gives each record its unique identifier.  Sound complicated? Here’s an example:

Let’s take this record: Dept. of Zoology records, 1905-1997.

First, each college within the University is assigned its own record group and each department within each college is assigned its own subgroup.  So, my first step for this record is to determine which college the Department of Zoology resides in.  After a little research, I discover that Zoology no longer exists as a formal department but has been combined with Botany inside the Biology Department at Trinity College of Arts and Science.   Therefore, this record would fall under the Trinity College record group, which happens to be record group 25, and the Biology subgroup (.11).

So, the record group identifier for this record would be: 25.11.001.  The first number tells you the record group; the second number tells you the subgroup; and the third number is the individual series number.

Now let’s take the Botany records: Dept. of Botany records, 1932-1978 and assign it a number.  It, too, is in Trinity College under Biology. So it would also begin 25.11 but its series number would be different to distinguish it as a separate collection.  Its number is 25.11.002.

It is important to note that each record group will include the records of its current organizational structure and any forms of that organization or department’s predecessors.  For example, prior to the 1960s, the Provost position was titled “Vice President of Education.”  Any records pertaining to the Vice President of Education or individuals who held that title will fall under the Office of the Provost Records Group (RG 5).

There are over 1,000 record collections at University Archives that span over 174 years.  Each record collection needed be assigned a record number based on its provenance or origin of creation. This was no easy feat.  So I spent my summer researching Duke history, examining organizational charts that go back over sixty years, and reading the finding aids of each collection.  In doing so, I was introduced to an impressive array of presidents, faculty, staff, alumni, student groups, and others who have transformed Duke into the innovative institution that it is today. I also now have 32 record groups that help tell the story of Duke and its evolution through its records.

Over the next several weeks, I will be working alongside other University Archives and Rubenstein Technical Services staff to unveil the new numbering system.  Stay tuned for my blog post, part two to hear about how we implement this project!

Post contributed by Ashley Brown, William E. King intern at the Duke University Archives.

Dispatches from the Newspaper Project

One of our many renovation-related tasks involves re-foldering and re-boxing our fragile newspapers. The Rubenstein Library has thousands of American newspapers, dating from the Revolutionary War through the early twentieth century. Here is one of the highlights, from The Daily Express of Petersburg, Virginia, 1858 Dec.:

Part 1 of An Interesting Divorce Case: Beautiful Wife Prays to be Separated from Ugly Husband.
Part 2 of An Interesting Divorce Case features laundry, father-in-law insults, attempted poisoning, corn-and-beans throwing, dirty carpets, and Niagara Falls dunking.

Post contributed by Carrie Mills, Holdings Management Assistant in the Rubenstein Library’s Technical Services Dept.

Box-tastic!

Here’s a puzzle for you: How does one best store and deliver architectural drawings ranging anywhere from 6 feet tall to 12 feet long? In these new custom boxes of course!

Mary Samouelian in her new forest of boxes for the Doris Duke architectural drawings.

The wide variety of architectural drawings in the Doris Duke Collection do not always fit into standard sized map cabinets, so they either have to be wrapped around tubes or rolled up within tubes. However, using tubes does not always offer the protection needed to store these fragile drawings — nor are they always the best way to deliver them to patrons for research.

Architectural drawings from the Doris Duke Collection, wrapped around tubes in storage.

The solution? Architectural boxes that give both rigidity and stability to protect the drawings, meanwhile making it easier to deliver to the reading room.

The new boxes will hold our extra-large architectural drawings and protect them from damage.

For more information about some of the Doris Duke architectural drawings, visit the Inventory of the Duke Farms Residence finding aid.

Post contributed by Mary Samouelian, Doris Duke Collection Archivist.

Welcome Craig Breaden!

Craig Breaden, Jazz Loft Project Archivist

We are pleased to welcome the Rubenstein’s newest staff member, Craig Breaden, who started this month as the Jazz Loft Project Archivist in the Technical Services Department. Originally from Texas, Craig has both a master’s in history from Utah State and an MLIS from the University of North Carolina, Chapel Hill. He comes to Duke from the Russell Library for Political Research and Studies at the University of Georgia, where he worked as a Media Assets Archivist and then as Head of the Media and Oral History unit. As the Jazz Loft Project Archivist, he’ll be putting those experiences to good use when working with the oral histories, recordings, and other materials in the Project’s archive. Learn more about the Jazz Loft Project here.

When he’s not at work, Craig says his favorite thing to do is to spend time with his family (he and his wife have 2 boys, ages 6 and 4). His hobbies include listening to, writing, and playing music, “with varying levels of proficiency,” he adds. He especially enjoys the guitar and the banjo. He also brews his own beer.

As soon as his family is settled, all Rubenstein happy hours will be held at Craig’s house, where he will serenade us with banjo music and serve us home-brewed beer. Welcome, Craig!

 

A Different Take on “Yes We Can!”

Currently, there is a debate among faculty at the University of Chicago regarding whether or not President Barack Obama’s presidential library should be erected on campus.  Duke University experienced a similar debate in 1981, in what is today referred to as the Nixon Library Controversy.

For a little background, we turn to the Committee Against the Nixon –Duke Library (CANDL) Records finding aid:

In late July 1981, Terry Sanford initiated negotiations with former president Richard Nixon (Duke Law 1937) to locate the Nixon presidential library on the campus of his alma mater. When this information was revealed to faculty members during the week of August 10, 1981, many opposed the proposition as well as Sanford’s failure to consult the faculty prior to initiating negotiations.

Many who opposed the library had moral objections to memorializing a president whose behavior in office was reproachable, and they feared a negative effect on the university’s reputation. Other concerns included the effects of greatly increased tourist traffic on campus and the aesthetic nature of the large proposed structure. However, supporters of erecting the Nixon Library on campus argued that the scholarly and academic benefits of locating the vast Nixon Presidential Materials collection on campus should and would outweigh any moral concerns. These supporters tended to denounce the actions of vocal dissenters as divisive and/or arrogant.

Meetings of the Academic Council and Board of Trustees during September and October 1981 were dominated by this debate, and a group of faculty formed the Committee Against the Nixon-Duke Library (CANDL) to organize the efforts of faculty, students, alumni, and others opposed to the proposed library. Although the Academic Council voted not to recommend further negotiations with Nixon in a 35-34 decision September 3, 1981, the Board of Trustees later voted 9-2 to proceed. By April 1982 negotiations had stalled, and a year later Nixon’s representatives announced that a site at Chapman College in San Clemente, California, had been chosen for the Richard M. Nixon Presidential Library.

Duke University Archives houses several collections related to the Controversy.  Our most recent acquisition is the Peter Wood Papers on the Nixon Library Controversy.  Wood was Professor of History during this time and was a member of CANDL.  Included in his papers is the following flyer:

CANDL Flyer, ca. 1981
Click to enlarge.

For more information about the Nixon Library Controversy, we invite you to consult resources within Duke University Archives, including the following collections:

Post contributed by Kim Sims, Technical Services Archivist for University Archives.

The British Are Coming! The Printer is Leaving!

Among the many treasures of the Rubenstein Library is an impressive collection of nearly 3,000 historic American newspapers. As part of our major renovation project, these items along with all our collections are being physically prepared for their impending move. In the case of the newspapers, this is a particularly daunting task. Large in scale, centuries old, sometimes folded, and typically preceded, superseded, and sometimes paralleled with alternative titles, it is often difficult to know what goes together and in what order. While such changes in title and places of publication can befuddle those of us working on rehousing the collection in appropriate order, they sometimes offer remarkable clues about America’s history.

Take, for instance, the Massachusetts Spy. Begun by Isaiah Thomas in 1770, it was the first American newspaper geared toward the middle class.  While an average newspaper of the time might have 400 subscribers, Thomas grew the circulation of his paper to more than 3,500. An adamant patriot with close connections to John Hancock, Paul Revere, and other Sons of Liberty, Thomas used his paper to broadcast anti-British views and inflame the colonists to action. The British considered Thomas so dangerous that his name was on the list of twelve people to be summarily executed if captured.

The last edition we have of the Mass Spy published in Boston is issue number 217 published on March 30, 1775, less than a month before the Battle of Lexington.  Subtitled Thomas’s Boston Journal, Thomas included a version of Benjamin Franklin’s “Join or Die” cartoon in the paper’s masthead.

The paper next appears in Worchester, under a new title—The Massachusetts Spy, Or, American Oracle of Liberty—and with a new masthead—this one proclaiming in large letters “Americans!—Liberty or Death!—Join or Die!”

While changes in newspaper titles and places of publication are common, the significance of this one cannot be overstated.  With tensions rapidly escalating in Boston, and with Thomas on the British’s most wanted list, the printer waited until the last possible moment to smuggle his press and himself out of heart of the controversy and to the relative safety of Worchester, some forty miles west of Boston.  And, when he printed his first issue of the newly reconstituted paper on May 3, 1775 he deliberately changed the subtitle and masthead to reflect the nature and urgency of his message.

On the paper’s front page, Thomas gave his own account of the dramatic events that unfolded in prior weeks: “I accordingly removed my Printing Materials from Boston to this Place, and escaped myself from Boston on the memorable 19th of April, 1775, which will be remembered in future as the Anniversary of the Battle of Lexington!” He devotes much of the issue to firsthand accounts of the battle, the first published: “Americans!  Forever bear in mind the Battle of Lexington!—where British Troops, unmolested and unprovoked, wantonly, and in a most inhuman manner fired upon and killed a number of our countrymen, then robbed them of their provisions, ransacked, plundered and burnt their houses!  nor could the tears of defenceless women, some of whom were in the pains of childbirth, the cries of helpless babes, nor the prayers of old age, confined to beds of sickness, appease their thirst for blood!—or divert them from their DESIGN of MURDER and ROBBERY!”

Given the rarity of this issue with its firsthand accounts of the very first battle of the American Revolution, I was surprised to discover that there are two copies in the Rubenstein Library’s newspaper collection.  A further curiosity is that each is signed by Thomas in the lower left-hand corner.

Closer inspection reveals that the signature is photo-mechanically reproduced, a technology not available in 1775. Both our copies are in fact facsimiles reproduced from Thomas’s own copy which resides at the American Antiquarian Society in Worchester, the nation’s third oldest historical society which Thomas founded after he retired as a printer and editor. The facsimiles were most likely produced in 1876 in celebration of the country’s centennial.

The fact that our copies are facsimiles produced more than 125 years ago is fascinating in its own right, and tells us something about the history of how this country has celebrated anniversaries. I do not know yet how these two copies will be boxed and foldered with other original issues from the Mass Spy; but, I do know that our newspapers will be ready to move out of Perkins in time for the renovation — just like Thomas was ready to move out of Boston in time for the Revolution.

Post contributed by Kat Stefko, Head of the Technical Services Dept. in the Rubenstein Library.

Haitian Children in Guantanamo

Boy with fish in Guantanamo Camp #9, ca. 1994-95. From the Americans for Immigrant Justice Records.

We recently completed processing the Americans for Immigrant Justice (AIJ) Records. Formerly the Florida Immigrant Advocacy Center (FIAC), AIJ is a not-for profit legal organization that advocates on behalf of immigrants and refugees, including those being held at various detention centers, such as Guantanamo, Krome and Turner Guilford Knight. The majority of the material in this collection deals with the Haitian refugee population in Florida. Two aspects of this collection struck me. First, while this collection contains material that addresses the Haitian refugee crises from a broader political and historical perspective, it is notable for the quantity of material it contains that focuses on the stories and testimonies of individual refugees, in their own words, in documents such as affidavits and correspondence.

The second aspect of this collection that struck me as particularly interesting is the amount of material it contains on children – child refugees and detainees, children seeking asylum, children stranded in Haiti, and especially unaccompanied minors. As I became more familiar with this collection, I became especially interested in the detained child as both a fact and an idea. Sifting through accounts both by and about children of their emotional, mental, and physical experiences in detention, I began to wonder how the search for asylum and subsequent detention is conceived of by children.

The reason why this subject fascinated me is because of the strong incongruity in the idea of the child, on the one hand, and the idea of imprisonment of any kind, on the other, an incongruity that suggested to me that accounts of children in detention might uniquely illuminate how we think about detention and refuge. We often associate children with places of refuge, with a powerful need for and unique faculty to find or construct places of refuge. One example of this faculty is play. As I looked through photographs of and read testimony by children detained at Guantanamo, I began to wonder what place “play” has in detention, in homelessness, and in lack of refuge.

Boy holding guitar in Guantanamo Camp #9, ca. 1994-95. From the Americans for Immigrant Justice Records.

The subset of documents about which I am writing are dated from around the early and mid-1990s, during and following the campaign of terror against Aristide supporters. One must bear in mind that the majority of Haitian refugees held at Guantanamo at this time were forcibly returned to Haiti where their lives were imperiled (5,000 Aristide supporters were estimated to be killed in 1993). In fact, many of the children detained at Guantanamo were unaccompanied for precisely this reason – their parents or caretakers had been killed in Haiti during this period. As the AIJ Records reveal, many of these children, upon repatriation, were thus compelled to eke out a living on the streets.

So, how does the child reconfigure the way we conceive of detention? Three photographs from the Photographic Materials Series caught my attention. After I selected them, I asked myself why I had been drawn to them, and I realized that in each, a child or children were holding some kind of object – a fish, makeshift drums, a guitar.

I considered these photographs against the written testimony about and by children detained at Guantanamo (information packets, emergency action requests related to medical conditions, correspondence, affidavits, reports, etc.). The written documentation described abuses, including rape, that were committed at Guantanamo against women and children. Child detainees, not surprisingly, wrote of their desperation and depression (their own words), and observers of these children offered similar accounts. Yet, these children not only subsist at Guantanamo but also, as the photographs above communicate, find ways to play. It is not difficult to perceive a form of resistance in their play, in their insistence upon occupying places that we cannot envision as inhabitable. I was likewise captivated by the photographs in which children are holding objects because they seem to me to manifest the construction of places of refuge within displacement and dispossession. The subjects in these photographs seek asylum in the objects themselves. There is something about gripping an object, possessing that object, that also solidifies the reality of oneself – and this in a place in which that very reality is relentlessly objected to – in abuse, obscurity, neglect, remaining unheard.

Boys playing drums in Guantanamo Camp #9, ca. 1994-95. From the Americans for Immigrant Justice Records.

Post contributed by Clare Callahan, graduate student assistant in Rubenstein Technical Services and the Human Rights Archive.

Wooshes, Whistles, Crowd Roars, and Seal Screams

"Footage of Ocean" Reel from the Freewater Films CollectionThe name Freewater Films is perhaps best known for the film series it puts on in the Bryan Center. But in addition to these screenings, it is also responsible for providing workshops and support for amateur film-making by Duke students and community members.

The origins of Freewater Productions Films can be traced to 1969, when the Mary Duke Biddle Foundation gave funds for students from the Duke University Union Visual Arts Committee to make a 16mm film. In November 1970, several students produced an original film (called Dying), using a 16mm Bolex camera borrowed from the Union. Described by the maker as “a woman’s surrealistic encounter on an island,” Dying went on to win first prize at the Association of College Unions’ 1971 International Film Festival.

Over the years, Duke students produced a number of cutting-edge films under the auspices of Freewater, ranging from documentaries on urban Durham to science fiction and horror films set in the Duke Hospital. (The 1984 film A Medical Scutwolf in Durham tells the story of a doctor who becomes a werewolf.)

Sound Effects Reels from the Freewater Films CollectionSaved in a variety of formats—including DVDs, VHS, Betamax, and 16 mm film—the Freewater Productions Films archives are now housed at Duke University Archives. They have recently been arranged in order by date, format, and title. In some cases, “unofficial” titles had to suffice, as in the reel titled “Footage of Ocean,” pictured above. Those that arrived in rusty cans or unstable cardboard boxes were transferred to archival plastic “cans.”

Pictured at left is a group of 21 sound effects from the collection, labeled as: “wooshes, whistles, crowd roars, and seal screams.”

We’re looking forward to the day when these historic films may be screened again!

Post contributed by Jessica Wood, William E. King intern for the 2011-2012 academic year.