Post contributed by Kasia Stempniak, John W. Hartman Center intern for 2018-2019 and Ph.D. student in Duke’s Romance Studies department.
The Hartman Center’s new exhibit, “No One Can Suppress Archie Boston,” on display through October in the Stone Family Gallery, focuses on Archie Boston, a graphic designer whose innovative and socially-conscious designs shed valuable insight into the intersections of race and identity in the advertising world.
Raised in segregated St. Petersburg, Florida in the 1940s, Archie Boston moved to Los Angeles in the 1960s to pursue a career in graphic design. In 1963, Boston and his brother Brad started their own advertising agency, Boston & Boston. As one of the first African-American owned advertising agencies, Boston & Boston faced difficulties securing clients in an almost exclusively white industry. Rather than hide their identity, Boston and his brother confronted the industry with provocative self-promotional ads that made explicit references to slavery and racism. “We wanted our potential clients,” Boston remarked in an interview, “to know that we were a black firm.”
Boston later worked at the ad agency Botsford & Ketchum where he developed one of his most famous ads for Pentel that boasted the caption, “I told Pentel what to do with their pens.” By placing himself at the center of the ad, Boston subverted the usually invisible presence of the advertising executive. At a time when very few African-Americans worked in advertising, the ad also announced a subtle shift in the demographics of the industry.
In the late 1970s, Boston left the agency to pursue a career as a professor at California State University-Long Beach (CSULB) where he developed the design program for the next thirty years all while still operating his own graphic design firm, Archie Boston Graphic Design.
The first African-American recipient of the American Institute of Graphic Arts (AIGA) Fellow Award, Boston served multiple terms as president of the Art Directors Club of Los Angeles where he was the first African-American elected to this position. In his final lecture at CSULB, Boston articulated how design, teaching, and social activism shaped his career: “I want to be remembered as a professor who cared about his students and did what he thought was best for them. I want to be remembered as someone who stood up against criticism and spoke out on controversial issues. And finally I want to be remembered as a designer and educator, someone who documented my experience as an African American.”
Some of Boston’s most important designs, including Boston’s famous Pentel ad, are on display in the exhibit. Other highlights of the exhibit include Boston’s most recent work that engages directly with race and identity, including poetry and designs that Boston created after being inspired by Black Lives Matter, the 2014 events in Ferguson, Missouri, and the 2017 event in Charlottesville, Virginia. These recent works convey a growing sense of urgency and frustration with the treatment of African-American communities in the United States.
Post contributed by Mandy Cooper, PhD, exhibit curator, former Research Services Graduate Intern, and Duke History PhD.
One hundred and one years ago, the doors to the East Duke Parlors were “thrown open” and “tables and machines [were] hauled in” along with “oilcloth, bleaching, hammer and tacks.” Led by Trinity College’s newly established branch of the Young Women’s Christian Association (YWCA), the women at Trinity College and in the surrounding community turned the East Duke Parlors into a Red Cross room. According to Trinity’s YWCA president Lucile Litaker, the room was now “splendidly equipped” and “great bundles of material began to appear.” Throughout the next year, women at Trinity were joined by women from Durham to roll and send bandages overseas. The Red Cross room was officially open every Tuesday and Friday afternoon from 2:00-4:30, with the TrinityChronicle reporting in February 1918 that between forty and fifty women had worked in the room the previous Friday. The women at Trinity were determined to do their part for the war effort.
They were not the only ones. By the 1917-1918 school year, the United States had officially entered World War I, and Trinity was feeling its effects. The impact on enrollment was immediate. Trinity saw a decrease of over 100 enrolled students from 1916-1917 and 1918-1919. President William P. Few was alarmed and attempted to boost enrollment in multiple ways: he encouraged current students to remain at Trinity until they were drafted; he toured North Carolina to promote the need for college-educated men to rebuild a war-ravaged Europe; and, like many other North Carolina universities, he started a Student Army Training Corps (SATC) unit on campus. The young men who enrolled in the SATC officially joined the US Army, but remained students at their institutions and were protected from the draft while receiving the training necessary to be considered for officer positions after graduation. Special classes were established for the SATC to ensure that those enrolled received the necessary training. The War Department required that Trinity create a course for the SATC that covered the “remote and immediate causes of the war and on the underlying conflict of points of view.” This course was intended to enhance the SATC’s morale and help them understand the “supreme importance to civilization” to the war.
Few’s worries that Trinity would lose many students “to government service of one kind or another” proved apt. Although Few tried to dissuade freshman Charlton Gaines from leaving Trinity when he heard of his plans, Gaines enlisted and was sent to Camp Meigs for training. He apologized to Few shortly after arriving at Camp Meigs for leaving “without giving you notice of my departure.” Gaines served throughout the war, attaining the rank of Sergeant in the Quartermaster Corps, and never returned to Trinity College.
Even those students who remained at Trinity felt the effects of the war. Friends and former students who had joined the military often returned to campus to visit on the weekends. The Chronicle reported in January 1918, that there would be no Chanticleer for the 1917-1918 largely because of the war. In addition to financial woes carried over from the previous year, the editor-elect had failed to return to Trinity in fall 1917—presumably because he joined the army. As the Chronicle writer reported, though, Trinity was not the only college (even just in North Carolina) that had been forced to cancel the yearbook for the year. In the end, the writer told students that they must “patriotically adapt” themselves to this situation because “since the war began ‘times ain’t what they used to be.’” The Chanticleer returned in 1919 as a special edition. It was issued at the end of the war, published as Victory, 1919, and highlighted the victory of the United States and its allies in the war.
The war had some unexpected effects on Trinity as well. Football had been banned at Trinity since 1895, and in 1918 students petitioned for its return. They argued that a football program would help build a manly physique during a time when there was “a distressing need for physically well-developed men.” As the war was ending, the administration lifted the ban and football returned to Trinity.
Trinity’s connection to the war was never more clear than in the masses of letters that alumni and former students sent to friends still at Trinity, to President Few or other faculty, to the Trinity Chronicle, or to the Alumni Register. Lt. R.H. Shelton wrote to Duke Treasurer D.W. Newsome from the front in France, telling him that he had seen “some of the worst over here.” Shelton continued, “Sherman certainly knew what he was talking about, but his was an infant.” Alumni like Shelton made the horrors of war clear to everyone still at Trinity. The pages of the Alumni Register for the war years are filled with letters from the front, placed in the same volumes as the President’s updates on the war’s effect on the college.
The Alumni Register and the Chronicle both regularly reported on the service of Trinity alumni and students overseas, including the first alumnus killed in action. First Lieutenant Robert “Kid” Anderson was among the first wave of American soldiers sent overseas. Part of the class of 1914, he was killed in action on May 29, 1918, at the Battle of Cantigny in France—the first major American engagement in the war. The news of Anderson’s death was sent both to his family and to President Few. The Alumni Register announced that Anderson had been killed in action in its July 1918 issue. The Register profiled his time at Trinity and his military service before reprinting an account of the memorial service held in his honor in his hometown of Wilson, North Carolina, a letter to Anderson’s parents from a fellow soldier that described his, and portions of Anderson’s letters to relatives and friends.
To honor the centennial of the end of the First World War, selected items from the Duke University Libraries are on display in the Mary Duke Biddle Room as part of the exhibit “Views of the Great War: Highlights from the Duke University Libraries.” In addition to the impact of World War I on Trinity College and other people back home, the exhibit highlights aspects of the Great War and tells the personal stories of a few of the men and women (whether soldiers, doctors, or nurses) who travelled to France with the American Expeditionary Force during the “war to end all wars.” “Views of the Great War” is on display through February 16, 2019.
 Lucile Litaker, “The Year with the Y.W.C.A.,” The Alumni Register, Volume IV, No. 2, July 1918; 148-149. Available digitally at https://archive.org/details/trinityalumnireg04trin. For the Chronicle article, see: “Red Cross Notes,” The Trinity Chronicle, Vol. 13, No. 19, Wednesday, February 6, 1918. Available digitally at https://library.duke.edu/digitalcollections/dukechronicle_dchnp83014/.
 Memo from the War Department Committee on Education and Special Training to Institutions where Units of the Student Army Training Corps are Located, September 10, 1918. Wartime at Duke Reference Collection, World War I – Student Army Training Corps, Box 1.
 For Few’s statement about losing students, see: William Preston Few to Benjamin N. Duke, July 16, 1917, Few Papers, Box 17, Folder 210. For the Charlton Gaines’s letter, see: Charlton Gaines to President Few, February 19, 1918, Few Papers, Box 19, Folder 235.
 Statement from the Student Committee on Football, May 14, 1918. Trinity College Yearly Files, 1918. Board of Trustees Records, Box 5, Duke University Archives, David M. Rubenstein Rare Book & Manuscript Library, Duke University.
 Lt. R.H. Shelton to D.W. Newsom, June 25, 1918. Trinity College (Durham, N.C.) Office of the Treasurer Records, Box 1, Duke University Archives, David M. Rubenstein Rare Book & Manuscript Library, Duke University.
Date: Tuesday, November 6, 2018 Time: 12:00-1:00 PM Location: Holsti-Anderson Family Assembly Room, Rubenstein Library 153 Contact: Elizabeth Dunn, firstname.lastname@example.org Register here!
Join the Duke University Libraries for a lunchtime talk with Professor Adriane Lentz-Smith and take a tour of the new exhibit marking the centennial of the end of World War I, “Views of the Great War: Highlights from the Duke University Libraries.” A light lunch will be provided.
Adriane Lentz-Smith is Associate Professor of History, African & African-American Studies, and Gender, Sexuality & Feminist Studies at Duke. Her book, “Freedom Struggles: African Americans and World War I” (Harvard, 2009), won the Honor Book Award from the Black Caucus of the American Library Association. Her current book project, “The Slow Death of Sagon Penn,” examines state violence and the remaking of white supremacy in Reagan-Era southern California. A Ford Foundation fellow, Professor Lentz-Smith holds a B.A. in History from Harvard-Radcliffe and a Ph.D. in History from Yale University.
Following the talk, attendees will be invited to enjoy the exhibit in the Mary Duke Biddle Room.
What is that rash? What should you do if you have a snakebite? Are carrots really good for one’s health? What does chicken pox look like?
Long before WebMD and other online tools existed, popular medicine guides were created and consulted to answer such questions. In the United States, there is a long tradition of such home health guides designed to help the common person diagnose and treat illnesses. These guides, often physician-approved and authored, included ways to prevent illness and injury while offering instructions and remedies.
Home health guides offered laypeople (assuming they could read) information on a range of topics: basic anatomy, symptoms of illnesses, exercises for good health, “cures” by water or electricity, sexual education, and much more. These popular medicine guides continued well into the twentieth century with works like Our Bodies, Our Selves. Such works are still printed today in the digital age.
An exhibit featuring a sample of these popular medicine guides from our History of Medicine Collections is currently on display. You can visit the exhibit What You Can Do Yourself: Home Health Guides in the History of Medicine in the Josiah Charles Trent History of Medicine Room from July 24 – October 13, 2018.
This post is contributed by Erin Rutherford, Josiah Charles Trent Intern, History of Medicine Collections.
“…there is no limit to the marvelous powers attributed to females” (Pliny, NH, 28.23).
When Pliny the Elder spoke of female powers in his Natural History, he attributed the most marvelous among them to menstrual blood. A menstruating woman could sour crops, tarnish mirrors, blunt razors, kill bees, drive dogs insane, and stave off hailstorms.
How unfortunate that the same womb which, in a woman’s younger years was blamed for such chaos, could be even more problematic in her later life.
For centuries it was believed that the menses were a means to cleanse poisons from a woman’s blood. When a woman’s menstrual period came to a permanent end, toxins could accumulate and stimulate disease (in addition to a slew of physical and mental conditions). “The Change of Life,” as the cessation was referred to, was the harbinger of both barrenness and wildness, sullenness and excitability, lethargy and hysteria, volubility and melancholy. Pathologized and medicalized, this physiological transition was viewed as anything but a natural, biological process.
The term now widely used to describe this phase – menopause – comes from the Greek words men (“month”) and pausis (“cessation”). Since French physician Charles-Pierre-Louis de Gardanne coined the term in 1821, knowledge about what menopause denotes has grown significantly.
The items in this exhibit trace changing perspectives on menopause – from early proponents who labelled it a debilitating disease to the women who have reclaimed it as an empowering transition. The exhibit aims to make visible the experience of menopause, dispel myths, and encourage public conversation about a topic that has, for too long, been considered taboo. Its curation was inspired by the words of feminist Rosetta Reitz:
“I’m going to pull menopause out into the open, remove the cobwebs, clean it off, and look at it.” 
Curated by Erin Rutherford, Josiah Charles Trent Intern, The Change of Life: Menopause and our Changing Perspectives, runs from March 20 – July 14, 2018, and is on display in the Josiah Charles Trent History of Medicine Room.
 Menopause: A Positive Approach. Rosetta Reitz (1924-2008). New York: Penguin Books, 1979, c1977, pg. 1.
Post contributed by Rachel Ingold, Curator, History of Medicine Collections
Currently on display in the Josiah C. Trent History of Medicine Room are six engravings from Clemens Kohl, a prolific illustrator and engraver from the eighteenth century. The engravings on display can be found in the work Die Welt in Bildern: vorzüglich zum Vergnügen und Unterricht der Jugend (The World in Pictures: Especially for the Pleasure and Instruction of the Youth) by Joseph Edlem von Baumeister. Published in Vienna in the late eighteenth century, the six-volume set was intended to give a younger audience a sense of the world through realistic images, which were designed by Johann Sollerer and engraved by Kohl.
While the Rubenstein Library does not retain the multivolume work of von Baumeister, we do have six engravings from Die Welt in Bildern that are medically themed and housed as part of the History of Medicine Picture File. The engravings depict different scenarios: Medicine/Physician, Afflictions/Disabilities, Diseases, the Pharmacy, the Hospital, and Death. Perhaps framed at one point, these hand-colored copperplate engravings would have made a stunning conversation piece.
And while you’re visiting the Trent History of Medicine Room, take some time to check out a new rotation of medical instruments and artifacts. From cupping glasses to glass slides with specimens as well as an apothecary boiler and pill roller, hopefully you’ll find an item, or two, to pique your interest.
Post contributed by Valerie Gillispie, University Archivist
Most Dukies know about the Allen Building Takeover of February 13, 1969. It proved to be a watershed moment for Duke, and led to real change in the curriculum and in social and academic support for students of color. What many don’t know, however, is that there was a protest in the Allen Building just 15 months earlier, the Allen Building Study-In. Although less dramatic than the Allen Building Takeover, it was also organized by African-American students, and it also had real impact on Duke.
The Allen Building Study-In took place on November 13, 1967. The purpose was to protest the use of segregated facilities by Duke student organizations. One year earlier, the local chapter of the Duke Alumni Association had held a banquet honoring the football team at the all-white Hope Valley Country Club—thereby excluding the black players. Two hundred picketers protested the event. The Duke administration took no immediate action, and no prohibition was in place around the use of such facilities.
In September 1967, President Douglas Knight agreed to a policy that banned the use of such facilities by faculty and administrative groups, but did not require student groups to comply. In early November of that same year, the Associated Students of Duke University (ASDU, precursor to today’s DSG) conducted a student-wide referendum on a proposed ban on such facilities, but this motion was defeated. Frustrated with the lack of action by the student body and the administration, the students issued a statement and demands on November 10. They demanded that action be taken on the policy immediately.
With no immediate response from the administration, three days later a group of around 30 students entered the president’s office, staying for seven hours and blocking the entrance to Knight’s office. Reporters from radio stations and newspapers were also present to cover the event. Shortly after the conclusion of the protest, two major university committees recommended the passage of a complete ban on the use of segregated facilities. On November 17, just four days after the Study-In, Knight issued a statement in which he extended the existing policy to cover all student groups, in addition to faculty and staff groups.
Monday, November 13, 2017, will mark the fiftieth anniversary of this peaceful but powerful action by a small group of students. A small exhibit commemorating the Study-In is currently installed near the service desk of Perkins Library.
Please join us this week for three very exciting events:
The SNCC Digital Gateway Project presents “Music & the Movement,” Tuesday, September 19, 7:30-9:30 pm
Please join us for an exciting discussion with five veteran activists on Tuesday, September 19th at 7:30 p.m. at NCCU’s Alfonso Elder Student Union. Music & The Movement – During the Civil Rights Movement, mass meetings overflowed with people singing and clapping to freedom songs, demanding justice in the face of oppression and showing courage in the face of danger. Join us for a roundtable discussion with five veteran activists as they speak about the power of the music of the Movement. As song leaders, Bettie Mae Fikes, Charles Neblett, and Hollis Watkins carried the music in their own communities in the South or across the nation as part of the SNCC Freedom Singers. Meanwhile, Candie Carawan and Worth Long worked to document the music of the Movement, recording and preserving the songs that moved people to action. They experienced firsthand how music was a tool for liberation, not only bringing people together but holding them together. The conversation will be moderated by SNCC veteran Charles Cobb. Many thanks to our co-sponsors: SNCC Legacy Project, Duke University Libraries, The Center for Documentary Studies, North Carolina Central University, and SNCC Digital Gateway Project.
Event Speakers: Bettie Mae Fikes, Charles Neblett, Hollis Watkins, Candie Carawan, and Worth Long
Event Location: NCCU’s Alfonso Elder Student Union
Event Contact: CDS Front Desk
Event Contact Phone: 660-3663
Exhibit Tour and Reception: ‘I Sing the Body Electric’: Walt Whitman and the Body, Thursday, September 21, 11:45-1:30pm
Post contributed by Valerie Gillispie, University Archivist
Have you ever wondered about the fancy chain that the president wears during commencement? Or about that big scepter that the chair of Academic Council carries during convocation? For the next month, get an up close look at the official Duke University chain of office and mace, on display near the service desk in Perkins Library.
Created in 1970, the mace and chain of office were formally debuted at Terry Sanford’s presidential inauguration on October 18, 1970. Both items are traditional symbols of leadership, and Duke’s versions feature distinctly Duke and North Carolinian decorations: pinecones, tobacco leaves, the school motto “Eruditio et Religio,” and the Duke family coat of arms.
The chain of office and mace will be on display until October 5, when they will be used during the inauguration of President Vincent Price, the University’s tenth president.
Dispatches from the David M. Rubenstein Rare Book and Manuscript Library at Duke University