Children surround Spider-Man. Stan Lee Papers. American Heritage Center Collections, University of Wyoming.
A-listers, cutting-edge CGI, chaos, quips, and post-credit scenes—that is 21st-century Marvel Entertainment in a nutshell. Churning out one blockbuster production after another, Marvel has established itself as a live-action media mogul persistently setting the pace for family action movies over the past two decades.
My time as an educator prior to joining the curatorial team for the upcoming Stan Lee: Beyond the Book exhibit has made it evident that contemporary youths are ecstatic about what they are seeing on the screen. There was seldom a school day when I was not reminded of the reach of Black Panther, Spider-Man, Captain Marvel, and more. I watched as the heroes’ exuberant exploits leapt from the screen and latched themselves onto cherished t-shirts, bursting backpacks, and even to fruit-snack packaging! At elementary schools, secondary schools, and here on campus at the University of Wyoming, the influence and adoration of modern-day Marvel is tangible.
Evidence of Lee’s commitment to education is plentiful throughout his immense 127 cubic-foot collection at the American Heritage Center. And while noticing the connections between the artifacts housed at the AHC and the thrilling scenes coming from Hollywood studios has been absorbing, working with the Stan Lee Collection has resonated more with the educator in me than the consumer.
Associated Press article written by Mary Campell covering Mavel and Stan Lee’s relevance in educational domains. Circa 1972-1982. Stan Lee Papers, Box 6, Folder 10. American Heritage Center Collections, University of Wyoming.
By itself, the comic book form is an apt conduit for learning. Afterall, novels like Great Expectations are lovely, but students often meet a wall of text and are instantly intimidated, sleepy, or dramatically claiming death by boredom (trust me, I am an English teacher). Conversely, comics provide the perfect recipe to trick a developing and hesitant reader into a darn good time. The vibrant colors are alluring, the text is distributed throughout the page, the dialogue accelerates the plot, and the ability to turn page after page provides a significant boost to students’ self-efficacy. Furthermore, the congruity between illustrations, captions, and dialogue balloons offers students a digestible way to understand literary devices. Comics abound with symbolism, metaphor, allusion, flashback, foreshadow, and more. Illustrations make these techniques more interpretable, and the action displayed on the page encourages readers to make context-based inferences.
When comics mixed with Lee’s indelible vocabulary and his alliterative virtuosity, teachers and students alike realized that entertainment and education could be symbiotic after all. Lee was well aware of the potential of comics to inspire learning. In the article above, Lee is quoted, “The vocabulary in our comics is of college level…We figure the young readers will learn the word by its use in the context and if they should go to the dictionary to look it up, that isn’t the worst thing that could happen.”
Integrating academic, colloquial, and expressive language is a great way to improve reading comprehension and speaking skills, especially for remedial readers, students with special learning needs, and English language learners. The Stan Lee Papers feature scores of letters and comments from parents and students alike thanking Lee personally for his impact on their reading and writing skills and subsequently, the quality of their lives.
Personal letter to Stan Lee and Roy Thomas from a fan thanking them for their contributions to his literacy, love of learning, and teaching career. Stan Lee Papers, Box 102, ASF Correspondence 1992. American Heritage Center Collections, University of Wyoming.
Simply writing comics made a difference in the lives of people around the world. Yet, Stan Lee was compelled to do more than that. Educators of all levels wrote Lee requesting whatever volumes he and Marvel might be able to spare. He answered the call generously; for teachers, for researchers, for prisoners—for years.
Letter from Ms. Judith Rabinbach, a teacher at the Teen Learning Center in Amherst, Massachusetts, requesting comic books for high-risk students from Stan Lee. Stan Lee Papers, Box 16, Folder 3. American Heritage Center Collections, University of Wyoming.Letter from Fran Lyons, Secretary to Stan Lee, confirming Lee’s fulfillment of Ms. Rabinbach’s request. Stan Lee Papers, Box 16, Folder 3. American Heritage Center Collections, University of Wyoming.
What a great and inspiring thing to receive a bundle of comic books from one of the most reputable comic book writers in the history of the genre… but imagine the rush of a visit from the charismatic creator himself. Countless students across various grade levels were granted such a visit. Lee was renowned for lecturing at college campuses, including the University of Wyoming, but he also frequently visited elementary and secondary schools across the country. In collaboration with programs like Los Angeles County’s “Principal for a Day”, Lee would enter classrooms to discuss the importance of literacy and his favorite superpower—knowledge. He often convinced Spider-Man to take the day off from fighting crime to accompany him on these visits as well. Lee is pictured below at the then, University of Wyoming’s Lab School.
Stan Lee photographed at the University of Wyoming’s Lab School, April 1994. American Heritage Center Collections, University of Wyoming.
But we know that all superheroes need help. Stan Lee did too in his effort to promote the importance of education. In coordination with the American Spirit Foundation, Lee chaired the “Entertainers for Education” project, which recruited a diverse array of entertainers to fundraise for the development of educational programming and facilitated celebrity visits to schools to reinforce the importance of being a dedicated learner.
Page 1 of letter from Lee to film director Steven Spielberg encouraging him to join “Entertainers for Education.” September 30, 1991.
Page 2 of letter. Stan Lee Collection, Box 102, ASF Correspondence 1992. American Heritage Center Collections, University of Wyoming.
Lee’s efforts did not go unnoticed. The collection boasts several letters from Presidents Clinton, Bush, Reagan, and Carter expressing their appreciation to Lee for his dedication to supporting students of all ages. In the letter below, President Clinton commends Lee for his leadership during the 1997 America Reads Challenge.
Letter from President Bill Clinton to Stan Lee thanking Lee for his effort to support the America Reads Challenge. November 21, 1997. Stan Lee Papers, Box 1, Folder 14. American Heritage Center Collections, University of Wyoming.
Ultimately, Stan Lee will primarily be remembered for his contribution to the creation of famous superheroes like Spider-Man, The Fantastic 4, Black Panther, and more. However, the Stan Lee Collection offers insights that indicate that there was much more to the icon than initially meets the eye.
To discover more about Stan Lee, be sure to check out the exhibit—Stan Lee: Beyond the Book opening May 1, 2024, at the American Heritage Center. The exhibit runs through November 1, 2024.
‘Nuff said…no, actually, I will leave the last word to Stan:
Letter from Stan Lee to students around the United States advocating for “…the greatest power of all, knowledge!”. October 11, 1994. Stan Lee Papers, Box 102, ASF Correspondence 1994. American Heritage Center Collections, University of Wyoming.
He laid the objects thoughtfully on top of the three card tables in his garage, a showcase of coveted and kept personal history of his family’s deep connection with the town, and with coal. Frank Scigliano is a third generation Italian American and member of a multigenerational lineage who originally emigrated to the Kemmerer and Diamondville area to work in the local mines. His grandfather worked the mines, his father was killed in the mines, and he continued that labor tradition until he retired twenty some-odd years ago. He now spends his time attending high school sports games and regularly attends the local historical society’s meetings at the public library.
Frank Scigliano speaks with the post’s author Aubrey Edwards. Image courtesy Andrea Graham.
Frank ran his fingers along the black and white photographs and slightly bent miners’ tags, recounting personal vignettes of each object. Excitedly, he shared their provenance while weaving in longer narratives of ethnic social clubs, horrific mine disasters, the power of the United Mine Workers of America union, and the mining heritage of this place he calls home. He paused in his storytelling, a contemplative look on his face, and he quietly asked us, “What’s going to happen when the coal’s gone? Are people going to remember us?”
Retired UMWA mine workers meet at the Sinclair coffee every morning. On this morning they shared stories and personal photos with Aubrey Edwards. Image courtesy of Aubrey Edwards.
I visited Frank with a team of interviewers and oral historians from the University of Wyoming in the summer of 2022, recording the hopes and fears of residents in an uncertain time of energy transition. His concern with labor remembrance led me to this research. What Happens When the Coal’s Gone explores how evolving and shifting labor practices in this transitioning coal-centered economy affect public memory of labor and heritage. I am interested in how a community-rooted, object-centered preservation of labor can unfold within an accessible online space. In addition, I am interested in the ability of historical objects and material culture to convey labor history to a wider audience through personal and public memories.
Aubrey Edwards with Diamondville mayor Clint Bowen. Image courtesy of Aubrey Edwards.
Community bulletin board in the Sinclair gas station. Image courtesy of Aubrey Edwards.
Jere Borino’s father worked in Diamondville #2 mine, until an accident left him with sustained injuries, prohibiting him from returning to work underground. He opened up a smokehouse on the main street of Diamondville, an establishment where patrons could smoke cigars, drink whiskey, play cards, and visit the working girls in the back room brothel. The smokehouse has stayed in the Borino family for over 100 years, and in the early 2000s Jere turned it into the free, public history museum that it is today. “Things keep disappearing around here,” Jere told me, “This stuff in here connects us directly to our history.”
Jere Borino’s museum in his family’s smokehouse. Image courtesy of Aubrey Edwards.
A 2023 Teaching and Research Grant from the AHC, in addition to a digital preservation grant from the Wyoming Humanities, has funded three fieldwork trips to Kemmerer and Diamondville. It was through these trips that I was able to continue building relationships with memory keepers and collectors within the community.
The Naughton coal-fired power plant located near Kemmerer and Diamondville, January 2024. Image courtesy of Aubrey Edwards.
I worked with three public memory keepers who shared their collections of objects and artifacts with me: Jere Borino, Frank Scigliano, and Brad Carter. These collections exist in the form of home museums, accessible to anyone who is interested in learning more about regional history through these personal objects and memories. I photographed a selection of objects and the respective memory keepers contextualized the items, providing narrative entry points into larger stories of the labor and community creation of Kemmerer and Diamondville.
Kemmerer Hotel bar matchbook, from the collection of Frank Scigliano. Image courtesy of Aubrey Edwards.Chinese coins from site of Frontier No. 1 mine. In 1923, an explosion at this mine killed 99 men. Image courtesy Aubrey Edwards.
These objects, and the memory keepers’ contextualization, are the centerpiece of the website I am presently building out. In this interactive website there are also accompanying oral history excerpts, archival photos, video, and landscape imagery. The site will launch in March 2024 with a celebratory event in downtown Kemmerer.
Sample page from website in progress. Image courtesy of Aubrey Edwards.
At the AHC, they’re all about supporting UW’s commitment to teaching, research, public service, and cultural outreach. They make it possible by encouraging the exploration and interpretation of our nation’s history. Their Teaching and Research Grants are a great opportunity for UW students, faculty, academic professionals, and staff to undertake or build on interesting projects. Whether it’s independent research, collaborative efforts, crafting new courses, or organizing symposia, these grants can spark exciting journeys.
Welcome to the first installment in our series exploring the legacy of iconic buildings at the University of Wyoming. In this ongoing collection of posts, we’re taking a walk back through time to tell the stories behind some of UW’s most recognizable and storied structures. The American Heritage Center serves as the University’s official archive, preserving the history housed within the walls of UW’s historical structures.
As early as 1881, Governor John Hoyt urged the Wyoming Territorial Legislature to approve the allocation of 65 sections of federal lands to establish a university. Yet, action on this request didn’t materialize until 1886. According to historian Deborah Hardy, Hoyt said years later, “The territorial legislature might not have even entertained the idea of establishing a university if it had not promised certain financial advantages.”
Dr. John Wesley Hoyt (1831-1912) would go on to become the University of Wyoming’s first president, serving from 1887 to 1890. He was also Wyoming’s third territorial governor from April 10, 1878, to August 22, 1882. Image ah002515, Photo File: Hoyt, John W., American Heritage Center, University of Wyoming.
The Legislature in March 1886 created a University Building Commission that was authorized to “procure, by purchase, donation, or otherwise, in the name of the Territory of Wyoming, a suitable site within or near the limits of said City of Laramie, upon which to erect the said university building, and shall thereupon proceed to contract for, and superintend the erection of such building, in the manner herein provided.”
The site for the new campus was ten acres of land that had served as Laramie’s City Park, deeded to the town by the Union Pacific Railroad when “Laramie City” was first laid out. The University’s first building would be erected in the center of the former park.
Layout of Laramie in 1875 looking east from the Laramie River. The point located farthest east is labeled “Park.” That is the location of the future University Building, which would later become Old Main. Image ah00335_0117, Box 1, Folder 24, Fee and Murphy Family papers, Coll. No. 335, American Heritage Center, University of Wyoming.
A bid for the project was accepted on July 1, 1886. Denver architect Frederick Hale designed the building and Cook and Callahan of Laramie was contracted to build it at a cost not to exceed $50,000 (about $1,700,000 in today’s dollars). Initially, the building was to face south, but it was determined that a west-facing structure was ideal for the ground slope.
Designed when builders were inspired by a wide range of historical architectural styles, the building showcases a unique blend of architectural elements from the Chateauesque and Romanesque traditions. Chateauesque style borrows from the grand French Renaissance châteaux, often featuring steep roofs, turrets, and ornate detailing reminiscent of French castles. Meanwhile, Romanesque architecture is characterized by its robust and solid appearance, employing rounded arches, sturdy columns, and a sense of monumental simplicity. The building’s style is unique within the state and makes it one of Wyoming’s most distinctive public structures, second only to the state capitol in public recognition.
The University Building was swiftly constructed, with the Masonic Order laying its cornerstone on September 27, 1886. This cornerstone bears the inscription Domi habuit unde disceret, which may be translated “He had a home where he could learn.” Completion of the new structure was achieved by September 1, 1887. The facing, crafted from rough-cut sandstone quarried near Laramie and smooth Potsdam Sandstone near Rawlins, contributed to the enduring impact of the edifice on UW’s architectural landscape. Its design, characterized by its three portal layout, also left a profound influence on subsequent campus structures, such as Half Acre Gymnasium. Interestingly, Old Main is the only building on campus constructed during Wyoming’s territorial period, and one of only a handful of territorial institutional buildings left standing.
Caption written on paper attached to the photo: “Old Main. Original collodion print panel card taken by S.M. Hartwell & Son Studio of Laramie, Wyoming. Looking North-east toward Old Main, in early phases of construction, tower not complete yet… Probably dates ca. December 1886.” Image ah002750, Photo File: Colleges and Universities – University of Wyoming – Buildings – Old Main, American Heritage Center, University of Wyoming.Detail of photo above showing members of the construction crew.
Doors of the University Building opened to students on September 6, 1887, as they began arriving for classes that would begin September 12. The entire university was contained within the building’s walls, including a library, classrooms, laboratory, engineering shop, a gymnasium, and a music room. Upon Grace Raymond Hebard’s arrival in 1891 to take a position at UW, the stark surroundings framing the building caught her attention. Wilson Clough, a chronicler of the university’s history, noted her recollection of “no trees, no fences, no grass, no bushes. North of the building there was a buffalo wallow, and to the east nothing but sagebrush and the city cemetery on the distant slope.” Yet, she also found inspiration, “And in the midst the tower rose like a beacon light.”
A two-story, 500-seat auditorium on the second level quickly became an entertainment center for the still emerging town of Laramie. This “assembly room” held not only morning gatherings for the entire university, but also served as a primary lecture hall for visiting dignitaries.
Auditorium set up for commencement for the Music Dept., 1896. Photo File: Colleges and Universities – University of Wyoming – Buildings – Old Main – Auditorium, American Heritage Center, University of Wyoming.Auditorium in Old Main, ca. 1900. Photo File: Colleges and Universities – University of Wyoming – Buildings – Old Main – Auditorium, American Heritage Center, University of Wyoming.
Even though the room was large enough to accommodate the entire student body and faculty well into the early 1900s, it was not large enough to hold the huge crowd that came to hear President Theodore Roosevelt on his visit to Laramie in 1903.
President Theodore Roosevelt (hat over heart) speaking to a crowd from the steps of the “Main Building” in 1903. Included in the crowd were public school children, University staff, students, and faculty, and Laramie residents. Photo File: Roosevelt, Teddy, American Heritage Center, University of Wyoming.
The University Building remained the only instructional space on campus until the Mechanical Arts Building was completed six years later in 1893. As other buildings were added, it was commonly referred to as the “Main Building.” In 1922, the UW Trustees approved the official name of “University Hall.” However, by the mid-1920’s students were referring to it as “Old Main” – a reference to it being the old, main building on campus. The use of “University Hall” quickly faded.
Old Main was a popular spot for photos of staff, students, and faculty. Here is the University’s Camera Club in 1903. Image ah100841, Photo File: Colleges and Universities – UW – Clubs and Organizations, American Heritage Center, University of Wyoming.
When first built, Old Main had an impressive tower that was a landmark for the UW campus and the town of Laramie. But less than a decade after construction, it began crack and then to lean. Temporary measures were taken to secure it, but in April 1915, UW Trustees approved its immediate removal for safety reasons, and the project was completed in late May. Much unhappiness resulted from the loss of the tower. The Wyoming Student, the campus newspaper, expressed sorrow over the tower’s removal in an article dated December 22, 1915, lamenting, “But that the building should change, that it should lose any of its pristine dignity, is a loss to be regretted. And this is what has occurred. It has no longer all the dignity which used to grace it. With the destruction of the tower and the placing of an ugly, dun-colored, frail wooden structure where it formerly raised its head so high, the pride of the coming student and the pleasant memory of the departing graduate, much of the glory of the building vanished.” Efforts to add a new tower began almost immediately and continued unsuccessfully for decades.
Color postcard ca. 1910 with Old Main sporting its lovely tower. Image ah001872, Photo File: Colleges and Universities – University of Wyoming – Buildings – Old Main, American Heritage Center, University of Wyoming.Something’s missing. Oh yes, it’s the tower. Image ah300362, Ludwig & Svenson Studio Photographs, Coll. No. 167, American Heritage Center, University of Wyoming.
Old Main is part of the narrative behind the election of the first woman governor in the United States—Nellie Tayloe Ross. Her husband, William Ross, had been elected Wyoming’s governor in 1922. In September 1924, he was stumping the state to promote a constitutional amendment to adopt a severance tax on minerals. While on this strenuous speaking tour, he stopped in Laramie to speak to a large crowd in the Old Main assembly room. He became ill toward the end of his speech and was driven back to Cheyenne, where he was admitted to the hospital with severe abdominal pains. The next morning, his appendix burst and within days, he died. Although in mourning, his widow was nominated as the Democratic candidate for governor and won in a close election later that year.
Nellie Tayloe Ross and William B. Ross, August 10, 1923. Box 18, Folder 1, Nellie Tayloe Ross papers, Coll. No. 948, American Heritage Center, University of Wyoming.
In 1949, Old Main was completely gutted with structural enhancements added to make the 63 year old building more stable. Originally, the entrances of the building had been positioned above ground level, requiring visitors to ascend to the first floor before entering. However, in the renovation modifications were made, shifting the entrance to the basement level, allowing visitors to enter the building at ground level. The auditorium was replaced by a large central staircase and two stories of office space. The president’s office and those of other top UW administrators were relocated here, where they remain today.
Image of Old Main showing its three building entrances as first designed. Photo File: Colleges and Universities – University of Wyoming – Buildings – Old Main, American Heritage Center, University of Wyoming.
“Old Main” became the structure’s official title when the name was engraved in 1949 on the stone above the main entrance.
“Old Main” carved into the stone at the building’s entrance as shown in a photo from the 1954 University of Wyoming yearbook.Photo of Old Main by Theoren Sheppard, 2022. Theoren is the AHC’s photographer and Photography Lab Supervisor.
We’ll continue this journey through UW’s architectural past next time with a look at Science Hall (now the Geology Building) and the narrative surrounding its construction from 1900 to 1902.
If you’re interested in learning more about the University Archives program at the AHC, see our website at https://www.uwyo.edu/ahc/uw-archives/index.html. You can also contact University Archivist and Historian John Waggener at waggener@uwyo.edu or 307-766-2563.
How did a young man from New Jersey become one of the first Black bull riders on the professional rodeo circuit? The story of rodeo pioneer Abe Morris is one of determination in the face of obstacles.
Born in 1956, Morris discovered rodeo at a young age, spending summers with cousins who lived near a rodeo arena. He started riding calves at 8 and bulls by 10.
Abe Morris in action, ca. 1990. Abe Morris papers, Coll No. 11256, American Heritage Center University of Wyoming.
Bitten by the rodeo bug, Morris set his sights on honing his bull riding skills out West. He earned a rodeo scholarship to the University of Wyoming, where the rodeo team welcomed him with open arms. “The rodeo team just wrapped their arms around me,” Morris recalled in a 2023 interview. Their support helped embolden him to believe he could succeed in this predominantly white sport.
Abe Morris with his son Justin at Cheyenne Frontier Days, ca. 2015. Abe Morris papers, Coll. No. 11256, American Heritage Center University of Wyoming.
Morris joined the Professional Rodeo Cowboys Association circuit in 1977, racking up rodeo titles and honors over the next decades. He won championships at events like the Laramie River Rendezvous Rodeo and the “Open to the World” competition. Morris also became the first Black rodeo announcer in 1982. However, his bull riding career was cut short by a devastating hip injury in 1994.
Morris continued making rodeo history as an announcer and commentator. Throughout his years at Cheyenne Frontier Days, he shared his expertise, adding a touch of fun and insight for riders who were pushing the limits.
At a 2006 book signing in Woodstown, New Jersey, Abe Morris autographs books for 3rd and 4th graders, showcasing his journey from a New Jersey boy at the Cowtown Rodeo to a Black rodeo cowboy with triumphs and setbacks across the country, as detailed in his 2005 autobiography, My Cowboy Hat Still Fits. Photo from an issue of the South Jersey Times found in the Abe Morris papers at the American Heritage Center.
Today Morris’s barrier-breaking journey is documented in 16 archival boxes at the American Heritage Center. As we celebrate Black accomplishments this month and beyond, Morris inspires all who refuse to let obstacles stand in the way of their dreams.
Post contributed by AHC Archivist Leslie Waggener.
In the days before streaming became commonplace, it was an annual tradition in many households to look forward to the night when The Wizard of Oz film would air on television. Although not my favorite movie, it was always breathtaking to see the screen transition from black and white Kansas to the colorful world of Oz. In recent years, movie theatres have celebrated the seminal anniversaries of the film and have shown it on the big screen, amplifying the beauty of the cinematography.
The year 2024 marks the 85th anniversary of the film’s release. While we have previously described various AHC holdings relating to the Wizard of Oz, including the books and the film’s scripts, a recent acquisition to the Toppan Rare Books Library includes not only additional Oz books, but also a junior edition of the series, published by Rand McNally in 1939.
The eight books that are a part of Toppan’s Connie Marcus Collection. All of the books were published in 1939 by Rand McNally. Shown are (from left to right): Rinkitink in Oz; The Patchwork Girl of Oz; The Land of Oz; Jack Pumpkinhead and the Sawhorse of Oz; The Lost Princess of Oz; The Scarecrow and Tin Wood-man of Oz; The Road to Oz; and The Emerald City of Oz.
There is not a lot of information about this series available, but it does appear that there were nine books available. Toppan’s Connie Marcus Collection has eight of the nine books including Jack Pumpkinhead and the Sawhorse of Oz; The Scarecrow and Tin Wood-man of Oz; The Land of Oz; The Road to Oz; The Emerald City of Oz; The Patchwork Girl of Oz; Rinkitink in Oz; and The Lost Princess of Oz.[1]Each book has a main title for the central story, but also includes another short story from the Oz collections.
The numerous books and editions of L. Frank Baum’s The Wizard of Oz world are well-documented with checklists and published bibliographies dating back to the 1960s. However, these bibliographies—the most referenced being the Bibliographia Oziana—focus primarily on books published before 1919. Although the bibliographies include information on later editions, the 1976 issue does not mention a junior edition at all. Additionally, online and library catalog resources provide only basic publication information about the books.
The lead illustration for The Patchwork Girl of Oz, 1939.
While Baum’s books have been heavily studied, the junior edition seems to be a series that invites examination and further research, especially in areas of children’s literature. It could be that the edition’s publication date was intended to coincide with the film’s release. Were the books designed with thoughts of the motion picture cinematography in mind, considering how the land of Oz and its inhabitants are portrayed with the liveliness and richness of the movie as Dorothy opens the door to Oz? Like the movie, the colors in the junior edition are as bright and colorful as they were when first published. Although it is evident that the copies in Toppan have been read and used throughout the decades, there is no deterioration in the covers or the illustrations.
Beautifully tinted illustration from Rinkitink in Oz, 1939.
While the illustrations in the classic editions of the Oz books are known for their imagination and beauty, the illustrations and colors of the junior edition add to the stories. They bring to life some of the vibrancy and brightness described in the series’ text, adding a layer of vividness and charm to the narratives.
The junior edition featured artwork by long-time Oz illustrator John R. Neill, and the similarities to his other drawings are obvious. It would be interesting to see if his other editions are consistent or if he tailored these books for a different audience.
This is the lead illustration for the story “Tik-Tok and the Gnome King of Oz” included in Jack Pumpkinhead and the Sawhorse of Oz, 1939.
Perhaps one of the most popular questions asked of the Toppan staff is, “What is your favorite book in the collection?” We all have our different favorites and I find that my response differs depending on books I am using in a particular project. But I regularly point to this group of eight books more than any others because of the covers. Not only are they unique yet similar in their design, but the colors of the covers and illustrations draw the reader in. They’re inviting and add so much to the stories themselves.
The recent acquisition of the Oz junior edition opens up new research opportunities to explore an overlooked part of the beloved series’ publishing history. As we celebrate the 85th anniversary of the iconic film, these books’ unexpected condition, artwork and place in Oz literary chronology warrant closer study. They highlight the enduring imaginative legacies of author L. Frank Baum and illustrator John R. Neill.
Two of the books, The Emerald City of Oz and The Road to Oz which show two of the women characters and illustrates the varying ways in which John R. Neill depicted female characters of differing ages. These books are part of the Connie Marcus Collection.
Post contributed by Toppan Rare Book Library Curator Mary Beth Brown.
[1] The one Oz book that is not in the Toppan Rare Book Library collections is Little Dorothy and Toto of Oz.
Erin Stoesz, Wyoming State Science Fair Director and Assistant Lecturer in the UW Geology Department, recently completed an exciting project revising GEOL2080, which is UW’s general field geology course, with the support of a Teaching and Research Grant from the AHC. The goal was to incorporate archival materials from renowned UW geologist Dr. Samuel H. “Doc” Knight (1892-1975) into the curriculum so students could learn field geology skills using Doc’s own research as examples over the course of the semester.
Sam Knight’s passion for geology began in childhood. In this 1909 photo, Sam (left) assists in an excavation of dinosaur fossils in the Freezeout Hills near Medicine Bow. His father, Wilbur Knight, moved to family to Laramie in 1893 he became UW’s geology professor, but died unexpectedly in 1903. Sam went on to earn a 1913 bachelor’s degree at UW. After obtaining his PhD at Columbia University, Sam returned to UW in 1916 as assistant geology professor and museum curator. After serving in WWI, he returned to UW and became head of the geology department, a post which he held until he retired in 1963. Image ah400044_00018, Box 86, Samuel H. Knight Collection, Coll. No. 400044 , American Heritage Center, University of Wyoming.
Sam Knight enjoying a day of skiing at Happy Jack located near Laramie. Image ah400044_02800, Box 105, Samuel H. Knight Collection, Coll. No. 400044 , American Heritage Center, University of Wyoming.
The AHC’s Teaching and Research Grants program supports the innovative use of its collections in teaching, research and community engagement activities. Grants up to $3,000 are available to UW students, faculty, academic professionals, and staff for projects that engage with AHC resources in substantive ways, from student research to curriculum development to symposium planning.
The revised course included multiple four-hour field trips to sites Knight studied himself or used as a teaching laboratory like Vedauwoo, Red Buttes, Snowy Range, and Centennial Valley. Students practiced drawing the geologic structures and features depicted in Knight’s meticulous field sketches, often sketching the exact same areas he had. They watched his “chalk talks” in which he interpreted Wyoming’s geologic history and analyzed what field evidence likely led to his interpretations. Additional highlights were creating weatherproof posters with visual geological information for future classes to reference on field trips and a walking tour of campus to view Knight’s lasting physical legacy, like the Apatosaurus skeleton.
Students also got to view Knight’s original field notebooks at the AHC and discuss their importance for recording geological data. Using his stratigraphic data, they then created graphic columns turned into bookmarks. A visit to UW’s former Science Camp in the Snowy Mountains, started by Knight in the 1920s, let students compare their field experience to his students’ decades ago. The final assignment took students to Red Buttes (images below) where Knight conducted his doctoral research in order to demonstrate their full range of new geology skills, from site reconnaissance to collecting and recording data.
As Erin shared, “Students were introduced to Knight through a guided walking tour of relevant campus sites (T. Rex statue, Apatosaurus skeleton, etc.) and completed a written reflection on what kind of man and geologist they thought he was based on the physical legacy he helped create.”
One of the students shared with Erin, “I just wanted to thank you for teaching this fantastic course and for giving me the best hands-on experiences with geology I’ve had to date. I can’t recall a day where I didn’t learn something new and I can’t thank you enough for that.”
Erin Stoesz, Wyoming State Science Fair Director and Assistant Lecturer in the UW Geology Department.
Incorporating archival materials into GEOL2080 gave students insight into the thought and work process of a legendary UW geologist while mastering field skills. Stoesz was grateful for the chance to bring geology history to life for her students: “Incorporating archival materials into GEOL2080 gave students insight into the thought and work process of a legendary UW geologist while mastering field skills. It showcased the wealth of unique resources held at the AHC.”
To see examples of the fossils that were central to Knight’s geological research and teaching, explore our Virmuze exhibit “S.H. Knight’s Fossils of Wyoming.”
Consider applying for an AHC grant to develop innovative educational projects.
Post contributed by AHC Archivist Leslie Waggener.
It is understandable for people to want to be remembered during their lives and beyond their deaths. For musical composers, their art can transcend their mortality, that is if their music continues to be performed and heard, or in other words, if their works make it into “the canon”. To Nancy Van de Vate (1930-2023), who during her lifetime was the “most recorded composer living”, an essential characteristic of canonization may have been to be male. In her own words, “Women just don’t make it into the canon.” As one of the most prolific and decorated composers of her time and for an organizer and leader of powerful women’s organizations, Van de Vate’s life is a testament to her insistence on being heard and remembered.
After becoming only the second women in the United States to receive a doctoral degree in music in 1968, Van de Vate was repeatedly denied even consideration for full-time faculty employment at the University of Tennessee (UT) though her credentials outshone the handful of men who were offered positions. She attributed this sustained dismissal to her being a woman in a heavily male-dominated field and university. Unwilling to go quietly, Van de Vate engaged in legal battles for multiple years against sex-based discriminatory hiring practices.
A drawing by Van de Vate’s attorney, Philip Durand, before a court trial. Box 12, Nancy Van de Vate papers, Coll. No. 7589, American Heritage Center, University of Wyoming.
In deposition files contained in Box 12 of her collection at the American Heritage Center, predominantly unflattering characterizations of Van de Vate are provided by former colleagues and faculty who were responsible for hiring decisions at UT’s department of music. She is described as “extremely demanding”, “very direct”, and one staff member even went so far as to call her “a hard, cold woman.” The department head that dismissed her application testified, “She is the kind of person that in our estimation would like to be independent and assert herself…[and] we felt that the person we hired would have to be an individual who could cooperate.” These descriptions formed the basis of the University’s defense against the lawsuits. Van de Vates’ rebuttal, as recorded in the deposition files, was: “Overqualified women make men uncomfortable.” Though she saw little success in her legal battles, this period seems to have only flamed her fire for activism.
Dr. Van de Vate was an outspoken advocate for herself and women in music and academia. Box 20, Nancy Van de Vate papers, Coll. No. 7589, American Heritage Center, University of Wyoming.
She went on to found a local chapter of the National Organization for Women and establish the International League of Women’s Composers, the first of three organizations that now make up the International Alliance for Women in Music. After holding a faculty position in Indonesia and moving to Vienna, she and her second husband, Clyde Smith, established Vienna Modern Masters, a recording label dedicated to new compositions with an emphasis on women composers. It was through this label that Van de Vate recorded an awesome amount of her own works. One of her most notable compositions, Chernobyl, was publicly and critically well received, leading to multiple prestigious nominations, awards, and performances.
A copy of Raymond Chatelin’s Pulitzer nomination of Nancy Van de Vate for her piece, Chernobyl. She went on to receive close to ten Pulitzer nominations in her lifetime. Box 26, Nancy Van de Vate papers, Coll. No. 7589, American Heritage Center, University of Wyoming.
There is a pattern of confidence and ambition in Van de Vate’s compositions. Her adaptation of Shakespeare’s, Hamlet, clearly demonstrates this. Though aware of a leading notion that the work was unadaptable, she was confident she knew better. She stated, “I don’t know how anyone can resist this text. The ghost is intoning to Hamlet, ‘Don’t forget me!’ and Hamlet cries back, ‘Oh yes poor ghost, I’ll remember thee.’ What could be better than that?” Aware of the possibility that her art would never reach a live audience, Van de Vate went to great lengths to have her Hamlet recorded. In the course of six years, she composed the opera in full score, organized and hired musicians, and oversaw the recording and production of the close to three hour opera.
The cover art of Nancy Van de Vate’s recording of Hamlet. Box 24, Nancy Van de Vate papers, Coll. No. 7589, American Heritage Center, University of Wyoming
In an article published by her alma mater, Wellesley College (in Box 20 of her papers), Van de Vate is described as the following:
She is assertive without being the least bit abrasive. However, one suspects she has no qualms about getting down and dirty when the need arises. Tall and poised, her short, salt-and-pepper hair immaculately coifed, her elegant exterior seems to hide a backbone of steel.
Elements of that description were once used to dismiss Van de Vate, but if anything, her tenacious personality brought her closer to what she may have desired most. To be remembered in a world that is inclined to forget her. Because “women just don’t make it into the canon.”
Post contributed University of Wyoming graduate student Cody Akin.
Many of us popped the cork on a bottle of champagne to welcome 2024. But a century ago, such celebrations that involved alcohol were illegal across the United States.
Wyoming’s own noble experiment banning liquor began on June 30, 1919, even before national Prohibition began on January 17, 1920. Voters had high hopes that outlawing alcohol would reduce societal problems. Yet like the rest of the nation, the Cowboy State soon faced hurdles enforcing the unpopular law.
Caption on the back of this photograph reads, “21 stills seized during October 1923 around Casper. Seized by Federal Agents O.W. Plaga and S.R. Owens with undersheriff Bill Irving.” Casper was regarded as a vice capital in the Rocky Mountain region, with open gambling, prostitution, and availability of illegal liquor. The oil boom there had attracted many single men looking for entertainment. Box 1, Otto Plaga Photographs, Coll. No. 10397.
Newly appointed Federal Judge T. Blake Kennedy had a front row seat to Wyoming’s difficulties enforcing Prohibition. In his unpublished memoir at the American Heritage Center, Kennedy described factors that enabled spotty enforcement and corruption.
According to Kennedy, the leader of Wyoming’s Anti-Saloon League, Fred L. Crabbe, had ambitions of becoming a national Prohibition commissioner. But rumors swirled that Crabbe himself was playing both sides. Kennedy wrote, “Just before he left Wyoming and while he was still in the position of Prohibition Commissioner, [Crabbe] came to me for the purpose of borrowing two quarts of my best gin which I had been careful to place in my private stock before prohibition went into effect. He promised that he would return a like amount in a few days and said he wanted the gin for a party which he was going to pull off. If he could replace it, it seemed to me that he was getting liquor from an illegal source. The fact that I never enjoyed the fulfillment of his promise as I was out my two bottles of gin.”
By 1922, hundreds of Prohibition violation cases flooded the courts, overburdening the system. Kennedy blamed the bottleneck on ill-equipped and unqualified Prohibition agents, stating “The enforcement agencies were not equipped with agents and employees who were skilled in the matter of preparing cases for prosecution like those who were in charge of the other classes of Federal crimes — the Post Office Department or the Treasury Department.”
Sheriff Al Morton and Undersheriff Chris Jessen pose with others in Green River after an arrest, July 1926. Box 1, Otto Plaga Photographs, Coll. No. 10397.
He also noted the difficulty of even finding capable agents, writing “No doubt it was very difficult to secure the proper types of men to fill the positions in the Prohibition Agencies. This added greatly to the matter of securing convictions and also to the trials and tribulations of the Judge upon the bench.”
Personnel in Casper’s police department in 1926. Box 1, Otto Plaga Photographs, Coll. No. 10397. In an October 1921 letter from Federal Prohibition Director Carl Jackson to the Supervisor of the Wyoming’s Anti-Saloon League, Jackson noted another enforcement issue was lack of cooperation from some local law enforcement who were “catering to the majority [while] the better element [was] silent as to its views.” The letter is found box 1 of the Episcopal Church Diocesan records held at the AHC.
Kennedy handed down stiff fines around $200 and refused to show leniency to those who went to trial versus pleading guilty. His policy, he admitted, “became fairly well-known.” In fact, he would “boldly announce” his sentencing policy in court “so that counsel would understand.”
Federal Revenue Agent Otto Plaga worked with the local sheriff’s department in Converse County to break up operations of a bootlegger named Manuel Victor in August 1923. Box 1, Otto Plaga Photographs, Coll. No. 10397.
Routine issues spelled doom for Prohibition in Wyoming and nationwide – inadequate staff and funding, inconsistent enforcement, and moral hypocrisy. Bootleggers stayed a step ahead, fueling contempt for the law.
As we celebrate the new year, we can raise a glass and agree that Wyoming’s “noble experiment” was indeed full of foibles.
To learn more about Wyoming’s Prohibition challenges, take a look at the T. Blake Kennedy papers at the AHC. Photographs by prohibition agent Otto W. Plaga also capture more Cowboy State history from the era.
Post contributed by AHC Archivist Leslie Waggener.
For more than three decades, Hands in Harmony captivated audiences with their unique blend of music, sign language, and dance. This non-profit organization, based in Cheyenne, Wyoming, utilized the art of “sign-singing” to communicate with the hearing impaired and spread positive messages to diverse communities. Although the group bid farewell in 2016, their impact lives on through the archives preserved at the American Heritage Center.
Hands in Harmony was a remarkable sign language performance group that operated from 1986 to 2016 in Cheyenne. The group was composed of young people ranging from the ages of 4 to 19. The organization dedicated itself to perfecting the art of “sign-singing.” Through choreographed sign language, they aimed to communicate with the hearing impaired, enhance the auditory experience for the hearing audience, and connect with people of all backgrounds.
An early Hands in Harmony performing troupe. Box 5, Hands in Harmony records, Coll. No. 12674, American Heritage Center, University of Wyoming.
Hands in Harmony touched the lives of countless individuals through a wide range of activities and outreach programs. Their annual schedule included almost 100 appearances each year, where they presented shows, workshops, full-length productions, specialty programs, and services in sound and sign. Their performances catered to various audiences, including conventions, schools, clubs, churches, community organizations, fraternal organizations, and individuals.
One of the notable aspects of Hands in Harmony’s performances was their diverse themes. They crafted shows for holidays, patriotic events, Western themes, Very Special Arts, drug awareness programs, and even 50’s programs. In addition, the group had a deaf ministry arm called Hands in Faith, which provided entire church services or special programs.
Throughout their existence, Hands in Harmony became renowned beyond Cheyenne, embarking on national tours to destinations such as Washington, D.C., New York, and Disney World. As they traveled, they carried the title of Goodwill Ambassadors of Wyoming, spreading their message of inclusivity and love across the country.
Hands in Harmony group in Washington D.C. Box 1, Hands in Harmony records, Coll. No. 12674, American Heritage Center, University of Wyoming.
After Hands in Harmony performed for the last time in December 2016, the process of archiving their materials began. Thanks to the dedicated efforts of individuals like Martha Borgaard, the group’s staging chart designer, a comprehensive collection of materials was gathered, organized into 40 separate sections within 128 books, ranging from 20 to 260 pages. This undertaking lasted about two-and-a-half years. Their records at the AHC contain a wealth of materials that reflect the vibrant history of the organization. Performance/tour books serve as valuable resources, providing insights into the group’s extensive repertoire and meticulous preparations. These books highlight the dedication of the young performers, who had to achieve a certain level of sign language proficiency before appearing on stage. Vocabulary building was an integral part of their weekly rehearsals, ensuring their performances were precise and impactful.
Apart from performance-related materials, the archives also encompass a documentation history. This collection contains correspondence, photographs, newspaper clippings, printed materials, memorabilia, scrapbooks, and video recordings. Through these records, the rich tapestry of Hands in Harmony’s legacy comes to life, showcasing the profound impact they had on the community and the enduring friendships formed within the group.
Front cover of “HiH Christmas 1986-2016” album featuring photographs of the Hands in Harmony group performing their holiday shows. Box 2, Hands in Harmony records, Coll. No. 12674, American Heritage Center, University of Wyoming.
Yet, the archival material of Hands in Harmony serves as more than a mere collection of documents; it embodies the memories, experiences, and aspirations of countless individuals involved with the group. For former members, the archives evoke nostalgia and serve as a reminder of the enduring friendships that blossomed within the organization. The photographs within the books capture the growth of the young performers and the lasting bonds that transcended time.
The archives also tell a broader story, one that emphasizes the importance of communication and understanding. Hands in Harmony’s performances transcended language barriers, allowing them to connect with diverse audiences on a profound level. Through their commitment to inclusion, they taught us the universal language of love and the significance of embracing our differences.
Post contributed by AHC Simpson Archivist Leslie Waggener.
The University of Wyoming has thousands of employees. Many of them are professors, departmental staff, administrators, custodians, and chefs. But there is one special person who has a position like no other, University Archivist and Historian John Waggener.
John Waggener is pictured above in his faculty photo (photo courtesy of Ted Brummond, University of Wyoming Photo Services)
“My position is the University Archivist, and I’m the only one who specifically concentrates on university records,” Waggener relates. “There are two kinds of records. There are permanent records. So those are the ones that get archived. And then there are temporary records, and those are records that, at some point in time, will get destroyed.”
“The historian part is separate – related, but it’s separate.” Waggener notes. “I get to know the university as well as I can. A really good way to do that is to focus your research on the university, so my major research focus is University history.
Waggener is a University of Wyoming graduate, both for his undergraduate and master’s. After receiving his diploma, he was fortunate to be able to stay on campus and work at the American Heritage Center, where he has been for the last twenty-two years.
For the first two decades, he worked in the AHC’s Reference Department, where he conducted research for various patrons in the AHC’s rich collections. Then, in 2022, Waggener entered his current position.
An example of the types of UW historical buildings Waggener studies. This image is found in the AHC’s photo files and shows the Wyoming Union, which was constructed in 1939.
“For 21 years, I worked in the Reference Department,” Waggener recalls. “The Reference Department is the department that works with patrons who are doing research, and basically there are two kinds of research you want to think of. There’s the onsite research – people who are in our reading room doing onsite research. Then there are all those patrons who contact us and say, “Hey, I’m working on a project, but I can’t come to where you are. Can you do the research for me?” John’s experience in Reference allowed him to touch on almost every subject area housed at the AHC – everything from military history to environment and conservation to journalism to UFOs.
While interesting work, Waggener appreciates that his new position allows for in-depth research into one of his favorite topics – the history of the University. “In this position, I have the opportunity…I have some time set aside to dig deeper. So instead of just touching the surface, I’m able to dig deeper.”
Although he loves and appreciates his current role, it does come with its challenges. “Things are constantly coming in. People are constantly asking you, “Hey, what do I do with this? Do I need to keep it longer. Do we need to donate it to the archive?” and that’s constant and then trying to balance that with my own research on the university’s history,” Waggener explains. “Everyone always comes to me. Therefore, I just do whatever’s in front of me at the moment.”
An example of the types of UW historical landscapes Waggener studies. This is a view of the university campus looking east dating to the early 1900s. The photograph is from the S.H. Knight papers at the AHC.
However, his love for UW is never in doubt since Waggener grew up attending football games with his family and is currently working on a history of buildings, past and present, on the University of Wyoming campus.
“I’m really focused on trying to get all the histories of the buildings. People are interested in buildings because it’s kind of what we remember. We remember buildings. We remember the campus,” says Waggener. “So numerous buildings still exist on campus. A lot have been torn down. The campus has grown. I’ve spent a year doing basic building history and haven’t even touched the surface yet. So, I’m thinking, “Wow, we don’t even know our own building history here. It hasn’t been well documented. And some of the documentation out there isn’t accurate.”
To learn more about the AHC’s University Archives program and to find John’s contact information, please go to https://www.uwyo.edu/ahc/uw-archives/.
