In commemorating the 100th anniversary of Disney Brothers Studio, now known as the Walt Disney Company, it’s a good time to reflect on the remarkable individuals who have left an indelible mark on its history.
Disney is a studio that has given us a number of much-loved characters as well as enduring stories that have captured the hearts of audiences around the globe. However, Disney has also faced scrutiny over the years, from concerns about cultural representation to debates on artistic originality. Amidst these discussions, one cannot overlook the exceptional contributions of individuals who played a pivotal role in shaping the animation industry. One such person is Carl Stalling, a creative talent who composed music for many Disney and Warner Bros. cartoons.
Storyboard sketch for a Disney film featuring Mickey Mouse. Box 1, Carl Stalling papers, American Heritage Center, University of Wyoming.
In 1923, the brothers Walt and Roy Disney founded Disney Brothers Studio with a mission to create entertaining and imaginative cartoons. Walt, with his endless creativity and passion for storytelling, became the driving force behind the studio, pushing the boundaries of animation and overseeing the artistic direction. Meanwhile, Roy, with his keen business acumen and financial expertise, managed the operational aspects, ensuring the studio’s stability and growth. Together, they formed a remarkable partnership that laid the foundation for the enduring Disney legacy. Notably, their early collaboration with Margaret J. Winkler, a prominent figure in the animation distribution business, played a crucial role in the studio’s success.
Enter Carl Stalling, a gifted composer and arranger, whose contributions to Disney Studio left a lasting mark on the world of animation. Stalling’s exceptional musical talent and innovative approach to scoring animated films elevated the viewer’s experience and become synonymous with Disney’s magic.
Stalling was born on November 10, 1891, in Lexington, Missouri. With an innate musical talent, he began his career as an organ accompanist for silent films at the Isis Movie Theatre in Kansas City, Missouri. His virtuosity captivated audiences in the early 1920s. Walt Disney got his start at the Isis as well by drawing commercial slides for the theatre. Stalling’s ability to combine well-known music by other composers with his own improvised compositions impressed Disney.
Walt Disney and Stalling kept in touch and when the Disney brothers opened a studio in California, Stalling was hired soon after. The musical impresario composed several early cartoon scores for Disney, including Plane Crazy and The Gallopin’ Gaucho in 1928, which were the first two Mickey Mouse animated short films in production.
Collaborating closely with Walt Disney, Stalling forged a creative partnership that would influence the direction of animated storytelling.
Carl Stalling playing the piano while Disney animators sing along to “Minnie’s Yoo Hoo.” Standing behind the piano, Walt Disney is second from the left. Carl Stalling photo files, American Heritage Center, University of Wyoming.
During his tenure at Disney, Stalling lent his musical prowess to numerous projects, crafting unforgettable scores for a wide range of films. His compositions brought depth and emotion to the early Mickey Mouse shorts andthe “Silly Symphonies” series.
In the early 1930s, Carl Stalling made the decision to leave Disney Studio and join the ranks of Warner Bros. Cartoons, where he continued to make significant contributions to the world of animation. At Warner Bros., Stalling’s musical genius found an ideal canvas to shine.
Title music for the Warner Bros. cartoon Bugs Bunny “What’s Up, Doc”, written by Carl Stalling. Box 2, Carl Stalling papers, American Heritage Center, University of Wyoming.
He revolutionized the integration of music in animated cartoons, employing a wide range of musical styles, from classical compositions to popular tunes and original scores.
While Stalling’s time at Disney was relatively brief compared to his later career at Warner Bros., his contributions to the studio’s early successes cannot be overstated. His musical arrangements set the stage for the enchanting world of Disney animation and established a legacy that continues to resonate with audiences to this day.
The papers of Carl Stalling can be found at the American Heritage Center, providing invaluable insights into the creative process of this exceptional music man.
Post contributed by AHC Simpson Archivist Leslie Waggener.
Christopher Nolan’s latest film Oppenheimer depicts the dramatic events that surrounded the development of the atomic bomb and its aftermath. One of the key episodes in the film is the confirmation hearings for Lewis Strauss, who was nominated by President Eisenhower for U.S. Secretary of Commerce in 1959.
Strauss was a prominent figure in the Atomic Energy Commission (AEC) and had orchestrated a security hearing that branded J. Robert Oppenheimer, the father of the atomic bomb, as “a security risk.” The film shows how a freshman senator from Wyoming, Gale W. McGee, helped expose Strauss’s role in Oppenheimer’s persecution and led the opposition that ultimately defeated his nomination.
Actor Harry Groener portrays U.S. Senator Gale McGee in the film Oppenheimer. Photo clipped from Dexerto image.
Gale McGee was a Democratic Senator from Wyoming who served from 1959 to 1977. He was a former professor of American history at the University of Wyoming and a specialist in foreign policy and international affairs. He founded and chaired UW’s Institute of International Affairs in 1946.
McGee was born in Lincoln, Nebraska, on March 17, 1915. He attended public schools and had planned to study law in college but was forced by the Great Depression to attend the State Teachers College in Wayne, Nebraska. He graduated from the Teachers College in 1936 and worked as a high school teacher while studying for a master’s degree in history at the University of Colorado. In 1946, McGee received his Ph.D. in history from the University of Chicago.
Shortly after receiving his doctorate, McGee accepted a position as a professor of American history at the University of Wyoming. He quickly became popular among his students and colleagues for his engaging lectures and his expertise on international affairs.
McGee became active in Democratic Party politics and was asked to run for the U.S. Congress in 1950, but declined, saying he wanted to get more in touch with Wyoming and its people. In 1955–56 he took a leave of absence from the university to work as top aide to Wyoming Democratic Senator Joseph C. O’Mahoney.
By 1958, McGee believed the time was right to run for political office. He left the university to make his bid for the U.S. Senate, challenging incumbent Frank A. Barrett. McGee ran on a program of youth and new ideas. He was elected and began serving as a freshman senator on January 3, 1959.
A photograph of Dr. Gale McGee that was used in a campaign booklet for his first run for U.S. Senate. In 1958, after twelve years of teaching at the University of Wyoming, Dr. McGee left to make his bid for the U.S. Senate and was elected. Box 12a, Gale W. McGee papers, Collection No. 9800, American Heritage Center, University of Wyoming.
Only two weeks into McGee’s senate term President Eisenhower nominated Lewis Strauss for Secretary of Commerce. The nomination was referred to a committee on which McGee was the lowest-ranking member.
Strauss was accomplished. He had received the Distinguished Service Medal. Eisenhower chose Strauss to head the AEC in 1953 and awarded him the Medal of Freedom. However, Strauss also had a dark side. He had set up a security hearing that was akin to an inquisition, intending to have Oppenheimer declared “a security risk.”
Strauss withheld critical information from the AEC hearing board that condemned Oppenheimer, such as exculpatory evidence that showed Oppenheimer’s loyalty to the U.S.
The movie chronicles these events, which were revealed largely as a result of the work of a tenacious freshman senator from Wyoming.
At the Senate hearings, Strauss anticipated an easy ride but didn’t help himself when he encountered McGee for the first time. Strauss had not made McGee’s acquaintance and replied arrogantly, “I don’t respond to questions from staff members.” McGee politely informed Strauss he was a senator who would appreciate answers to his questions.
It was downhill from there.
McGee exposed Strauss’s role in Oppenheimer’s persecution and accused him of “a brazen attempt to hoodwink” the committee. McGee also found allies among other senators who had personal or professional disagreements with Strauss, such as Majority Leader Lyndon Johnson and Senator Clinton Anderson, who chaired the Joint Committee on Atomic Energy. Before Wyoming’s freshmen senator knew it, he had become an obstacle that a U.S. President faced in his quest for something he wanted badly.
In his office, McGee and his staff put in long hours, day and night. Oppenheimer came in at night, under cover of darkness, to assist. They were aware of the gravity of the situation: they had to challenge the president of the United States on his appointment of a Cabinet secretary.
A page of Gale McGee’s FBI file with an article from TheWashington Post titled “Nixon Stops Attack on Strauss” which discusses McGee’s speech on the Senate floor addressing Strauss’ testimony before the Senate Interstate and Foreign Commerce Committee, 1959. Box 986, Gale W. McGee papers, Collection No. 9800, American Heritage Center, University of Wyoming.
After raucous debate, the nomination was defeated 49-46.
Eisenhower called it “one of the most depressing official disappointments I experienced in my eight years in the White House.”
After leaving the Senate, McGee reflected on his role in the Strauss affair, calling it “an accidental event of rather considerable proportions.”
The portrayal of Senator McGee in Oppenheimer serves as a reminder of the complex political dynamics that surrounded the development of nuclear weapons and their subsequent impact on global politics. His presence during Strauss’s confirmation hearings underscores his involvement in these critical historical events.
The front page of the Report of the Committee on Interstate and Foreign Commerce on the Nomination of Lewis L. Strauss of New York to be Secretary of Commerce, June 4, 1959. Box 986, Gale W. McGee papers, Collection No. 9800, American Heritage Center, University of Wyoming.
To learn more about Gale McGee, see his extensive papers held at the American Heritage.
This post is partly based on a wonderful article by Gale McGee’s biographer Rodger McDaniel that appeared in the July 29, 2023, issue of the Wyoming Tribune Eagle. McDaniel is the author of The Man in the Arena: The Life and Times of U.S. Senator Gale McGee (2018).
Post contributed by AHC Archivist Leslie Waggener.
With the increased popularity of video conferencing platforms like Zoom over the last few years, more and more people began to notice room backgrounds. The idea of “rating the room” often became more important than what was discussed.[i] Many of these ratings focused on a person’s book shelves and their contents, organization, or disorganization. The raters would dissect the shelves’ contents to see what details they offered about those they met only virtually. In a time when many of us were only visible on computer or phone screens, viewing a person’s library was another way to form some sort of connection.
Does this background look familiar? This image is from a blog describing Zoom backgrounds that make you look smart.
In the Toppan Rare Book Library, we acquire the personal libraries of individuals and use the collections to learn more about them by looking at the books they collected and kept. Were the books well-read, did the owner make notes throughout the books, what types of personal items were tucked away in the book, like a pressed flower or a valentine? All of these clues can tell us more about the books’ owners and we can even surmise in some instances why these particular books were kept over time.
One of the benefits of researching at the American Heritage Center is the large manuscript collection and the Toppan Rare Book Library. Many of the persons who donated their personal papers also generously donated their book collections so you can study both sets of materials side by side. This is especially beneficial in the case of authors where you can examine their manuscript collections to discover their work process but then look at their book collection to see what books or authors they read for research, enjoyment, or inspiration.
Some examples of corresponding manuscript and rare book collections housed at the AHC are psychologist R. Leo Sprinkle, journalists Grace Richardson, Irene Kuhn, and Joan Younger Dickinson, author Katharine Burt, and University of Wyoming professor Agnes Mathilde Wergeland.
Recently the Toppan Library catalogued a set of books owned by Harriet Hinsdale. Her collection contained copies of books she authored but also a wide variety of fiction and nonfiction on various subjects. The AHC also holds Hinsdale’s manuscript collection, which contains photographs, articles and book drafts, some correspondence, research for her writing, and diaries.
Harriet Hinsdale as a young woman, probably around 1905. Box 1, Harriet Hinsdale papers, Collection No. 5039, American Heritage Center, University of Wyoming.
In particular her diaries offer a fascinating look at her research and writing process. Hinsdale’s five-year diary written between 1946 and 1950 indicates that she spent similar amounts of time researching and working on each project and can even track the times of year she generally traveled for research trips.
This diary provides an in-depth look at two of her well-known projects, the 1943 play Crescendo and her 1950 romance novel, Be My Love. She traveled to Boston while writing Be My Love and noted research visits at various libraries and explorations at historic sites around the city that were significant for the setting of the book. In her book collection is a volume titled Report of the Record Commissioner, Boston Town Records, 1742-1757 which contained laws and town policies. Another likely useful book in her research was Three Heroines of New England Romance published in 1895. Publications like these helped to ensure an accurate depiction of the social and political society of the time periods she portrayed in her works.
This page from Hinsdale’s diary provides a glimpse at the projects the author worked on during the same time period in four different years. Box 13, Harriet Hinsdale papers, Collection No. 5039, American Heritage Center, University of Wyoming.
In addition to her personal papers, Hinsdale’s rare book collection offers us more insight into her work and her personal life. Her library contains numerous novels, non-fiction, poetry, and other genres, but of particular significance are works that were adapted into plays. The latter relates not only to her work writing Hollywood screenplays and plays, but also to her father, Thomas W. Broadhurst, and her uncle, George Broadhurst, who also worked as writers, playwrights, directors, and producers.
Harriet Hinsdale, now a published author. Box 1, Harriet Hinsdale papers, Collection No. 5039, American Heritage Center, University of Wyoming.
Works written by women authors or books about gender relations were also prominent in Hinsdale’s library. Novels by Lillian Hellman, Ethel Jacobson, Rachel Field, Irehna Hobson, and Fern Rives all feature prominently in the collection. Some of the books related to the relationships between men and women, but a few look more deeply into gendered ideas of the time such as Women Pro & Con (1958) and Wings to Youth (1950) by Irehna Hobson which looks at ideas of beauty and the struggle to remain young. While we cannot know for sure whether these were for research or pleasure, we can surmise that these books were significant to Hinsdale as she kept them in her collection, knowing she would eventually donate them to a library upon her death, which occurred in 1982.
A selection of Hinsdale’s books at the American Heritage Center. Photo provided by Mary Beth Brown.
One of my favorite aspects of being a researcher and an archivist is having the opportunity to have access to the collected papers of individuals whose story can be told through the materials they collected throughout their life. While the breadth of the manuscript and rare book collections at the AHC is vast and varied, taking the time to consider an individual’s personal book collection is worthwhile. It can reveal a lot about that person. It can also help those of us in the present day relate and make connections to the books that have been read, enjoyed, and treasured over time.
Post contributed by Toppan Rare Books Librarian Mary Beth Brown.
#alwaysarchiving
[i] Room Rater X (twitter) account: @ratemyskyperoom
With September 25th as National Comic Book Day, it’s an appropriate time to delve into the captivating legacy of cartoonist Will Gould.
Gould was born in 1911 in the Bronx borough of New York City. His father owned a haberdashery store and entertained his sons by drawing on wrapping paper when business was slow. Young Will himself took up drawing while sick with scarlet fever at the age of six. He was a reluctant student who whiled away his school days sketching and playing hooky. Gould soon dropped out of high school at the age of fourteen and got a job as an office boy for an advertising agency. Eventually he found employment at The New York Herald. It was there that he got his first glimpse of a cartoonist at work.
By 1929 Gould was working as the sports artist for the Bronx Home News. He covered high school and college sports, many baseball games and boxing. In the first year covering boxing he saw more than two thousand bouts.
Examples of Will Gould’s drawings from an advertisement for his services as a newspaper sports artist. Box 1, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
Gould prided himself on being a student of human nature, studying colorful characters from show business, sports, politics, and the underworld. It was some of this accumulated knowledge that he put to good use in his 1920s comic strips Felix O’Fan and Asparagus Tipps. Gould’s Felix O’Fan character had one ambition – to devise plots to get past the gate keepers at ball parks and boxing matches.
Felix O’Fan cartoon by Will Gould. Box 9, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
Asparagus Tipps, on the other hand, was a comic strip character who placed bets on racehorses. Readers who followed the strip were soon placing their own bets at the racetrack on the same horses Asparagus Tipps chose. New York bookies were not pleased.
When Gould wasn’t drawing cartoons, he tried his hand at songwriting and composing. By 1930, Gould made the decision to leave New York for California, where he did some freelance work as a cartoonist. In 1934, King Features Syndicate approached Gould about doing a detective comic strip to compete with Dick Tracy. Gould came up with Red Barry.
Will Gould, pictured with his dog while his cartoon creation “Red Barry” looks on. Box 8, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
Red Barry’s appearance was a composite picture of all the sports stars Gould had drawn over his career. Gould described Red Barry as a clean-cut former football player, undercover detective, and friend of the law. For storylines and style, Gould took inspiration from a favorite detective novelist, Dashiell Hammett and from his boyhood friend, Dan Campion, who was the chief of New York City’s bunco and racketeering squad.
Gould’s view on the necessary ingredients for a successful comic strip were “a likeable drawing style, likeable characters and a sense of humor that needn’t depend on old jokes.” Of Red Barry, he said, “To attract readers young and old I mixed corn, satire, sophistication … and the violence necessary to call Red Barry a detective strip.”
Red Barry comic strip by Will Gould. Box 6, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
Critics said he was years ahead of his time, with his bold pen slashes, black brush designs and vivid, athletic drawings. Early proofs of Red Barry were sent to newspaper publisher William Randolph Hearst for his review. Hearst returned the proofs, having written on the top, “I will not tolerate such violence in my newspapers.” Gould was undeterred. In Red Barry, Gould’s trademark style evoked a mood of imminent violence and impending danger. He wasn’t afraid to draw criminals with guns blazing. One of his most controversial strips even featured a death row electric chair scene.
The first Red Barry comic strip was based on a real incident involving New York mobster Vincent “Mad Dog” Coll. Coll gunned down two innocent children while shooting at rival gangsters on New York’s Lower East Side. To critics of the violence, Gould argued that his comic strips were reflective of the actual violence during the era. Real life bad guys like Al Capone and “Machine Gun” Kelly provided Gould with another source of inspiration.
Red Barry appeared daily in hundreds of newspapers. It was remarkably popular at the time – in a newspaper contest to crown the best comic, Red Barry came third, only losing out to Popeye and Mickey Mouse.
Will Gould surrounded by fans of his Red Barry cartoon strip. Box 7, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
Red Barry was also well received in Italy and South America, where the strip and character were renamed Bob Star. Fan mail poured in. Over time Gould introduced other regular characters to the comic strip, including a young sidekick to Red Barry named Ouchy Mugouchy and Ouchy’s friends who comprised the “Terrific Three”. The colors in the strip became markedly brighter and Red Barry himself sometimes disappeared from the storyline altogether.
Red Barry comic strip by Will Gould. Box 6, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
As the years passed, Gould found keeping up production of a daily comic strip a challenge – he was perpetually behind deadline and often worked on story ideas through the night with his assistant Walter Frehm at his favorite Beverly Hills café. By 1938, Gould and King Features Syndicate were at odds over copyrights to Red Barry. Gould abruptly stopped drawing the strip and turned his attention to writing Hollywood scripts instead. The last Red Barry comic strip appeared in a Sunday paper in 1939.
During World War II, Gould served as an Army corporal stationed at the Fort MacArthur reception center in San Pedro, California. Among his duties were editor and cartoonist for the camp’s newspaper, the Fort MacArthur Bulletin.
Drawings by Corporal Will Gould from the Fort MacArthur Bulletin, October 22, 1943. Box 6, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming.
In the 1950s, Gould’s screenwriting credits include episodes of the popular television show Lassie. Many of his days were spent indulging his passion for golf. For a time in the 1960s and 70s, Gould worked as an editor and cartoonist for the Writers Guild of America newsletter. His cartoon “The Schnoox” poked fun at the challenges Hollywood writers faced. Gould had limited success as a screenwriter, so he had ample personal experience to draw from. His ballpoint pen drawings for “The Schnoox” harken back to his work in the 1920s.
A Will Gould cartoon from the Writers Guild of America newsletter, March 1975. Box 3, Will Gould papers, Collection No. 8877, American Heritage Center, University of Wyoming
In his later years, Gould dabbled in writing screenplays and was embroiled in a series of lawsuits. He died in California in 1984.
For those interested in learning more about the man behind Felix O’Fan, Asparagus Tipps and Red Barry, the Will Gould papers are available at the American Heritage Center.
Post contributed by AHC Writer Kathryn Billington.
By now, you’ve learned how the American Heritage Center (AHC) intakes, processes, and digitizes history from both the University of Wyoming, the West, and around the country. But how can people like yourselves, who want to view these documents, go about doing so? Well, Archives Specialist Vicki Glantz has the answer to that.
Glantz works in the AHC Reference Department and oversees its reading room. She explains, “Reference services entails answering research requests from patrons and providing that customer service to them.”
The reading room where researchers are able to look into collection materials of their choice. (Photo courtesy of Carissa Mosness)
Vicki adds, “We help them learn how to be researchers because a lot of people don’t even know what questions to ask or where to start, and we help them do that. My primary job is to make sure that there are student workers called “pages” available to go downstairs in the storage areas and retrieve the boxes.”
The AHC employs a number of students who are earning their degrees at the University of Wyoming. They are the individuals who pull boxes of historical documents for researchers, and, right now, the Reference Department has a total of seven students. Glantz oversees them all and helps them navigate the basement storage areas filled with boxes.
“There’s extensive training you must go through in order to be allowed down there in the first place. And to be able to pull boxes,” explains Glantz.
“The stacks are all movable, but you have to know how to operate the machinery. It’s really interesting down there, but you have very extensive training before we allow anyone down there to pull boxes.”
Just one small section of the AHC’s enormous storage areas. The Center houses more than 3500 collections. (AHC photo)
The current boxes that the student employees pulled recently for onsite researchers (Photo courtesy of Carissa Mosness)
And while many researchers come to the Center in person, if they are unable to make the trip, the AHC recently added an online method to help them out.
“Our director decided that it’d be a good idea to build two rooms. We call them the “pods.” They’re at the back of the reading room. There’s a computer and monitor and a camera,” describes Glantz.
“We built them during COVID for when people couldn’t come in and we were closed. People could still call in and request materials, and we would make scans and send them. Using the pods, we can have live conversations with our distance patrons.”
The pods that are used for sharing historical documents with the world. (Photo courtesy of Carissa Mosness)
Vicki enjoys connecting with people all over the world, both in person and digitally, and there is one thing she wants everyone to know.
“We are not a museum, and we are not a library. When people come here to research their books, when they get it published, it goes to a library, not here.” Glantz exclaims.
“You come here to research your book first and then get published, and then your book goes to the library. That’s how I explain that difference to people. And the museum is right next door. The AHC does have regular displays throughout the building, with materials from our collections.” Vicki is referring to the University of Wyoming Art Museum, which is also housed in the Centennial Complex.
In honor of National Hispanic Heritage Month, our blog is highlighting the archived collection of the University of Wyoming’s chapter of Movimiento Estudiantil Chicana/o de Aztlán, more commonly known by its acronym MEChA. As an organization, MEChA encourages cultural pride, dignity, and unity. The University of Wyoming chapter was founded in 1984.
According to MEChA documentation from our archives, Aztlán, the “A” in the organization’s acronym, refers to the legendary place of origin of the Aztec peoples. Within Chicana/o folklore, Aztlán is the name for that portion of Mexico that was taken over by the U.S. after the Mexican American War of 1846. The literal translation of Movimiento Estudiantil Chicana/o de Aztlán from Spanish is “Chicana/o Student Movement of Aztlán”.
At the University of Wyoming, MEChA was the outgrowth of the UW Hispano American Student Organization, which began in 1969, and then the UW Chicano Student Coalition. Members of those early organizations provided a campus support system. Their activism included the involvement of UW Chicano Student Coalition members in a May 1970 student vigil on campus in solidarity with the students at Kent State University. (During the protest UW students faced off against members of the Wyoming National Guard who had been sent to Prexy’s Pasture to break up the vigil and lower the American flag. Unlike at Kent State University, the University of Wyoming face off was resolved peacefully.) Some early members of the UW Chicano Student Coalition were Vietnam War veterans.
At the beginning, club leadership positions were held primarily by men, although the club’s history notes that Lila Rodriguez, from Cheyenne, was the first woman to hold a club office, as Vice President, from 1972 to 1973. Then, during the 1973-1974 school year, the club had its first all-female team of officers.
The organization helped to coordinate a series of Chicano Conferences on Education at UW, a Chicano Leadership Conference and Chicano Student Days at UW. MEChA members were involved in establishing what is now the University of Wyoming’s Multicultural Resource Center. The group hosted social activities including participation in the UW Homecoming parade, study gatherings, group dinners and fiestas. MEChA members organized a whole slate of events for Semana Chicana and National Hispanic Heritage Month.
Additionally, MEChA sponsored activities during the Semana Primavera (Spring Week – a week of cultural festivities and performances) and el Dia de los Muertos (the Day of the Dead – a holiday widely observed in Mexico honoring the deceased). MEChA brought the first Cinco de Mayo (celebrations of the fifth of May remembering Mexico’s victory over the French Empire at the 1862 Battle of Puebla) to the UW campus.
By 2008, MEChA’s constitution outlined the organization’s purpose as follows:
To strive for educational, cultural, social, political, and economical empowerment of our gente within our communities.
To involve itself in social, political, and educational actions and events to help build Chicano pride, confidence, and identity.
To encourage and support our gente in and through higher education.
To bring cultural awareness into the University of Wyoming and our community.
To implement plans of action that benefits the advancement of our gente.
Gente in Spanish translates to “people”.
Over the years, MEChA brought comedians Jackie Guerra and Cheech Marin, folk singer and educator Chuy Negrete, and actor Edward James Olmos to campus. The group organized speakers on a diverse array of subjects including US-Cuba relations, Chicano history in Wyoming and Racism at UW. MEChA arranged for Aztec dancers and the Ft. Collins Grupo Folklorico to perform in the student union. The organization sponsored refreshments for a bilingual mass at St. Laurence O’Toole Catholic Church in Laramie and organized a blood drive to honor labor leader and farm worker advocate Cesar Chavez.
Some years, the club sold traditional foods to raise funds. MEChA members also met periodically with UW’s President and Provost. They raised issues related to the teaching of their cultural history and the need for more faculty who could do so.
MEChA sponsored the University of Wyoming’s First Annual Hispanic Film Presentation in 1988 with a showing of La Bamba. The movie portrays the story of Ritchie Valens’ (Richard Valenzuela’s) meteoric rise to the top of the rock and roll world in the 1950s. Valens is credited with helping establish the genre of Chicano rock. MEChA coordinated scholarly speakers before and after the film who discussed the historical, cultural, and social themes raised in the movie as well as stereotypes portrayed. The film entertained and educated an audience of more than 100, including many off-campus members of the Laramie community.
Flyer for the First Annual Hispanic Film Presentation at the University of Wyoming, sponsored by MEChA, March 15, 1988. Box 24, Wyoming Council for the Humanities, Collection No. 9894, American Heritage Center, University of Wyoming
In more recent years MEChA has organized seminars on immigration reform and marched for social justice.
The 1984 to 2016 records of the University of Wyoming chapter of Moviminto Estudiantil Chicana/o de Aztlán (MEChA) are available at the American Heritage Center. They provide insight into the organization’s history, membership, and its contribution towards building a more diverse UW.
Post contributed by AHC Writer Kathryn Billington.
In this day and age, technology is everywhere and embedded in everything we see and do. But how do we digitize historical documents while perfectly preserving them? Well, the University of Wyoming’s American Heritage Center has someone named Halena Bagdonas, who works as a digitization lab supervisor to do just that.
Halena poses with a relay torch from the 1996 Olympics found in box 11 of the Hugh Downs papers, Collection #10150-01-02-02. Who says archivists don’t have fun! (Photo courtesy of Halena Bagdonas)
Bagdonas works to digitize various materials based on research popularity of certain collections and on other institutional priorities.
“Basically, we’ll pull from storage whatever box we’ve identified. And then, within that box, we’ll pull the folder we need. We’ll take that folder and then on the Zeutschel [scanner], we can scan items out of the folder two at a time. So, the scanner takes a picture from overhead, and then you just keep going.” Bagdonas explains. The two Zeutschel scanners pictured below can digitize photographic material and textual documents and can safely scan books without damaging the bindings. By the way, the scanners didn’t come with eyes. That’s just quirky archival humor.
“If it’s a photograph, once I review that, then I have to make a CSV out of the Excel, and then I upload it to Luna, there’s the backside where I create the collection, and then can add the metadata and then the scans. But if it’s an envelope or a folder of letters, we turn those into book readers on Luna. And so, then that involves changing the metadata to PDF metadata and then doing the CSV, and then I have to make book readers out of the PDF, then Luna combines that into a book.”
Like me, you may be scratching your head at the terms Halena just mentioned. She has one of the most high-tech jobs at the AHC and is versed in the language associated with digitization. For us regular folks, a CSV is short for “comma-separated value” and is a text file with a specific format that allows metadata to be saved in a table-structured format such as you see in Excel. Metadata is basically information about each item digitized and includes title, date digitized, collection from which the item came, etc. That info is needed so we (and you) can better find the digital object in Luna. That leads to what Luna is about. Luna refers to software the AHC uses to ingest, store, manage, and display digitized materials. That can include documents, photos, and video and sound files. You can search through the AHC’s Luna database yourself to see the thousands of materials that have been digitized over time. A “book reader” allows the viewer to see a set of materials such as a pamphlet or a group of letters in a book format so you can just turn the page (virtually, at least) instead of clicking on each page. The book reader helps keep items together that belong together.
But, as we know, technology is not always what it’s cracked up to be. Bagdonas then elaborated on how sometimes technology gets in her way while uploading history online.
“Sometimes the uploading goes really well. But then Luna can be really finicky sometimes,” Bagdonas noted, “When you do the book readers, after you upload the different sections of files and process the book parts, depending on how many pages it is, that can take a while and so you can’t really do anything else while it’s putting the files together into the book reader.” That’s when you might see an archivist twiddle their thumbs.
“All of our digitized materials are on servers. We’re not saving stuff to the desktop as we’re concerned about losing it. But if the server or the internet goes down, then we can’t access our servers to look at our material.” Another thumb twiddling moment, although Halena doesn’t have a lot of time for that. She always finds something that needs to be done.
Boxes filled with documents that Bagdonas is in the process of digitizing for easier research access. (Photo by Carissa Mosness)
Despite the challenges, Bagdonas loves the American Heritage Center and has been working there since 2005, where she was an intern during her time as an undergraduate student at the University of Wyoming. Then she moved up to become a scanning technician in 2009 before landing her current position in December 2020.
Notice the old equipment? Archives can be veritable museums of old playback equipment as they try to best preserve audiovisual materials. (Photo by Carissa Mosness)
Bagdonas recalled for me her favorite collection that she has worked with during her time at the Center.
“I really do like old Hollywood stuff because I’m a big classic film person,” Bagdonas exclaimed, “We have the Jacques Kapralik collection. There’s a bunch of shadow boxes from scenes from different movies he created, and he used to create the title cards they used to film back in the day.”
3-dimensional artwork by Jacques Kapralik for the 1948 film Easter Parade starring Judy Garland, Fred Astaire, Ann Miller, and Peter Lawford. His intricate artwork made from paper cut-outs and other materials was used by many Hollywood film studios to market their film productions. Box 56, Jacques Kapralik papers, Collection #4064, American Heritage Center, University of Wyoming.
Bagdonas pulls up a digitized piece of artwork from the Jacques Kapralik papers at the AHC. Digitizing materials can help mitigate the wear and tear of use, thus helping to preserve original materials. (Photo by Carissa Mosness)
August 26th marks Women’s Equality Day, and in that spirit, our blog will delve into the papers of Professor Gladys Margaret Crane, a woman of many interests and talents. She was born in Philadelphia, Pennsylvania, on August 8, 1928. Crane attended high school and college in Washington, going on to receive a master’s degree in rhetoric and public address in 1955 from Northwestern University. She then graduated from Indiana University in 1968 with a Ph.D. in theatre. Her dissertation was titled “The Characterization of the Comic Women Characters of George Bernard Shaw.”
As she worked her way through her degrees she taught in various high schools and colleges, eventually becoming an assistant professor of theatre at Drew University in Madison, New Jersey. She studied acting at the Herbert Berghof Studio in New York.
Professor Gladys M. Crane. Box 32, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
In 1969 she was hired by the University of Wyoming, where she spent 24 years in the theater department. As a professor, she received praise from her students who described her as “a fantastic teacher” and “well read, entertaining and insightful.” Crane was Head of the Department of Theatre and Dance from 1987 to 1992. Much of her academic published work was related to George Bernard Shaw.
One of Prof. Crane’s many publications about Shaw. Box 18, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
She also directed five of George Bernard Shaw’s plays at UW, along with more than thirty plays by other playwrights.
A partial list of plays directed by Prof. Crane at the University of Wyoming, 1986. Box 1, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
Crane was active in university life, serving as a UW Faculty Senator and on both the Women’s Studies Committee and the University Tenure and Promotion Committee. She took an interest in helping students, both undergraduate and graduate and was a faculty advisor. In 1991, the Cap and Gown Chapter of the Mortar Board recognized her for exceptional contribution to UW and service to the students.
Certificate from the University of Wyoming recognizing Prof. Crane, November 7, 1991. Box 1, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
Crane retired from UW as Professor Emeritus of Theatre in 1993. She went on to attend Garrett-Evangelical Theological Seminary in Evanston, Illinois, where she received a Master of Theological Studies degree in 1995. She returned to the University of Wyoming where she was a Professor in Religion and Drama for the Department of English and later in the Department of Religious Studies. The classes she taught included Feminist Christian Theology, Feminist Christian Thought, Gender and Religion and Drama and Religion. Among Crane’s papers was this description of “What is a Feminist?”
Crane defined feminist theology as “thinking about God that considers female human experience as significant a source for systematic reflection as male human experience.” She was beloved by the students in her religion courses. They appreciated her ability to facilitate classroom discussions around sometimes controversial topics. Crane’s later in life academic interests were feminist theology, women’s spirituality and religion and drama.
She received a Kennedy Center Gold Medallion for contribution to theatre in 1990. The Rocky Mountain Theatre Association gave her a Lifetime Achievement Award in 1993. She was recognized by the Wyoming governor in 1994 with the Governor’s Award for contribution to the arts in the state of Wyoming. He cited her “tireless commitment to her teaching … and unflagging professional dedication to theatre and the promotion of theatre in Wyoming, the region and the nation.”
Gladys Crane receiving the Wyoming Governor’s Award from Governor Jim Geringer for her contributions to the arts, 1994. Box 1, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
Beginning in 1997, UW hosted an annual Gladys Crane Mountain Plains Film Festival. The festival brought films and filmmakers from around the U.S. to Laramie. Crane was actively involved in selecting films for the festival. They included Academy Award winning documentaries and films that had debuted at international festivals in Europe. The festival films portrayed everything from queer experiences in Mommy Queerest to African American migration from the South to the North at the end of the 19th century in Daughters of the Dust.
Program from the Gladys Crane Mountain Plains Film Festival, September 1998. Box 18, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
In 2000, the Crane Studio, a 4,000 square foot rehearsal hall named for Professor Emerita Crane, opened in the UW Fine Arts building. Funds for the construction came from an anonymous donor.
Gladys Crane at the opening of the Crane Studio in the UW Fine Arts Building, 2000. Box 32, Gladys Margaret Crane papers, American Heritage Center, University of Wyoming.
Crane’s interests extended beyond academics. She took two bicycle tours of Europe – one in the summer of 1952 and again in the summer of 1960. Crane spent a sabbatical in London and attended the conferences of the International Society for Humor Studies. She played the saxophone, enjoyed downhill skiing, and served as president of the League of Women Voters of Wyoming. She even had a bit part in the Paramount Pictures film A New Leaf in 1971. Crane was also an active member of Laramie’s Trinity Lutheran Church, where she sang in the choir and taught Sunday School. She passed away in Laramie on October 18, 2018.
The Gladys Margaret Crane papers at the American Heritage Center consist of 41 boxes, including many of her teaching materials and dozens of scripts as well as documents associated with the League of Women Voters.
Post contributed by AHC Writer Kathryn Billington.
Lucile Wright was a “Lady of Firsts,” as one biographer called her, and acquired a long list of accomplishments in her lifetime. Described as being “nearer pint sized than quart,” her petite frame nonetheless housed a voraciously curious mind and bold personality that resulted in a life that could only be described as wide-ranging.
Born Lucile Miller in 1901 in Beatrice, Nebraska, Lucile’s family later moved to Billings, Montana, where she completed high school with honors in only three years. According to her, her parents were both terribly disappointed that she was not born a boy, so they decided to raise her as one. She learned to ride horses, fish, and hunt, along with other “masculine pursuits which in those days were more uncommon for a girl than they are now,” according to a sorority sister that wrote a brief biography of Lucile.
Many people who lived in the rural West at the turn of the 20th century would likely disagree that this was an unusual upbringing for a girl, but one thing Lucile did learn from her parents’ attempts to expose her to varied activities and skills was that if she wanted to do something, she would not let society’s opinions of her gender’s supposed limitations stop her.
Known as someone who was always doing more than one thing at a time, Lucile spent her high school years not only organizing a new “Girls Yell Club” (presumably cheerleaders or a pep squad), but also in performing public service during WWI, including knitting for the Red Cross.
After high school graduation, she went on to study languages and literature with “science on the side” at the University of Minnesota. She transferred to Washington University when her family moved to St. Louis, Missouri, where she studied the same subjects but “went to art school on the side.” Along with her studies, she started a pep club (The Peppers), wrote for the school and local newspapers, joined the Rifle Team, and headed a Big Sisters group.
She said she wanted to study medicine but acquiesced when her father suggested she study law instead and when she and her family moved to Washington, DC, she also took a Foreign Service course at Georgetown. Finally balking at her parents’ wishes, however, she decided to do what was necessary to pursue a career in medicine.
A page from Lucile Wright’s “Leader” notebook from Billings High School, where she wrote down several cheers she made up. This may be the “Girls Yell Club” she organized. University of Wyoming, American Heritage Center, Lucile M. Wright papers, Accession Number 9799, Box 21, Folder “Notebooks.”
She had to tell a few falsehoods about her credentials to “hold down several men’s jobs at once” and occasionally bend the rules to transform her fascinations into real pursuits, which later led her to joke about her “checkered career.” For instance, she became the first female and first person without an MD or PhD to hold the job of research chemist at the City Hospital on Welfare Island (now Roosevelt Island in New York). She got the job by telling them she had “lots of experience” and writing her own reference letters. She was successful in the job, which included teaching nursing students and, when she got bored with her regular duties, she established and ran a department of clinical photography—where she was the only woman in New York to hold such a position. When she left, they hired three men to take over all her duties.
Lucile married Dr. Edward G. Winkler, who had been an intern at New York hospital and a new acquaintance of Lucile when she decided to turn away from her family’s financial support and run away to New York to pursue a career in medicine. It doesn’t take a genius to figure out Lucile soon after would become Mrs. Winkler during her stint as a research chemist.
Later, in Buffalo, New York, she worked as his receptionist and nurse. Again, “on the side,” she made medical motion pictures and helped prepare his lectures. By creating a chapter of her college sorority, they sponsored a club for underprivileged girls, similar to the Girl Scouts. She supported many organizations in her life, but those that focused on teaching practical skills and confidence to girls seemed to be a particular passion for Lucile.
Lucile Wright, left, presenting awards to members of the Jamestown Girls Club in 1971. University of Wyoming, American Heritage Center, Lucile M. Wright papers, Accession Number 9799, Box 20, Folder “Photographs – Lucile M. Wright 1965-1975.”
After she broke her back falling from a horse, she had to spend a year convalescing. That must have made this ever-active go-getter unbearably restless. She and the doctor also divorced in 1940. It was during this time she decided she wanted to learn to fly, and to do so, she wanted to buy her own training plane. She started selling life insurance and began working as a photographer for the US Army in 1942 to help fund her new passion for aviation. Keeping up with three jobs to learn to fly (again, “on the side”) is admirable. When asked how she did it, Lucile responded, “I have to keep my nose to the grindstone to keep my plane in the air.” Lucile never let obstacles keep her from doing what she wanted.
In 1944, she married John H. Wright, who was the president of a bank and head of the Jamestown, New York, telephone company. He, too, had a passion for photography. And he owned two planes! They were a perfect match, despite his 40-or-so year head start on life. For their honeymoon, Lucile flew the couple to the west coast. She later said she loved her new home of Jamestown, New York, because it was the “most western town of any eastern town she had been in.”
Lucile Wright behind the controls of a plane when she worked as a commercial airline pilot out of the New York area, taken in 1950. University of Wyoming, American Heritage Center, Lucile M. Wright papers, Accession Number 9799, Box 11, Folder “Photographs – Lucile Wright Aviation 1950.”
In Jamestown, she was active as ever. She again helped form a girls club and was active in several clubs, including the Jamestown chapter of the 99s, the International Association of Women Pilots. Her husband died just a few years later, in 1951, at age 83. His obituary describes his lifelong passion for aviation, resulting in his buying his first plane at the age of 73. It seems the timing of his first meeting with Lucile was kismet. He also helped form the local Civil Air Patrol and served on the Jamestown Municipal Airport Commission. Lucile became the first woman to serve on this commission when she took over her late husband’s unexpired term. This proved to be an important turn in her life since she served as chair of the airport commission for the better part of a decade and oversaw the creation and execution of a major improvement plan for the Jamestown Municipal airport.
A clipping saved by Lucile Wright, right, where she is shown with other people who worked on her improvement plan for the Jamestown Municipal Airport. The Jamestown Sun, September 9, 1955. University of Wyoming, American Heritage Center, Lucile M. Wright papers, Accession Number 9799, Box 10, Folder “Newspaper Clippings – Jamestown Municipal Airport 1953-1962.”
A newspaper clipping Lucile Wright saved during her time as airport commission chairman in Jamestown, New York. It depicts the newly elected mayor, Carl Sanford, taking credit for the years of work Lucile put into the redevelopment and improvements of Jamestown airport. The Jamestown (N.Y.) Sun, September 24, 1957, p. 8. University of Wyoming, American Heritage Center, Lucile M. Wright papers, Accession Number 9799, Box 10, Folder “Newspaper Clippings – Jamestown Municipal Airport 1953-1962.”
While serving on the airport commission and multiple other boards, Lucile also continued to work as the secretary-treasurer of her husband’s telephone company for 35 years. Though she took her first flight way back in 1938 (before she had a license to do it!), by the time of WWII, she was serving in the Civil Air Patrol alongside her husband. She was the only woman in western New York to do so.
She flew in several Powder Puff Derbies until 1954 but stayed active as a commercial pilot traveling all over the world until the 1970s. In 1976, she moved to Cody, Wyoming, where she, of course, was active in many local groups and clubs including the Republican Women’s Club, the Cody Music Club, and the Cody Country Art League.
She died at the age of 89 from Alzheimer’s and her ashes were spread over the mountains because, despite her globetrotting and kaleidoscopic life, Lucile always loved the West.
Post by Brigida Blasi, AHC Public History Educator
#alwaysarhiving
Sources:
“Lucile M. Wright,” Obituary. The Billings Gazette. June 23, 1990, p. 17.
“John H. Wright Dies at 83,” Obituary. Buffalo Evening News. February 19, 1951, p. 4.
Donald Veal is a name that many University of Wyoming employees and citizens of the state remember. Veal had many “firsts” at UW. He earned the first Ph.D. from the College of Engineering when he completed his Civil Engineering degree in 1964. In 1981, he became the first alumnus to be named president of the university – a position he held until 1987. It is another “first” that ultimately led to an oral history project.
On July 1, 1971, the Department of Atmospheric Science was formed, and Veal was named its first department head. Veal remained chair of the department until 1980, when he accepted the position of Vice President of Research and moved from his College of Engineering office to Old Main.
Don Veal’s connection to atmospheric research at UW dates to the early 1960s, when he became acquainted with Professor John Bellamy, who was director of UW’s Natural Resources Research Institute (NRRI.) At the time, the NRRI was beginning to study weather modification on top of Elk Mountain, northwest of Laramie. Bellamy encouraged Veal to join the research team. With Veal’s experience as a pilot, the NRRI also began conducting aerial research with a recently purchased university aircraft. After retiring from UW in 1987, Veal entered the private sector where he was involved in weather research instrumentation development with a firm in Colorado known as Particle Measuring Systems.
Don Veal with the UW Beech C-45 research aircraft at the UW Flight Center at the Laramie Airport, circa 1969. Gabor Vali Photo, Department of Atmospheric Science Records.
Veal passed away on January 20, 2019. Professor Bart Geerts attended Veal’s memorial service in Longmont, Colorado, on January 26, 2019. Geerts was the chair of the Department of the Atmospheric Science at the time. After the service, Geerts realized that with Veal’s passing, many important memories and critical details of the early years of the department were lost. Moved by the stories shared at the memorial service of Veal’s tremendous vision and efforts to establish and sustain an Atmospheric Science Department, Geerts recognized the loss of Veal’s institutional memory and began the effort to ensure other stories could be preserved.
Geerts knew how important it would be to connect with other individuals who were associated with the early years of the department. He contacted me and asked if I could assist in preserving the early history of the department. After meeting with Geerts and others from the department – including Al Rodi, Perry Wechsler, and Jeff Snider – over the course of several months, we agreed that conducting oral history interviews would be a worthwhile project.
I was given contact information for approximately ten former employees and graduate students who could provide key information about the early years of the department. The arrival of COVID-19 initially slowed the project. I conducted my first interview on September 27, 2021. The first interview was, perhaps, the most important. It also was the most fortuitous. Professor Gabor Vali, like Veal, arrived at UW prior to the establishment of the department. Vali was hired in 1969 as an assistant professor. After retiring from UW in 2006, he moved to Spain.
I reached out to Vali to encourage him to share his memories of the department. Though my goal was to conduct as many in-person interviews as possible, I knew that would not happen with him living so far away. In a stroke of luck, when I contacted him by email, he happened to be in the area on vacation where he was visiting family and friends. He was gracious enough to take a few hours to meet with me in Laramie.
Professor Gabor Vali and graduate student, Vickie Sutherland Johnson on top of Elk Mountain, circa 1977. Photo by Dave Rogers, Department of Atmospheric Science Records.
During the oral history interview, Vali made an important observation about institutional memory loss and the importance of oral history interviews. When I asked Gabor to share his thoughts about Don Veal, he responded very emotionally, saying:
I spoke to Don less than a month before he died. I went to visit him at his home in Longmont. His memory was just as sharp as ever. So, when you say, ‘you lost memory’ (referring to Don’s passing), his was it. I never had a good memory. He had an incredible memory – to detail and connections. Incredible.
His emotional account of Don Veal reminded me of the importance of oral history projects. Another professor associated with the very early years of the department was John Marwitz. Sadly, he passed away before I had a chance to meet with him. His passing was yet another reminder of the importance of interviewing people sooner rather than later.
Like so many projects, this project took on a life of its own. During interviews, other important names would come up in conversation. It seemed that every time I would interview somebody, the person would ask, “Have you interviewed (fill in the name) yet?” What started as a list of ten names quickly grew to include many more interesting perspectives from individuals connected with the department. At the conclusion of the project on December 6, 2022, when I conducted the final interview, I had met with 44 individuals. Interviews were conducted in-person at various locations, via telephone, and through Zoom video conferencing. Oral history interviews bring life and character to a story, and they help fill in voids that are not recorded in reports and other historical documents.
John Waggener (L), interviews retiring professor, Jeff Snider, and Department Head Jeff French in 2022.
The approximately 70 hours of audio content will be made available to the public later in 2023 within the Department of Atmospheric Science Collection at the AHC. A link to the inventory for those records can be found at https://archiveswest.orbiscascade.org/ark:/80444/xv601332
Post contributed by John Waggener, University Archivist & Historian.
#alwaysarchiving
Those interviewed include:
Wendy Abshire (M.S. 1989)
Susan Allen (graphic artist and office assistant 1978-2015)
Darrel Baumgardner (M.S. 1980, Ph.D. 1988, Research Scientist 1978-1981)
Bill Bellamy (son of NRRI Director John Bellamy)
Jerry Berger (former UW Art Museum curator and friend of Don Veal)
Bruce Boe (M.S. 1981), Kermit Brown (friend of Don Veal and UW Trustee)
Richard Clark (Ph.D. 1987)
Don Day (student and teaching assistant 1990-1992, owner of Day Weather)
Terry Deshler (M.S. 1975, Ph.D. 1982, Research Scientist and Professor 1982-2014)
Richard Dirks (Professor, 1969-1976)
Tom Drew (UW Pilot 2002-present)
Trude Eidhammer (Ph.D. 2002)
Jeff French (Ph.D. 1998, Research Scientist and Professor 2005-present)
Bart Geerts (Professor 1999-present)
Bill Gern (UW Vice President for Research and Development 1995-2017)
Ken Grandia (M.S. 1973)
Sam Haimov (Research Scientist 1995-2022)
Larry Irving (Technician 1966-2000)
Vickie Johnson (M.S. 1978)
Robert Kelly (M.S. 1978, Professor 1984-2017)
Dan Knollenberg and Robert Knollenberg (friends of Don Veal and owners of Particle Measuring Systems)
William Mahoney (M.S. 1983, Research Associate 1983-1984)
Brooks Martner (Research Scientist 1974-1987)
Karen Marwitz (Widow of Professor John Marwitz)
Tom Parish (Professor 1980-2017)
Marcia Politovich (Ph.D. 1986, Graduate Research Assistant and Research Associate 1978-1986)
Ken Pomeroy (M.S. 1999)
Al Rodi (Ph.D. 1981, Professor 1981-2018)
Dave Rogers (M.S. 1973, Ph.D. 1982, Research Scientist 1973-1983)
Wayne Sand (Ph.D. 1980, Research Meteorologist, Pilot, Professor 1976-1987)
Ken Sassen (Ph.D. 1976)
Russell Schnell (M.S. 1971, Ph.D. 1974, Research Assistant, Research Scientist, 1969-1974)
Robert Serafin (National Center for Atmospheric Research, NCAR, who collaborated with UW on numerous projects)
Jeff Snider (Ph.D. 1989, Professor 1990-2022)
Tom Spangler (M.S. 1972), Gabor Vali (Professor 1969-2006)
Rimvyda Valiukenas (Staff Assistant and Business Manager 1987-2016)
Marthajayne Vaughan (UW Classmate and friend of Don Veal)
Sherrill Veal (Don Veal’s daughter)
Perry Wechsler (Engineer, Research Scientist 1982-2016)
Joney Wilmot (Widow of Roger Wilmot, Natural Resources Research Institute)
Tom Yoksas (Graduate Assistant 1977-1981, Systems Administrator 1981-1987)
