Celebrating LGBTQ Pride: The S.J. Moffat Collection

While Pride celebrations have changed to accommodate pandemic restrictions in June 2020, we are highlighting the AHCโ€™s “Out West in the Rockies” LGBT collections. โ€œOut West in the Rockiesโ€ seeks to preserve and highlight narratives of LGBTQ people and communities from the Rocky Mountain West.

In addition, the U.S. Supreme Court ruled this month that Title VII of the Civil Rights Act of 1964 prohibits employment discrimination based on sex, including sexual orientation and gender identity. Title VIIโ€™s new protections for gay, lesbian, and transgender employees are an important legal victory for civil rights.

Shannon Moffat, known professionally as S. J. Moffat, was not able to witness this milestone. Born as Samuel in 1927, she moved with her mother to New York in 1930 after her parentsโ€™ separation. Moffat graduated from high school in 1945 and decided to enlist in the Navy, becoming an electronics technician and later attending the U.S. Naval Academy. After her military service, she attended Amherst College and became engaged to Mary Kirkpatrick. The couple married in August 1950.

Shannon Moffat as a U.S. Navy ensign, 1953. Box 14, S.J. Moffat papers, American Heritage Center, University of Wyoming.
Shannon as a young Navy ensign in 1953. Box 14, S.J. Moffat papers, American Heritage Center, University of Wyoming.

Shannon worked as an assistant science editor for the publisher Henry Holt and Company after graduating from Amherst in 1950, until 1952. During this time, she also served in the U.S. Coast Guard. Mary gave birth to their first son Bruce in 1953, and the family moved to Palo Alto, California, in 1954 where Shannon worked as a reporter. Their second son Bennet (Ben) was born in 1956, and their third child arrived stillborn the following year.

Shannon Moffat during her time as a reporter for the Palo Alto [California] Times, ca. 1955. American Heritage Center, University of Wyoming.
Shannon during her time as a reporter for the Palo Alto Times, ca. 1955. Box 14, S.J. Moffat papers, American Heritage Center, University of Wyoming.

Shannon expressed great love for her sons, proudly writing in her diary of Bruceโ€™s first steps in 1954. Her need for mental and physical affection became tiresome for Mary, and the couple grew distant from each other, eventually separating and divorcing in 1962. In a diary entry from February 4 that year Shannon wrote, โ€œI had not been given much love as a boy [and] I want it most urgently now.โ€

Shannon had first worn a dress three years earlier. It likely belonged to her mother or her aunt Mildred. Shannon wrote of the experience, describing her emotions flickering from โ€œcompulsive desire to erotic high to anxiety about putting it back in the box to avoid discovery.โ€ She cross-dressed at home and at first feared being discovered. She would marry Kay Cranston in 1966, and over the next two decades, work to become comfortable with purchasing and presenting herself in feminine clothing. Shannon realized her identity as female and began gender affirmation procedures in 1981.

Transitioning in her 50s, she continued her career as a freelance technical and medical writer working for private businesses and universities, including the University of Wyoming. She had donated much of her research and publication material to the AHC. The S.J. Moffat collection, totaling 86 boxes, also contains personal diaries before and after her transition which offer her perspective of how gender transition was perceived and presented in the 1970s and 80s. Shannon passed away peacefully in January 2009 at her home in Palo Alto.

Shannon Moffat in a formal portrait with a fur stole, ca. 1980. Photo courtesy of her son Ben Moffat.
Shannon in a formal portrait, ca. 1980. Photo courtesy Ben Moffat.

For additional insight into her transition, researchers can look in her collection for a file about Jan Morris, a transgender author and British soldier in the Second World War. Her collection also mentions the Venus Castina, a book from 1928 about famous female impersonators throughout history, celestial and human. A copy of Venus Castina is also available in the AHCโ€™s Toppan Rare Books Library.

Shannon Moffat with her son Ben Moffat, 2006. Photo courtesy of  Ben Moffat.
Shannon with her son Ben, 2006. Photo courtesy Ben Moffat.
Shannon's signature soon after her transition reading, "Shannon (formerly Sam)." Box 25, S.J. Moffat papers, American Heritage Center, University of Wyoming.

To understand the media context surrounding transgender experiences during Shannon’s lifetime, visit our Virmuze exhibit “A Different Kind of Spotlight: How the media has portrayed queerness throughout the decades.” Drawing from the Bennett Hammer collection, this exhibit documents how mainstream media covered LGBTQ+ issues from the 1980s and 90sโ€”the very period when Shannon was navigating her transition. The exhibit reveals how media representation evolved during these crucial decades, providing important context for understanding the social landscape that transgender individuals like Shannon faced as they sought recognition and acceptance.

– Contributed by Morgan Walsh, AHC Archives Aide

#alwaysarchiving

Posted in Biography and profiles, LGBTQIA+, Out West in the Rockies, Transgender people, Uncategorized, Under-documented communities | Tagged , , , , , , , , | Leave a comment

Eyewitness to Racism: Andrew Bugas and the Rock Springs Massacre of 1885

Andrew Bugas (Andrej Bugos) was not quite 20 years old in 1885 when he arrived in Rock Springs to work in the Union Pacificโ€™s coal mines. Born in Austria, he came to the United States in 1880 to join his father in Mahoney, Pennsylvania, where young Andrew worked as a โ€œslate pickerโ€ and a โ€œtrapperโ€ in the coal mines. Slate picker and trapper were menial jobs usually performed by boys. Slate pickers plucked sharp-edged pieces of slate and other impurities from the coal. Trappers sat underground, usually in total darkness, opening and closing wooden doors (trap doors) located across the mine.

slate3
“Boys Picking Slate in a Great Coal Breaker, Anthracite Mines, Pennsylvania.” Photo from Coal Region History Chronicles.

Itโ€™s not certain what led Andrew to Rock Springs, but he probably heard of the coal boom in southwestern Wyoming. He had an adventurous spirit, which showed itself in 1888 when he left Rock Springs to travel the United States for eight years.

In 1885, Andrew walked into a situation in the Rock Springs mines that was about to spin out of control. The tensions between white and Chinese miners had reached a breaking point.

Chinese men had worked in the Union Pacificโ€™s mines since the early 1870s. They had proven themselves to be hard workers who would labor for less pay. Even though they were paid less than whites, Chinese miners could earn many times more in the United States than they could in China. If they were careful, in a few years they could save a lifetimeโ€™s fortune to take back home.

By 1882, anti-Chinese sentiment was rampant and Congress limited the number of Chinese immigrants. But the new law was full of loopholes, and the immigration question was open-ended and confusing.

Union Pacific Railroad policies did not help an increasingly tense situation. Pay cuts and paycheck gouging by UP company stores led to unrest among the white miners. And, although white and Chinese miners worked side by side every day, they spoke different languages and lived separate lives.

As the anger of the white miners intensified, they staged a number of strikes but with no results. At the end of an 1884 strike, mine managers in Rock Springs were told to only hire Chinese. By the time Andrew arrived, there were nearly 600 Chinese and 300 white miners working the Rock Springs mines.

On the morning of September 2, 1885, Andrew was at his house located only a short way from Bitter Creek,  which was one of the staging areas for a mob of men, women, and even children determined to drive the Chinese from Rock Springs.

In a recollection held at the American Heritage Center, Andrew wrote that at 10:00 AM he was looking through his window and saw that the โ€œ[Chinese] dinner carriers, who daily carried the dinners on poles across their shouldersโ€ฆwere being stoned with rocks and chased by boys and men until they had to drop their loads and flee for safety.โ€

Rock Springs
View of Rock Springs, Wyoming, undated. Photo File: Wyoming – Rock Springs, American Heritage Center, University of Wyoming.

Andrew continued watching as โ€œthe mob with guns on their shoulders began their march towards Chinatown.โ€ He left his house to follow the brigade โ€œยฝ curious and ยฝ scared.โ€

When the mob came to a place of worship in Chinatown known as a joss house, Andrew saw them halt and send a committee to tell the Chinese inside of the mobโ€™s intent. Confusion reigned among the Chinese men in the building; some seemed to want to stay and others to leave. Andrew heard and saw โ€œloud jabbering and swinging of arms, etc. etc., that could be observed from outsideโ€ฆthrough the windows.โ€

As the time to evacuate the joss house neared, the mob grew impatient and moved toward the building. Andrew โ€œsaw some Chinese jump out the window upon a bundle of what looked like blankets.โ€ By then, members of the mob were against the house and โ€œsome one hit the locked door with an axe or sledge from the way it sounded.โ€ Chinese men (only a few women lived in Rock Springs) poured out through the doors and window while โ€œthe mob started shooting into the house and toward the fleeing men.โ€ Andrew noticed that โ€œhundreds of shots must have been wasted for the scare.โ€

He continued to follow the mob as they advanced into Chinatown โ€œdriving out of the houses those that were too frightened to run and setting fire with kerosene oil to all houses after first plundering each house of everything valuable.” He watched as some of the Chinese men were killed inside their houses while most were shot in the back as they ran.

heres-a-pretty-mess-in-wyoming
“Hereโ€™s a Pretty Mess!โ€ (in Wyoming) โ€“ 19 September, 1885 by Thomas Nast for Harperโ€™s Weekly. Thomas Nast Source: [Public domain], via Wikimedia Commons

Soldiers were brought in to restore order. Andrew observed that โ€œat first the soldiers and whites were distrustful of one another and many fist fights took place in the saloons.โ€ But later, soldiers and miners began to fraternize. Discipline was not a strong suit among the soldiers. Andrew reported that โ€œ[on] several occasions a Chinaman was caught in darkness and his โ€˜pigtailโ€™ cut off by soldiers.โ€ That act, he noted, โ€œwas held to be a very grave offense by the Chinese and a soldier proven to have committed it was given severe penalty.โ€

The โ€œblue coatsโ€ as the soldiers were known spent their money freely in Rock Springs and โ€œwere missed by Rock Springs businessmen when they finally left in 1898 after 13 years in Rock Springs.โ€

Andrew goes on to write that โ€œโ€ฆa year or so prior to the final withdrawal of the army from R.Sโ€ฆ[o]ne or two companies or detachments of companies of colored soldiers came, the white army leaving. The colored army sojourn in R.S. while brief, was the most trying period for the peace officers as well as citizens in generalโ€ฆR.S. drew a breath of relief when this colored army was replaced by a white oneโ€ฆโ€ He doesnโ€™t elaborate on the what took place except to note that the town peace officersโ€™ โ€œresourcefulness in their line saved R.S. a dangerous outbreak and killing of probably many citizens and negro soldiers.”

rockspringstroops.preview
Federal troops, shown here on Front Street in 1885, stayed in Rock Springs for 13 years. Wyoming Tales and Trails photo.

Andrew Bugas lived in Rock Springs until 1888 when he began his travels in the United States. But Rock Springs must have been home because he returned there in 1896, married a local girl in 1902, and raised a family. He opened a saloon, invested in a coal mine at Point of Rocks, and served as a state legislator, school district treasurer, and precinct committeeman. But he never forgot what he witnessed upon his arrival in Rock Springs. His account of the Rock Springs Massacre was written in 1933, many years later. The account can be found in the papers of his son John Bugas, which are held at the UW American Heritage Center.

AP Bugas
Andrew P. Bugas, undated. Find a Grave photo.

#alwaysarchiving.

This post is edited from a previous American Heritage Center blog published in 2018.

Posted in American West, Chinese Americans, Coal industry, found in the archive, International relations, Labor disputes, Local history, mining history, Racism, Railroad History, Rock Springs Massacre, Uncategorized, Violence - history, Western history, Wyoming history | Tagged , , , , , , , , , , , , | Leave a comment

Robert Bloch: From Pulp to Psycho

Alfred Hitchcock’s film Psycho is based on a novel by Robert Bloch. It is the story of Norman Bates, a lonely motel caretaker who is seething with psychotic rage due to his mother’s domination.

Robert Bloch was an author of pulp science fiction and crime stories. A protรฉgรฉ of H.P. Lovecraft, he grew up reading Weird Tales magazine and after high school began writing science fiction stories for the magazine himself.

Bloch moved away from science fiction and into horror themes like black magic, voodoo and demon possession. He began writing crime stories and in 1959 wrote Psycho which would be adapted into the 1960 Alfred Hitchcock film.

Psycho is strikingly similar to the story of infamous murderer Ed Gein. However, Bloch wrote most of the book before Gein was caught. Strangely, while writing Psycho, Blochย lived only 35 miles away from Gein in Wisconsin.

The film’s screenplay is relatively faithful to the novel, although there were some significant changes to the character of Norman Bates. In the novel, Bates is a middle-aged alcoholic who is overweight and blatantly unstable. Screenwriter Joseph Stefano sought a more sympathetic character. In the film, Anthony Perkins portrays Bates as an awkward, shy, semi-adolescent.

1501_2

Author Robert Bloch wrote Psycho, which was later adapted into the Alfred Hitchcock film. Robert Bloch papers, American Heritage Center.

Although Bloch wrote sequels to Psycho, the sequels to the movie are completely different stories. Bloch wrote a speculative screenplay for his own sequel, but it was never made.

Robert Blochโ€™s papers are available at the UW American Heritage Center. The collection consists of materials related to Bloch’s personal life and professional career, as well as the development of the horror and science fiction genres. Contents of the collection include extensive personal and professional correspondence, a large selection of science fiction and horror books and periodicals, convention announcements and programs, and annotated screenplays, scripts, and manuscripts produced by Blochย and his contemporaries, among other materials.

Posted in Adaptations, Authors and literature, found in the archive, motion picture history, Pop Culture, popular culture, science fiction, Screenwriting, Uncategorized, writers and poets | Tagged , , , , , , , , , , , | Leave a comment

AHC Supports the Society of American Archivistsโ€™ Statement on Black Lives and Archives

On June 2, 2020, the Council of the Society of American Archivists (SAA) issued a statement condemning harassment and violence against the Black community. The American Heritage Center expresses solidarity with SAA in its condemnation.

SAA Councilโ€™s statement reads in part:

During this time of dramatic and traumatic historical significance, the Society of American Archivists remains committed to its core organizational value of social responsibility, including equity and safety for Black archives workers and archives of Black Lives. A truly open, inclusive, and collaborative environment for all members of the Society cannot exist without justice for those affected by anti-Black violence. ย As the Council, we are committed to developing and advocating for solutions that contribute to the public good and affirm the importance of Black Lives.[1]

The vitality of American archives depends on the safety of archives workers and an explicit commitment to social responsibility, justice, and anti-racism in the work that we do and the organizations we work within. We intend to create and convene a space for constructive discussion toward progressive change in the archival profession and true inclusivity of the archival record, in a profound engagement with our values of diversity, equity, and inclusion.

You can read the full statement at https://www2.archivists.org/statements/saa-council-statement-on-black-lives-and-archives.

The American Heritage Center endorses the SAA Council Statement on Black Lives and Archives. The AHC believes in inclusivity and equity. The Center practices respect and provides our best service to everyone who comes in our doors.


[1] SAA Position Brief, โ€œPolice Mobile Camera Footage as a Public Recordโ€: https://www2.archivists.org/statements/issue-brief-police-mobile-camera-footage-as-a-public-record. Approved by SAA Council November 2017.

Posted in announcements | Tagged , , | Leave a comment

In A World Not Like Our Own

The Science Fiction or Si-Fi world has expanded and captured the minds of many due to its striking details, other worlds, and personable characters. Today it produces TV shows, box office features, and conventions that bring visitors from around the world, but the phrase โ€œSi-Fiโ€ as we know it today was not always common tongue. Forrest J Ackerman, science fiction writer, editor, and avid collector of Si-Fi memorabilia was the first to coin this phrase.

Forrest J. Ackerman, ca. 1970s.
Forrest Ackerman, ca. 1970s.
Box 105, Forrest J. Ackerman papers, American Heritage Center, University of Wyoming.

While in college at the University of California Berkeley, Ackerman worked as a movie projectionist at various companies before being enlisted in the U.S. Army.  He rose to the rank of staff sergeant and became the editor of the baseโ€™s newspaper. This editing experience helped with his next career shift as editor and principal writer of the American magazine Famous Monsters of Filmland. This magazine, published from 1958-1983, included brief articles, publicity stills, and graphic illustrations that highlighted horror movies and their histories throughout its publication.

In 1947, Ackerman created a science fiction literary agency and collaborated with many Si-Fi writers such as Ray Bradbury, L. Ron Hubbard, and A. E. van Vogt. These connections through the Science fiction community also provided Ackerman the opportunity to gather memorabilia from shows, films, conventions, and fans. All of which was housed in his 18-room home and museum known as the โ€œSon of Ackermanisonโ€ until his death.

Throughout Forrest J Ackermanโ€™s life, he represented more than 200 writers through his literacy agency, published over 50 books, contributed to film magazines around the world, and introduced the world to the history of science fiction to inspire many artists to pursue their careers in Si-Fi. He has won several awards including the prestigious Hugo Award for โ€œ#1 Fan Personality.โ€ Ackerman was the first and only celebrity to receive this special award.

Forrest Ackerman speaks to a meeting of the Count Dracula Society, which was founded in 1962 for the study of horror films and Gothic literature, ca. 1960s.
Forrest Ackerman speaks at a meeting of the Count Dracula Society, which was founded in 1962 for the study of horror films and Gothic literature.
Box 105, Forrest J. Ackerman papers, American Heritage Center, University of Wyoming.

The American Heritage Centerโ€™s Forrest J. Ackerman collection consists of material relating to Ackermanโ€™s long career in science fiction and a portion of his memorabilia collection, including correspondence, fan mail, speeches, and scripts for movies and television shows.

Forrest Ackerman engulfed in sci-fi memorabilia in his home which he called the "Son of Ackermansion," ca. 1960s
Inveterate collector Forrest Ackerman engulfed in memorabilia
at “Son of Ackermansion,” ca. 1960s
Box 105, Forrest J. Ackerman papers, American Heritage Center, University of Wyoming.

#alwaysarchiving

Posted in Fantasy, Hollywood history, Horror, Motion picture actors and actresses, motion picture history, popular culture, science fiction, television history, Uncategorized | Tagged , , , , , , , , , , , , , , | Leave a comment

We Asked, You Answered: Documenting Life During The COVID-19 Pandemic

Why is the Diary of Anne Frank one of the most important works of literature of all time? How did this book influence how we remember World War II, the Nazi Regime, and the Holocaust? Although the Holocaust can be viewed as a shared experience, not everyone was a young Jewish girl hiding in an attic with eight people hoping not to get caught and tortured by an enemy. Anne Frank wrote her everyday observations of life in hiding during the Holocaust. It was proof of a time, a place, a people, and an event. Currently, our lives are being dictated by a silent enemy, coronavirus, and we are in fear of the enemy catching up to us and causing tremendous harm.

Archives hold photographs, audio and film recordings, textiles, ledgers, and other types of materials that paint a picture of what it was like to live in a certain period of time, to know a person, and to experience a place. When these materials fail the test of time and are not made widely accessible, we as a people lose the chance to learn and improve from the knowledge of the past. Collecting Covid-19 materials, like the AHC Covid-19 Collection Project hopes to do, is a way of gathering evidence that this historic time existed and how it impacted our communities at individual, state, and national levels and, finally, at a global scale.

Yard sign from the University of Wyoming found on lawn in Laramie, Wyoming, provides a message of hope.
Photo taken by Sara Davis.

The AHCโ€™s Covid-19 Collection Project collects materials that reveal our communityโ€™s views on this pandemic through direct donations or via a guided survey. The survey guides participants through a series of questions that prompt reflections on what has made us happy or sad during this time, what changes we have seen, and what we want to be remembered about this time.

As of May 14, 2020, the survey has attracted 26 participants ranging in age from 18 to 85 years and includes a mixture of ethnicities, nationalities, and genders. The responses reflect the diversity of the participants and the different ways this pandemic has affected their lives.

A yard sign at Laramie's Linford Elementary School depicts a message of caring to the community. It reads, "Our Hearts Are Together Even While We're Apart. Always a Linford Lion." Photo taken by AHC Archivist Sara Davis.
Yard sign at Laramie’s Linford Elementary School depicts a message of caring to the community.
Photo taken by Sara Davis.

One survey participant who contracted the coronavirus shared an overview of the experience.

It was not nearly as bad as others get. I did not have to be hospitalized long term. I spent most of my time at home. But it was one of the worst illnesses I have ever experienced and I do not want to ever get it again.

Another participant shared:

Things that make me happy include watching dogs walk by my house. Seeing everyone doing their part to take care of their communities and donate towards finding a vaccine or cure for this disease is making me hopeful that I’ll be able to visit and hug my family again sometime soon.

Others expressed frustration:

[I’m] angry that as I walk into Walmart or the Loaf and Jug people are wandering around with no mask. If you don’t care about your own health, fine. But care about your fellow man and protect them. Getting the virus once does not mean you are immune and can’t get it again…we have to protect each other.

These responses show the human side of pandemic and inform others of the complexity of the situation.

Kiowa Park in Laramie, Wyoming, is closed to the public during the coronavirus pandemic.
Photo taken by Sara Davis.

Another purpose of the AHCโ€™s Covid-19 Collection Project is to provide a safe space for people to share their experiences with the hope that others will find comfort and peace in the knowledge that they are not alone and the community is here to listen. In addition to the survey responses, the AHC received a few poems, a short essay, and an inspirational quote that fits this second goal. Carol Miller from New Mexico submitted the following quote that has been inspiring her while she writes her thesis:

We must learn to sing our songs in a strange land. We may feel abandoned in an empty, merciless wilderness full of detritus and death, but we who are left must travel through the in between timespace listening, seeing, attending afresh. We need to develop a thriving, forward-looking age by compassionately transforming the mournful terrain into a realm of wisdom, hope, and love. We have the responsibility to faithfully search for the possibilities and implement the discoveries that will bring us into a newly imagined dimension of interconnection with and understanding of each other and our world.

Like many of the submissions the AHC has received thus far, Millerโ€™s contribution helps tell the story of our communityโ€™s camaraderie, support, and sense of hope for the future during this pandemic.

In the article, โ€œWe Are What We Collect, We Collect What We Are: Archives and the Construction of Identity,โ€[1] published in 2000, Elisabeth Kaplan argues that identity can be asserted through the types of historical documentation that are kept inside the walls of archival institutions. As archivists, we collect, preserve, and make accessible diaries, correspondence, news clippings, photographs, and other materials that document a certain period of time, person, and place. If there is no record, there is also a lack of evidence to prove someone or something existed. Similarly, if there is not access to these records, no one will know what and who came to pass. We do not know how long this pandemic will last or the ramifications and eventual outcome, but we can determine how this historical time is remembered by documenting through writing, photographing, and creating artwork that reflects our observations and emotions during this time and then collecting these conceptions in a place where they can safely be preserved and accessed for the long-term.

UW yard sign found on lawn in Laramie, Wyoming, encourages a sense of community.
Photo taken by Sara Davis.

Submissions to the AHCโ€™s Covid-19 Collection Project can now be found at the state’s “Covid-19 in Wyoming” website.

This blog was updated in 2024.

#COVID19WY #alwaysarchiving

[1] Elisabeth Kaplan, โ€œWe Are What We Collect, We Collect What We Are: Archives and the Construction of Identity,โ€ The American Archivist vol. 63, no. 1 (Spring/Summer 2000): 126-151, accessed May 14, 2020, https://doi.org/10.17723/aarc.63.1.h554377531233l05.

Posted in American Heritage Center, announcements, Collection donor, Coronavirus outbreak, COVID-19, Current events, Digital collections, Flu, medical history, Pandemics, Public health, Uncategorized, University of Wyoming, University of Wyoming history, Western history, Wyoming, Wyoming history | Tagged , , , , , | Leave a comment

Poet Drama in the Selden Rodman Papers

Selden Rodman (1909-2002) was a prolific author, biographer, poet, editor as well as an art collector and cultural critic. He published a book nearly every year of his adult life.

He was a rebellious young man who, while attending Yale in the 1930s, co-founded the irreverent campus journal The Harkness Hoot. He didnโ€™t even attend his own graduation from Yale. Instead he rushed off to Europe and befriended literary luminaries such as Ezra Pound, James Joyce and Thomas Man.

Selden Rodman, undated photo. Selden Rodman papers, American Heritage Center, University of Wyoming.
Selden Rodman in undated photo. Selden Rodman papers, American Heritage Center, University of Wyoming.

He returned to his hometown of New York City and was asked by Alfred Bingham, a leader of left-wing causes, to partner on new political magazine titled Common Sense. It was published from 1932 to 1946. Rodman cultivated contributors for the magazine, who were mostly progressives. Arthur M. Schlesinger Jr., in The Politics of Upheaval, called the magazine the most lively and interesting forum of radical discussion in the country.

Cover of the April 27, 1933, issue of the political magazine Common Sense co-founded by Selden Rodman.
A 1933 cover of Common Sense produced not long after the magazine’s founding in 1932. Selden Rodman Papers, American Heritage Center, University of Wyoming.

Over time Rodman accumulated an astonishing number of connections in the literary world. He had conversations with Ernest Hemmingway, Jackson Pollock, H.G. Wells, Edward Hopper among others.

In the late 1950s, Rodman befriended poet E.E. Cummings. In a series of letters between them a dramatic scene is played out.

E.E. Cummings, 1953
E.E. Cummings, 1953. World-Telegram photo by Walter Albertin. This work is from theย New York World-Telegram and Sunย collection at theย Library of Congress. According to the library, there areย no known copyright restrictionsย on the use of this work.

Rodman and his wife visited Cummings and gave him one of Rodmanโ€™s books as a gift. When Cummings read the book, he discovered Rodman wrote biographies of poets, and accused him of being a โ€œprofessional interviewer in disguise.โ€

Rodman was hurt by the accusation and assured Cummings he only wanted to be friends and not secretly interview him. The writers seem to have made up and Rodman later included Cummingsโ€™ work in one of his anthologies.

See Rodman’s correspondence with E. E. Cummings and other literary figures in his papers at the University of Wyoming’s American Heritage Center.

  • Post contributed by American Heritage Center Simpson Institute Archivist Leslie Waggener.

#alwaysarchiving

Posted in Authors and literature, Journalism, Poetry, Political history, Politics, Uncategorized, writers and poets | Tagged , , , , , , , , , , , , , , | Leave a comment

The Vivid Life and Photographs of June Vanleer Williams

June Vanleer Williams was born on June 24, 1921, in Cleveland, Ohio. She was the first African American woman to be in a Stanford University Journalism fellowship program. She was part of the program from 1969 to 1970. As a journalist, she worked at the Cleveland Call & Post and the Cleveland Gazette.

She was also a playwright and actress. She wrote at least four plays: The Face of Job, A Bit of Almsgiving, The Eyes of the Lofty, and The Meek Wonโ€™t Inherit S#.*!!. Williams acted in plays and was involved in Hollywood productions. Two notable mentions are that she starred in the Broadway play Donโ€™t Play Us Cheap, and she was the casting director for the 1974 movie Claudine, starring James Earl Jones and Diahann Carroll.

June Vanleer Williams used the stage name “Jay Vanleer” as an actress. June Vanleer Williams papers, American Heritage Center, University of Wyoming.

Her papers contain professional and personal correspondence, newspaper clippings, drafts of her plays, notes from her time as a casting director, a plaque, and a trophy. Out of all of ten boxes of material the most fascinating pieces are the photographs. This collection has an extensive number of photographs ranging from professional to promotional to personal.

The professional photographs include head shots for casting roles in Claudine. These head shots are both men and women, and the ages range from 5-65 years old. All of these photographs are undated, but they are suspected to be from around the 1960s and 1970s. They are interesting because they show some of the fashion sense of the 1960s and 1970s, as well as the plays and movies that all these aspiring actors starred in.

Other promotional photographs are from the 1975 film Mahogany, starring Diana Ross, Billy Dee Williams, and Andrew Perkins. The context of the photographs is unknown because June Vanleer Williams was not involved in the filmโ€™s production nor did she act in the film. Despite the mystery behind the photos, they are nice promotional stills from the movie and behind the scenes. The photographs allow for a close-up look at one of Diana Rossโ€™s most iconic movie roles and tell the story without giving away too much. For those who havenโ€™t seen the movie, these stills allow for a great curiosity about it.

In the film Mahogany, Diana Ross plays a struggling fashion design student who rises to become a popular fashion designer in Rome. One of her co-stars is Anthony Perkins who plays a fashion photographer who reinvents her as “Mahogany” and with whom she shares an uneasy relationship. June Vanleer Williams papers, American Heritage Center, University of Wyoming.

Finally, the personal photographs range from the early 1900s to the 1970s or 1980s and tell about her life. There are photographs of her fatherโ€™s family, such as his adopted sister as a little girl. There are also photographs of June Vanleer Williams in various stages of her life. The bulk of the photos are from 1930 to 1984. One of the scrapbooks is full of the pictures, specifically from a special dinner for those involved in Karamu House. Karamu House is the oldest African American theater in the United States. Williams was very involved in Karamu House throughout her life. Along with the photographs there is also correspondence between Williams and the founders of the theater.

All of the compelling materials in June Vanleer Williamsโ€™ papers cannot be described in one short blog post, so contact the American Heritage Center at ahcref@uwyo.edu if you would like to learn more about this influential lady!

– Post by Anne-Marie Stratton, AHC Carlson Intern

#alwaysarchiving

Posted in African American history, Hollywood history, Motion picture actors and actresses, motion picture history, popular culture, Uncategorized, Under-documented communities | Tagged , , , , , , , , , , | Leave a comment

When Lions Fly

Itโ€™s a familiar sight โ€“ a roaring lionโ€™s head in a golden frame. We see this iconic image at the beginning of our favorite films, TV shows, and cartoons, but the history behind this logo is little known.

One of the MGM lions. This one is named Tanner, although he was known, like the others, as "Leo the Lion." Tanner was featured as the MGM lion from 1934 to 1956, and in the 1960s. Source: Wikipedia. Originally sourced from the film Easter Parade (1948). Image reduced significantly from original size.
Tanner was the MGM lion from 1934 to 1956. Like the other MGM lions, he was known as “Leo the Lion.” Image source: Wikipedia.

MGM’s Leo the Lion was actually seven different lions over the course of 41 years from 1916 to 1957. The last lion, which was the only lion actually named Leo, is the current logo and has been in use since 1957. Each lion contributed a new take on the logo throughout the years.

Jackie's roar being recorded in December 1928 for use at the beginning of MGM sound films. A sound stage was built around his cage to make the recording. Image source: Wikipedia. Public domain image.
Jackie’s roar being recorded in December 1928 for use at the beginning of MGM sound films. A sound stage was built around his cage to make the recording. Image source: Wikipedia.

One lion in particular, Jackie, had a rather eventful term as Leo the Lion. In 1927, MGM was seeking publicity and came up with a stunt where โ€œLeo the Lionโ€ would be flown from San Diego to New York City non-stop. MGM selected the pilot Martin Jensen, who had recently come in second place in the Dole Air Derby to carry out the stunt. A custom plane was built for the eventโ€” a modified Ryan B-1 Brougham plane with a lion cage built in, an extra fuel tank, and tanks for milk and water. Jensen flew out of San Diego on September 16, 1927 with his feline passenger, a canteen of water, several sandwiches, and a .45 caliber pistol.

Martin Jensen with the plane that carried Leo the Lion as part of an MGM publicity stunt, 1927. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen with the MGM plane, 1927. Note the cage behind the cockpit. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen captioned this photo, "The picture of the Ryan Plane with Leo the MGM lion and the frightened Pilot Martin Jensen. Note the glass plate on this side and on the right side with a glass door in which I crawled forward the Pilots cockpit." Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen captioned this photo, “The picture of the Ryan Plane with Leo the MGM lion and the frightened Pilot Martin Jensen. Note the glass plate on this side and on the right side with a glass door in which I crawled forward the Pilots cockpit.” Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.

The flight, however, did not go as planned. Jensen hit a storm over Arizona and crashed into a small copse of trees in a desert canyon. Both Jensen and Jackie survived the impact with no injuries. After gathering his wits, Jensen left his sandwiches, the milk, and the water for the lion while he trekked across the desert looking for help.

Martin Jensen's plane crashed in the Arizona desert. He and the lion survived. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Wreckage of Martin Jensen’s plane. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen captioned this photo, "This picture was the end of the Lion flight. I had repeatedly warned the Ryan Engineers that it could not get over the Mountains. They compared it to Lindbergh's flight, but he had 48 foot span and I only had 42 foot span. Their reasoning was based on theory not on facts." Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen captioned this photo, “This picture was the end of the Lion flight. I had repeatedly warned the Ryan Engineers that it could not get over the Mountains. They compared it to Lindbergh’s flight, but he had 48 foot span and I only had 42 foot span. Their reasoning was based on theory not on facts.” Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.

After four days, he found a small ranch. The ranch hands working there kindly agreed to help Jensen. They took Jensen to a ranger station so he could use the telephone to call for help. However, the ranger refused, saying that he had to keep the line open because a man was lost and search parties were looking for him. After establishing his identity as the man they were searching for, the ranger let Jensen use the phone to call the people at MGM.

As soon as MGM realized it was Jensen calling, the man on the phone yelled, โ€œHowโ€™s the lion?โ€ Jensen was ordered to spare no expense to get the lion out alive. Within two days, and with more help from some local ranch hands, the lion was retrieved safely. Jackie was then transported to New York by truck.

Martin Jensen captioned this photo, "Sam Haughton on left and some of his ranch hands which helped to bring the (Leo the Lion) out of the area where this picture was taken. The area was surveyed about 15 years later and it was reported that the surveyors had to wear stove pipes over their legs to keep the snakes from striking." Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen captioned this photo, “Sam Haughton on left and some of his ranch hands which helped to bring the (Leo the Lion) out of the area where this picture was taken. The area was surveyed about 15 years later and it was reported that the surveyors had to wear stove pipes over their legs to keep the snakes from striking.” Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Photo from newspaper article about Leo the Lion (Jackie) arriving in Payson, Arizona, after his rescue from the Arizona desert. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Photo from newspaper article about Leo the Lion (Jackie) arriving in Payson, Arizona, after his rescue from the Arizona desert. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.

The plane remained in the desert until 1991, although scavengers made off with some of the smaller pieces of wreckage. The canyon that Jensen and Leo crashed in is now named Leo Canyon in honor of the event. It is located in Gila County, Arizona. After surviving this incident and several other accidents (two train wrecks, an earthquake, and a studio explosion), Jackie was given the nickname โ€œLeo the Lucky.

Martin Jensen is seen in this 1991 newspaper article holding the rudder cover of his plane that crashed in the Arizona desert. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.
Martin Jensen is seen in this 1991 newspaper article holding the rudder cover of his plane that crashed in the Arizona desert. Box 1, Martin Jensen papers, American Heritage Center, University of Wyoming.

Learn more about pioneer aviator Martin Jensen in his papers at the University of Wyoming’s American Heritage Center

— Post by Sarah Kesterson, UW American Heritage Center Archives Aid

#alwaysarchiving

Posted in Animal actors, aviation, aviation history, Hollywood history, motion picture history, Student projects, television history, Uncategorized | Tagged , , , , , , , , , | Leave a comment

The Shopping Center of Tomorrow is History

From gardens of rhododendrons and azaleas to marijuana. That seems to be the case with the Northland Center located outside of Detroit. Designed by Victor Gruen, the Northland Shopping Center opened on March 22, 1954.

Designed to accommodate a rapidly changing post-war America, Northland reflected the desires of consumers who were settling into the new and fresh suburban life where the automobile became a necessity for daily living.

Architect Victor Gruen designed Detroit's Northland Shopping Center as an open-air pedestrian mall with arrayed structures. The mall opened on March 22, 1954. Victor Gruen papers, American Heritage Center, University of Wyoming.
Architect Victor Gruen designed Detroit’s Northland Shopping Center as an open-air pedestrian mall with arrayed structures. The mall opened on March 22, 1954. Victor Gruen papers, American Heritage Center, University of Wyoming.

A few days before the center opened, a press event was held for media and dignitaries. In a speech delivered to the group, Gruen described the Northland Center as โ€œthe first โ€˜Shopping Center of Tomorrowโ€™ to come to life โ€“ a โ€˜Shopping Center of Tomorrowโ€™ which you will see today.โ€

Gruen described the role of the shopping center when he proclaimed, “Our sprawling suburbs have lost connection with the mother city. They need new Shopping Centers; but they need, in addition to that, cultural, civic, and social centers.”

He continued by describing the many features of what was at the time the largest shopping center ever built โ€“ 1ยผ miles of store fronts surrounded by 7500 parking spaces, mass transit ports, and highway links. Retail shopping opportunities now will be โ€œrestful and fun,โ€

Gruen declared. There are โ€œpublic areas for relaxation and amusement.โ€ The complex included retail clusters surrounding the Hudson Department Store. Gruen said to the audience, โ€œWhen you wander around Northland we would like you to observe not only the buildings, but the other important, town-planning element: the space between the buildings.โ€

Northland Shopping Center had 1ยผ miles of store fronts surrounded by 7500 parking spaces, mass transit ports, and highway links. Victor Gruen papers, American Heritage Center, University of Wyoming.
Northland Shopping Center had 1ยผ miles of store fronts surrounded by 7500 parking spaces, mass transit ports, and highway links. Victor Gruen papers, American Heritage Center, University of Wyoming.

Gruen, who was born in Vienna, Austria in 1903, came to America, and, in 1939, started Victor Gruen Associates. His European influence was incorporated in his designs. Explaining the concept to the audience, Gruen said, โ€œFor the first time in a new commercial project, open, architecturally defined spaces have been created which resemble the market squares of European cities.โ€

Victor Gruen, ca. 1955. Victor Gruen papers, American Heritage Center, University of Wyoming.

He described the garden areas as โ€œhaving been richly planted with trees, shrubs, and flowers โ€“ different ones [including rhododendrons and azaleas] in each court and mall.โ€ He went on to describe another first โ€“ the use of modern art. โ€œFor the first time modern art has been included, on a large scale, into the architectural concept of a commercial project.โ€

Flowers surrounded a piece of modern art at Northland Shopping Center. Victor Gruen papers, American Heritage Center, University of Wyoming.
Flowers surround a piece of modern art at Northland Shopping Center. Victor Gruen papers, American Heritage Center, University of Wyoming.

Northland flourished for many decades. In 1974, the center became a mall when it was enclosed. However, by the late 1990s, Northland entered into a decline. Stores like Montgomery Ward, J.C. Penney, and T.J. Maxx closed. In 2015, the last of the major anchor stores, Target and Macyโ€™s, closed. Northland Center officially closed on April 15, 2015. 61 years after its opening, the โ€œShopping Center of Tomorrowโ€ is history.

On October 26, 2017, two-and-a-half years after the mall’s shuttering, demolition began on Northland. In July 2021, the city of Southfield sold Northland Center to Contour Companies for $11 million. In March 2022, crews began work on building large-scale housing, retail shops, office space, and community and residential life-style living on the site.

Learn more about Gruen’s innovative architectural designs in the Victor Gruen papers at the University of Wyoming’s American Heritage Center.

– Post by UW American Heritage Center Archivist John Waggener.

– Updated by UW American Heritage Center Archivist Leslie Waggener.

#alwaysarchiving

Posted in architectural history, Architecture, Built environment, city and regional planning history, Demolition, Design, Post World War II, Retail history, Retail stores, Shopping centers, Suburbia, Uncategorized | Tagged , , , , , , , , , , , | 2 Comments