Access restrictions: Temporarily stored offsite; contact SCUA in advance to request materials from this collection.
A professor of English at UMass Amherst, James A. Freeman is a scholar of seventeenth century British literature who has compiled an impressively eclectic array of publications and research projects. Educated at Amherst College (AB 1956) and the University of Minnesota (PhD 1968), Freeman joined the faculty in the English Department at UMass shortly after completing his doctorate. He has published on topics ranging from Latin and Greek poets to Shakespeare, Milton, Swift, Tennyson, James Agee, Donald Duck, 17th century regicides, and 1930s radio. He has also served as a regular contributor and editor for the Association for Gravestone Studies Quarterly.
The Freeman Collection contains research materials, drafts, and images from Freeman’s varied research projects in the field of gravestone and cemetery studies.
Gift of James A. Freeman and the Association of Gravestone Studies, June 2018
Subjects
Cemeteries--New EnglandSepulchral monuments--New England
Founded by Johanna Halbeisen in 1974, the New Song Library was a collaborative resource for sharing music with performers, teachers and community activists, who in turn shared with a wide variety of audiences. Based initially in Boston, the Library was devoted to the music of social change and particularly music that reflected the lives and aspirations of workers, women and men, elders and young people, gays and lesbians, other minorities, and Third World people.
This collection contains over forty years of organizational and operational records of the New Song Library along with hundreds of sound recordings, primarily audiocassettes made at concerts, music festivals, song swaps, and gatherings of the People’s Music Network. The Library also collected newsletters and magazines on folk music, and most importantly dozens of privately produced songbooks and song indexes.
In May 2017, a group of archivists and librarians convened at the Moving Image Archiving and Preservation Program at NYU’s Tisch School of the Arts for a two-day colloquium on the impact of environmental change on historical memory institutions. The speakers in the Libraries and Archives in the Anthropocene colloquium explored the profound implications of cataclysmic climate change on the missions and practices of cultural heritage institutions, the challenges confronting them, and the opportunities for future efforts and investigations.
This digital collection consists of video recordings of each of the sessions held at the Libraries and Archives in the Anthropocene colloquium. Following the keynote address by Roy Scranton, each day of the colloquium consisted of two or three panels of twenty-minute talks, a round of five-minute lightning talks, and a concluding plenary and discussion.
Since the early 1970s, George Ebert has been a significant national figure in the anti-psychiatry and psychiatric survivors’ movements. Radicalized by three periods of involuntary incarceration, Ebert founded the Mental Patients Liberation Alliance in 1978 as a self-help, mutual support, human rights, and advocacy organization, and he has spoken out consistently against all forms of coercive psychiatry, including electroconvulsive therapy and forced drugging. While serving as director of the Mental Patients Alliance of Central New York, Ebert has also been active in Activists for Alternatives and the Network Against Coercive Psychiatry.
A significant collection for study of the psychiatric survivors’ movement, Ebert’s papers contain a wealth of correspondence from activists throughout the United States and abroad, along with notable runs of newsletters and periodicals from many early ex-patient groups that are now defunct, photographs of demonstrations, and organizational materials relating to the Mental Patients Liberation Alliance.
Gift of George Ebert, Aug. 2018
Subjects
AntipsychiatryEx-mental patientsPeople with disabilities--Civil rightsPeople with disabilities--Legal status, laws, etc.Psychiatric survivors movement
A journalist, writer, and historian, Harvey Wasserman has been an activist for radical democracy and alternative energy for over five decades. Influenced by civil rights activism as a child, Wasserman became seriously involved in journalism while on the staff of the Michigan Daily at the University of Michigan. After graduating in 1967, he joined the Liberation News Service supplying news to underground and alternative media outlets, remaining with the LNS branch that eventually settled on the Montague Farm Commune in Montague, Mass. During more than a decade at the Farm, Wasserman and his fellow communards helped ignite the modern movement opposing nuclear power. Helping to found two vital antinuclear groups, the Alternative Energy Coalition and the Clamshell Alliance, he became a key strategist and organizer of the mass protests at the Seabrook Nuclear Power Plant and was a motive force behind the Musicians United for Safe Energy concerts in 1979. His activism has since expanded into a broad range of environmental issues, alternative energy, election protection, and politics. A prolific writer, he is author of Harvey Wasserman’s History of the United States (1972) and Solartopia (2007), among other books, and his articles have appeared in both the mainstream and alternative press.
The Wasserman Papers document the career of a key figure in antinuclear and alternative energy activism. The collection includes a nearly comprehensive set of Wasserman’s writings, materials on the antinuclear movement, solar power, the Montague Farm Commune, and materials relating to his efforts to protect the American electoral system.
Three Mount Ida College students with a mare and foal
Mount Ida College was a regional, co-educational college with 1500 students, over forty majors, and a graduate program designed for working adults. The college began in 1899 when George Franklin Jewett and his wife Abigail Fay Jewett purchased a property on a hill in Newton Corner named Mount Ida and began a college prep and finishing school program, the Mount Ida School for Girls, that steadily grew, adding a junior college curriculum in 1917. Under the financial stress of the Great Depression, the school closed in 1935, but was purchased four years later by William F. Carlson and reopened on the newly acquired Robert Gould Shaw II estate in Newton Centre. Mount Ida officially became a college in 1967, began admitting men in 1976, and in the late 1980s it merged with Chamberlayne Junior College and the New England Institute of Funeral Service Education. However, after a period of protracted financial difficulties in the early 2000s, Mount Ida College closed its doors on May 17, 2018, and the land and campus buildings were purchased by the University of Massachusetts Amherst.
The Mount Ida College Records contain the historical records of the college, including photographs, yearbooks, course catalogs, student scrapbooks and memorabilia, publicity materials, the college’s web and social media presence, and artifacts that document Mount Ida’s athletic programs. The records of the New England Institute of Funeral Service were moved with the program itself to Cape Cod Community College.
Subjects
Education, Higher--Massachusetts--NewtonSingle-sex schools--United StatesUniversities and colleges--Massachusetts--NewtonWomen--Education--United States
Boy dressed as an eagle for the Fourth of July parade, Bristol, R.I., 1993
An award-winning photojournalist, Kathy Borchers began a thirty year career with the Providence Journal in the mid-1980s. A native of Dayton, Ohio, she and her twin sister Karen (also a photojournalist) took up photography in high school and refined their technique as undergraduates at Bowling Green State University. After receiving her master’s degree at the Indiana University School of Journalism in 1981, Borchers worked for three years with the Topeka Capital-Journal before landing in Providence. In addition to covering general news and sports, she took on a number of special assignments and longer-form photoessays over the years in southern New England. She retired in 2015.
A rich sampling from a long career in photojournalism, the collection includes photographic negatives and prints along with associated published materials. Centered primarily on her time with the Providence Journal, the collection reflects the breadth of Borchers’ assignments, including general news, sports coverage, and longer-form photoessays, in both black and white and color. The collection also includes five self-made books: three on long-term photographic projects for the Journal and two career retrospectives.
A destroyer commissioned in 1936, the USS Reid was assigned to the Pacific Fleet and in 1939 was moved to Pearl Harbor, Hawaii. The Reid was being serviced in port on December 7, 1941, when the Japanese attack on Pearl Harbor occurred. The Reid survived and was re-assembled so quickly it was out patrolling later that morning. Between 1941 and 1944, the Reid served on numerous patrol and escort missions, including in the Aleutian Islands and Solomon Islands and joined forces fighting in Guadalcanal. During the Reid’s involvement in the battle of Leyte Gulf, it was attacked by twelve kamikaze fighters, several of which made contact with the Reid, including one that crashed into the port quarter and exploded, blowing the ship apart and killing 103 of the 268 aboard.
The Gardner/Wilson Collection represents the efforts of Leonard F. Gardner (BA ’49), Pearl Harbor survivor, who served on the Reid from 1941-1944. Gardner collected photographs and documents from former shipmates and produced a newsletter from 1997 to 2015 that recorded the lives of shipmates and included photographs and information about the USS Reid. In addition to the original materials Gardner collected, a full run of the newsletter and other documents related to the Reid’s service in World War II, the Gardner/Wilson collection includes a website curated by Gardner and designed, created, and maintained by James M. Wilson III (MBA ’86, MS ’86, PhD ’00), whose father, James M. Wilson, Jr., served on the USS Reid from 1940 and survived its sinking in 1944. Wilson also conducted oral histories of remaining USS Reid 369 members in 2006. The original website can be found at http://ussreid369.org. SCUA also maintains an archived version of the site. Several documents and photographs relating to the sinking of the Reid were added to the collection by Gordon Seastrom, a Pearl Harbor survivor and Reid shipmate.
Gift of Leonard F. Gardner and James M. Wilson III, 2018
Subjects
Destroyer escorts--United StatesKamikaze pilotsPearl Harbor (Hawaii), Attack on, 1941Warships--United StatesWorld War, 1939-1945 -- Naval operations
Esma-Marie N’Doi Booth was born into a missionary family in the Belgian Congo in Dec. 1932, and attended school there until entering Boston University. She earned her degree in art and art history in 1954, the same year she married the philosopher Frederick Feree, and for much of the next four decades, she worked as an archivist at the colleges and universities where her husband found an academic home: Vanderbilt, Mount Holyoke, and Dickinson. After retiring to Northfield, Mass., in 2000, she became active in local history and historic preservation, including working as archivist for the Association for Gravestone Studies. She died in Greenfield, Mass., in 2016 at the age of 83.
The Ferre collection contains articles, news clippings, and notes on New England gravestones, along with several dozen images taken by Ferre in graveyards during the early 2000s, primarily in Massachusetts.
Gift of the Association for Gravestone Studies, June 2018
Bill Keith (r.) and Jim Rooney at the Newport Folk Festival, 1965
A stylistic innovator and influential performer on the five string banjo, Bill Keith is credited with transforming the instrument from a largely percussive role into a one where it carried the melody. A native of Boston and 1961 graduate of Amherst College, Keith cut his teeth as a performer in New England clubs during the hey day of the folk revival, often partnering with his college roomate Jim Rooney, and he spent the better part of the decade as a member of two high profile acts: Bill Monroe’s Bluegrass Boys, with whom he played for eight critical months in 1963, and the Jim Kweskin Jug Band. Adding the pedal steel guitar to his repertoire, Keith performed on stage and in studio with a stylistically and generationally diverse range of acts including Ian and Sylvia, Judy Collins, Richie Havens, Loudon Wainwright, and the Bee Gees. Keith continued performing nearly to the time of his death by cancer in October 2015.
This small collection of photographs and ephemera documents the musical career of bluegrass legend Bill Keith, including early images playing in coffee houses and at Newport Folk Festival and images of Keith with musical collaborators throughout the 1970s and 1980s. The collection includes a series of photographs and ephemera taken during the 50th anniversary Jug Band Reunion tour of Japan in 2013.
