Collections: mss

An educator, farmer’s wife, and resident of South Deerfield, Massachusetts, Bertha Strong Cooley was an ardent Socialist who published regularly in local newspapers on topics ranging from anti-imperialism, democracy, capitalism, Communism, Russia, World War II, and civil rights.

The Cooley scrapbooks reflect the views of a teacher and farmer’s wife who used the newspapers to express her passion for social justice. Cooley ranged widely in responding to the news of the day, espousing Socialism and opposing racial injustice, war, imperialism, economic oppression, and Capitalism. One scrapbook contains writings by Cooley, the other clippings of articles dealing with topics of interest.

Owner of a general store and a farmer in Sheffield, Massachusetts. Ledger includes lists of customers, the goods that they purchased, and how they paid (cash and exchange of goods or services).

In the late 1970s and early 1980s Martha Coons was a political and labor activist in the Boston area. She was a shop steward in the District 65 Clerical Workers Union, which was a subdivision of the United Automobile Workers Union, at Boston University for two years. Prior to and proceeding through that time, from 1979-1983, she was an activist within the Boston chapter of the New America Movement (NAM). The New America Movement was a socialist political advocacy organization with a focus on feminism, racial equality, and environmental rights. This ended with their merger with the Democratic Socialist Organizing Committee, another somewhat less radical socialist organization.

The Martha Coons Collection provides insight into the two major factors of her activism. The District 65 part of the collection showcases the inner workings of the labor union in the 1980s, as well as provides examples of grievances that were filed during a string of layoffs at Boston University. The New America Movement documents not only provide information about the meetings and ideals of the organization as well as its workings, but also of the history of the time around the NAM’s merger with the Democratic Socialist Organizing Committee, and the Boston chapter’s large role in the opposition of said merger.

“The Bill Cosby Radio Program” was a daily syndicated radio series of roughly 5-minute comedy inserts by Cosby and produced by Frank Buxton (who also served as the show’s announcer and comedic “straight man”). Along with sound man Gene Twombly, Cosby and Buxton improvised the episodes, which were syndicated to more than 200 top-40 radio stations around the nation on transcription discs by The Coca-Cola Company and distributed by McCann-Erikson (Coke’s ad agency). The show marked the beginning of Cosby’s long association with Coca-Cola and was the debut of many characters from Cosby’s comedy.

This collection features twelve radio broadcast transcription discs (one 12-inch disc and eleven 16-inch discs) of “The Bill Cosby Radio Program” containing programs #21-130 (1968 Jan 29-Jun 24) and programs #141-145 (1968 Jul 15). The disc labels contain the original program description and art.

The Council for Fair School Finance began its fight in 1978 when it filed a lawsuit (McDuffy v. Secretary of the Executive Office of Education) to require Massachusetts to meet its constitutional obligation to provide a quality education for all schoolchildren. The suit was quickly suspended due to recently enacted school reform legislation. Within five years, the Council took up the suit once more, and again further reform legislation was enacted that prevented the suit from going to trial. Finally in 1993, the case was heard and decided in favor of the plaintiffs; three days later the governor signed the Education Reform Act of 1993. By the end of the decade, the promise of the McDuffy decision had not yet been fully realized and the Council filed a second suit (Hancock v. Commissioner of Education). In April 2004, Superior Judge Margot Botsford issued a report that found the state’s efforts to fix the problems identified in the previous case were insufficient and that the plaintiffs were entitled to remedial relief. The Supreme Judicial Court, however, did not uphold the recommendation and the motion for relief was denied.

The collection consists of administrative records, including documents created early in the Council’s history, minutes of Council meetings, media reports, research materials, and financial records.

A noted figure in modernist theater, Edward Gordon Craig was born in Stevenage, Hertfordshire, on Jan. 16, 1872, the illegitimate son of the renowned actress Ellen Terry and the architect Edward William Craig. Although the most productive portion of his career was brief, he exerted a strong influence on the field of set design and lighting, and was fairly prolific as a writer on theatre.

The six audio recordings that comprise the Craig collection originated from a series of BBC radio talks in the early 1950s. The reel to reel tapes include Craig’s reminiscences of Ellen Terry, Isadora Duncan, the old school of acting, celebrities, masks, and how he played Hamlet in Salford, Lancashire, but are more generally his thoughts on acting, the theater, and art.

The horticulturist, Jim Crockett (1915-1979) earned wide acclaim as host of the popular television show, Crockett’s Victory Garden. A 1935 graduate of the Stockbridge School of Agriculture at UMass Amherst, Crockett returned home to Massachusetts after a stint in the Navy during the Second World War and began work as a florist. A small publication begun for his customers, Flowery Talks, grew so quickly in popularity that Crockett sold his flower shop in 1950 to write full time. His first book, Window Sill Gardening (N.Y., 1958), was followed by seventeen more on gardening, ornamental plants, and horticulture, culminating with twelve volumes in the Time-Life Encyclopedia of Gardening. He was the recipient of numerous awards for garden writing and was director of the American Horticultural Society. In 1975, he was contacted about a new gardening show on PBS, Victory Garden, which he hosted until his death by cancer in 1979.

Documenting an important career in bringing horticulture to the general public, the Crockett Papers contain a mix of professional and personal correspondence and writing by Jim Crockett from throughout his career. The collection includes a particularly extensive set of letters from George B. Williams, Crockett’s father in law, and copies most of his publications.

In the late 1870s, a middle-aged farmer from Richmond, Minnesota, Samuel Crouch, married a woman eleven years his junior and asked her to relocate to the northern plains. Possessed of some solid self-confidence, Rebecca left behind her family a friends and set out to make a life for herself, adjusting to her new role as step-mother and community member, as well as the familiar role of family member at a distance.

The Crouch Papers includes approximately 225 letters offering insight into life in Minnesota during the late 1870s and early 1880s, and into the domestic and social life of a woman entering into a new marriage with an older man. Rebecca’s letters are consumed with the ebb and flow of daily life, her interactions with other residents of the community at church or in town, the weather, and chores from cooking to cleaning, farming, gardening, writing, going to town, or rearranging furniture.

Farmers who provided services (such as putting up fences, shingling, butchering, and cutting brush) for townspeople. Seventy page book of business transactions, and miscellaneous papers including mortgage payments, highway building surveyor assessments, and poems.

In 1923, Katherine Frazier established the Playhouse-in-the-Hills as a venue for theatrical performances in the small Berkshire County town of Cummington, Mass. Frazier’s vision, however, soon led her to expand the project into the Cummington School of the Arts (later the Cummington Community of the Arts), which she envisioned as “an environment congenial to creative activity.” Over its seventy years of operation, the School emphasized creative collaboration across the fine arts, offering not only performances, but summer residencies and six-week courses where writers, artists, performers, and musicians could study and practice under the guidance of visiting artists. Among its noted alumni were luminaries such as Helen Frankenthaler, Willem de Kooning, Diane Arbus, Marianne Moore, and Archibald Macleish, and the school was a starting point for Harry Duncan’s renowned Cummington Press. The increasing financial challenges facing not-for-profit organizations led a cessation of operations in about 1993.

The records of the Cummington School of the Arts offer a cross-sectional view of the School across its years of operation. In addition to a very small selection of personal material from Katherine Frazier, the collection includes valuable correspondence and ephemera relating to the school’s philosophy and founding, and nearly a third of the collection consists of records of students, often including their applications, comments on the work accomplished in Cummington, and occasionally, copies of work produced. The balance of the collection consists of many of the school’s publications, administrative materials (including curricula and planning documents), and financial and fundraising materials.