Collections: mss

John J. Fitzgerald, 1968

A graduate of Holyoke High and UMass Amherst (BA 1963), John J. Fitzgerald entered the Army after graduation and served in Vietnam as a Captain in the 25th Infantry Division. He earned a Bronze Star and Purple Heart for his service, having been wounded at Cu Chi in June 1966, before leaving active duty in 1968. Returning home to Holyoke, Fitzgerald entered the master’s degree in political science at UMass (MA 1978) and renewed his longstanding interest in politics. Taking an interest in the progressive, antiwar candidate Eugene McCarthy, he became head of the McCarthy campaign in Holyoke and won election as a delegate to the Democratic national convention. Fitzgerald remained involved in local Democratic politics, and in addition to teaching history in local schools for many years, he wrote and lectured on topics ranging from nuclear power to his experiences in Vietnam.
The Fitzgerald collection contains four scrapbooks relating to his involvement in politics in the late 1960s and early 1970s. Two of the scrapbooks document national and local reaction to the McCarthy campaign and include some articles on Fitzgerald and some ephemera. The other scrapbooks document the McGovern campaign in 1972 and politics in Holyoke in mid-1970s. The collection also includes a copy of Fitzgerald’s commission as a Reserve Commissioned Officer in the Army (1964) and two posters: Jack Coughlin’s, Weapons often turn upon the wielder. . . (1968) and Viet-nam veterans speak out. . . Viet-nam Veterans for McCarthy (1968), an antiwar petition signed by Fitzgerald. Books that arrived with the collection have been transferred and catalogued into SCUA’s general collection.

Ken Fitzpatrick was long time organizer and official of the American Postal Workers Union, serving as President of Local 497 and Secretary and Treasurer for the American Postal Workers Union of Massachusetts before his retirement in about 2010.

The Fitzpatrick collection includes a selection of posters, hats, and ephemera related to the APWU.

Established in 1983 by a group of faculty and administrators in the Five College community who perceived an urgent need for increased faculty dialogue about issues involving peace, security, and the nuclear arms race. Expanded in 1984 with the support of a grant from the Ford Foundation, PAWSS continued as a multidisciplinary program that sought to engage faculty in a consideration of various perspectives on world security and to assist them with curriculum development involving these issues.

This small collection includes circular letters and flyers produced by PAWSS describing the group’s activities as well as materials used by faculty during summer institutes and to develop curriculum.

Established as a pilot project in the fall of 1974, the Women’s Studies program at UMass Amherst was proposed by the Faculty Senate Committee on Women in 1973. The committee asked for a two-year mandate to develop the pilot project into a permanent program with a major and certificate minor by the fall of 1976. Despite the steady growth of the department over the next few years, the university offered minimal financial support. There were roadblocks, too, on the way to becoming a permanent program. Even after the Faculty Senate voted to approve a five-year extension of the program, university administrators continued to delay awarding the program independent degree-granting status. Finally, on April 30, 1980, the Women’s Studies Program received the approval of the Chancellor.

This collection consists of materials displayed as part of an exhibit curated by Lisa Baskin that celebrates the history of Women’s Studies Programs at UMass Amherst and in the Five Colleges, including photographs, reports, publications, and course catalogs.

An activist and advocate for social and racial justice since he was a teenager, Bill Fletcher, Jr., born in New York in 1954, graduated from Harvard, and went to work as a welder in a Massachusetts shipyard. He soon became active in the labor movement, as a worker, an organizer, and a union staff member, and in electoral campaigns. Fletcher became a union staff person in Boston in 1986 with District 65-United Auto Workers.  In 1990, he and his family moved to Washington, D.C. where he held a series of positions with the National Postal Mail Handlers Union, the Service Employees International Union, and the national AFL-CIO. He has also held positions with the George Meany Center for Labor Studies/National Labor College and with TransAfrica Forum, for which he served as president and CEO. Fletcher is author of “They’re Bankrupting Us!” And Twenty Other Myths About Unions; he is coauthor of The Indispensable Ally: Black Workers and the Formation of the Congress of Industrial Organizations, 1934-1941 and Solidarity Divided: The Crisis in Organized Labor and a New Path Toward Social Justice. He has also published two murder/mystery novels, The Man Who Fell From the Sky and The Man Who Changed Colors.  He serves on the editorial board of BlackCommentator.com and has contributed to numerous publications. As a writer, scholar, speaker, and activist, as well as an organizational consultant and a mentor, Fletcher continues his advocacy work. He lives with his wife, Candice, in Maryland.

The Bill Fletcher, Jr., Papers document the activities and interests of a lifelong radical and includes speeches, correspondence, material on the Black Radical Congress, and materials from an array of left-wing organizations. In addition to materials directly connected to Fletcher’s work, there are also pamphlets and other publications that he collected.

Personal, financial and legal papers of Flint and Lawrence families of Lincoln, Massachusetts including wills, estate inventories, indenture documents, receipts of payment for slaves and education, correspondence; and records of town and church meetings, town petitions and receipts relating to the construction of the meeting house. Papers of Reverend William Lawrence include letter of acceptance of Lincoln, Massachusetts ministry, record of salary, a sermon and daybook. Personal papers of loyalist Dr. Joseph Adams, who fled to England in 1777, contain letters documenting conditions in England in the late 1700s and the legal and personal problems experienced by emigres and their families in the years following the Revolutionary War.

Photocopies of two typescript company histories for the Florence Manufacturing Company: “50 Years of Brush Making (1866-1916)” and “50 More Years of Brush Making, 1916-1974.”

2 Holyoke St., Flywheel's original location circa 2000

In the spring of 1998, two western Massachusetts-based musicians/artists, Cindy Bow and Helen Harrison founded the Valley Arts and Music Alliance (VAMA), a grassroots collective of artists who worked collaboratively to produce free, all-ages shows and art happenings that reflected their own creative visions which operated in opposition to those of the established music industry. VAMA attracted like-minded people, most of whom were already doing similar things in their own homes, churches, dorm basements, record stores, VFW halls, and other non-traditional venues. Together, the group produced over two-dozen shows at The Fridge Art Gallery and other spaces in downtown Amherst, MA and elsewhere. In December of 1998, a friend, supporter, artist, and local lawyer, Stevan Bartone, located a space in Easthampton – a long-vacant cabinet store owned by a local Palestinian-born doctor named Shawki Kanazi located at 2 Holyoke St. that would serve as a home for VAMA.

As word of the space spread, several people joined the fledgling group and VAMA morphed into Flywheel. After a flurry of renovations to the space led by local artist and carpenter Bruce Todd and his dog Mashie, Flywheel opened its doors in March of 1999 with a day-long celebration of music, poetry, comedy, and visual art. For the next eight years, a stable of local bookers, volunteers, supporters, musicians, and artists facilitated a wealth of community-building artistic moments in this unassuming storefront in Easthampton, which at the time was a post-industrial city shaping its artistic future. In 2007, at the invitation of local developer and arts supporter, Will Bundy, Flywheel left 2 Holyoke St. for a larger space in Easthampton’s historic Old Town Hall at 43 Main St. Bundy formed a non-profit, City Space, to manage the building in which Flywheel was a tenant. Flywheel reopened in 2010 after three years of major renovations. In December 2020 Flywheel left Old Town Hall and has continued to program events at unconventional spaces around Western Mass.

The Flywheel collection documents its history from its inception as VAMA in 1998, to its transformation into Flywheel in 1999 and through its continued operation in the early to mid 2000s. These records document the construction and operation of Flywheel’s space at 2 Holyoke Street through photographs, correspondence, meeting minutes, digital files, and financial records. In addition, Flywheel and VAMA’s programming is reflected through vast amounts of promotional materials such as show flyers, posters, monthly schedules, correspondence, contracts, signage, artwork, and audiovisual materials. These items illustrate the rise of the do-it-yourself (D.I.Y.) music scene in Easthampton and Western Massachusetts as well as the national/international underground music community of the late 20th/early 21st century. Established, or soon to be established, “indie” artists such as Versus, Kim Gordon, Lightning Bolt, Ted Leo and the Pharmacists, The Gossip, Pernice Brothers, Dresden Dolls, Pansy Division, High Rise, Bright Eyes, and thousands of experimental artists, filmmakers, and musicians in a variety of genres/mediums from noise, electronic and jazz to hardcore, folk, and punk are represented in printed calendars and flyers. As a volunteer-run, consensus-based 501(c)3 non-profit organization with no paid employees, Flywheel’s success depended on small-scale fundraising efforts, volunteers, and community support. This structure is well documented through meeting minutes, fundraising appeals, a website, internal correspondence, signage, and collaboratively-produced guidebooks. In addition to organizational records, there is a large collection of fanzines and underground publications that constituted Flywheel’s “infoshop”. This collection of over 3,500 publications, which makes up the bulk of the collection, was built over the course of 20 years through donations by volunteers and supporters, show goers, zine makers, and by being listed in Slingshot, the Berkeley, CA anarchist newspaper.

Founded by Betsy Siggins in 2009, Folk New England is an organization dedicated to documenting, preserving, and interpreting the cultural legacy of folk music in all its forms, with an emphasis on New England’s contribution.

The Ephemera Collection consists of dozens of posters, fliers, calendars, and other promotional materials for musical acts collected by Folk New England. Concentrated in the years of the folk revival in the late 1950s to late 1960s, many of the posters were sent to Club 47 in Cambridge, Mass.

Founded by Betsy Siggins in 2009, Folk New England’s mission is to document, preserve, interpret and present the ongoing cultural legacy of folk music in all its forms, with emphasis on New England’s contribution to the enrichment of North American life. The organization continues a dialogue between New England’s distinct folk music heritage and its future, through the establishment of a regional folk music archive, robust collections development and access, multi-disciplinary outreach and education, and engaging entertainment programs for the public.

The Folk New England collections document the folk music scene, broadly construed, with an emphasis on the folk revival of the late 1950s and 1960s to the present. Although the performers and music are central, the growing array of collections also documents producers, venues, photographers, and others involved in the scene.

View all FNE collections