{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=41365\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=41364\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=41366\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=File\u0026page=42281\u0026view=compact"},"meta":{"pages":{"current_page":41365,"next_page":41366,"prev_page":41364,"total_pages":42281,"limit_value":10,"offset_value":413640,"total_count":422809,"first_page?":false,"last_page?":false}},"data":[{"id":"017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969","type":"File","attributes":{"title":"Who Needs the Negro? (2/2), 1970","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe rest of Sidney W. Willhelm's book\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_e6a3f68143556eccd5dadf5c5c1a7969","ref_ssm":["aspace_e6a3f68143556eccd5dadf5c5c1a7969","aspace_e6a3f68143556eccd5dadf5c5c1a7969"],"id":"017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969","title_filing_ssi":"Who Needs the Negro? (2/2)","title_ssm":["Who Needs the Negro? (2/2)"],"title_tesim":["Who Needs the Negro? (2/2)"],"unitdate_other_ssim":["1970"],"normalized_date_ssm":["1970"],"normalized_title_ssm":["Who Needs the Negro? (2/2), 1970"],"text":["Who Needs the Negro? (2/2), 1970","William R. Jones Papers, 1953-2009","Paper Documents","30","/repositories/10/archival_objects/249473","box 21","The rest of Sidney W. Willhelm's book"],"component_level_isim":[2],"parent_ids_ssim":["017ffe6dc656d61d4bc03ca6","017ffe6dc656d61d4bc03ca6_aspace_05cf3a28b46cb82e48729516abfd3a15"],"parent_unittitles_ssm":["William R. Jones Papers, 1953-2009","Paper Documents"],"parent_unittitles_tesim":["William R. Jones Papers, 1953-2009","Paper Documents"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["30","/repositories/10/archival_objects/249473"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["William R. Jones Papers, 1953-2009"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":383,"parent_access_restrict_tesm":["Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library."],"parent_access_terms_tesm":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"containers_ssim":["box 21"],"scopecontent_html_tesm":["\u003cp\u003eThe rest of Sidney W. Willhelm's book\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The rest of Sidney W. Willhelm's book"],"_nest_path_":"/components#0/components#381","_nest_parent_":"017ffe6dc656d61d4bc03ca6_aspace_05cf3a28b46cb82e48729516abfd3a15","_root_":"017ffe6dc656d61d4bc03ca6","timestamp":"2026-07-10T05:18:33.704Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"017ffe6dc656d61d4bc03ca6","title_filing_ssi":"Jones, William R. Papers","title_ssm":["William R. Jones Papers"],"title_tesim":["William R. Jones Papers"],"ead_ssi":"017ffe6dc656d61d4bc03ca6","unitdate_ssm":["1953-2009"],"unitdate_inclusive_ssm":["1953-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2020-001","/repositories/10/resources/1781"],"text":["MSS 2020-001","/repositories/10/resources/1781","William R. Jones Papers, 1953-2009","Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library.","unarranged","Rev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph  Is God A White Racist? , as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).","Jones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.","Jones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.","Jones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.","He was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. ","He became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.","Jones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece,  Is God A White Racist? A Preamble to Black Theology , and in 1978, he co-edited and contributed to the monograph  Black Theology II .","Jones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.","Jones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983–84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. ","\nSources:","American Philosophical Association. (Spring 2013).  APA Newsletters .  https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf","Harper, Daniel. \"William R. Jones: a brief appreciation.\"  https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/","Unitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\"  https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012","Moved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020.","Content of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Jones, William R. (1998).  Is God a white racist? : a preamble to Black theology . Beacon Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588","Jones, William R. (1978).  Black theology II: essays on the formation and outreach of contemporary Black theology . Bucknell University Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090","\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126350a1.sid","\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126348a1.sid","American Humanist Association Records, Library \u0026 Archives, Meadville Lombard Theological Seminary, Chicago, Illinois.  https://www.meadville.edu/library-and-archives","Correspondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.","Select born-digital materials from this collection are available through  PASS .","Select materials from the William R. Jones Papers have been digitized and are available through the  FSU Digital Library .","William R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum.","Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 2020-001","/repositories/10/resources/1781"],"normalized_date_ssm":["1953-2009"],"normalized_title_ssm":["William R. Jones Papers, 1953-2009"],"collection_title_tesim":["William R. Jones Papers, 1953-2009"],"collection_ssim":["William R. Jones Papers, 1953-2009"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"has_online_content_ssim":["false"],"extent_ssm":["138 Linear Feet 136 boxes, 2 items","69 Linear Feet 69 boxes","918 Cassettes 23 boxes","5 Cassettes","920 Cassettes 20 boxes","5 Reels","1188 items 13 boxes, 1 item","3.5 Linear Feet 3 boxes, 1 item","3 Linear Feet 2 boxes"],"extent_tesim":["138 Linear Feet 136 boxes, 2 items","69 Linear Feet 69 boxes","918 Cassettes 23 boxes","5 Cassettes","920 Cassettes 20 boxes","5 Reels","1188 items 13 boxes, 1 item","3.5 Linear Feet 3 boxes, 1 item","3 Linear Feet 2 boxes"],"physfacet_tesim":["Total collection extent","Paper documents","VHS videocassettes. 420 cassettes are unlabeled.","VHS-C videocassettes","Compact audiocassettes. 297 cassettes are unlabeled.","1/4-inch audiotape","Computer media: 3.5 inch disks, 5.25 inch disks, Zip disks, external drives, WinBook laptop computer, iomega jaz disk, Colorado DT-250 minicassette, DVD-R, DC-2120 mini cartridge, adapters","plaques, framed items, keepsakes","Books"],"dimensions_tesim":["7-inch reels"],"date_range_isim":[1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eMost paper files are still arranged as-received and difficult to handle routinely.\u003c/p\u003e\n","\u003cp\u003eSee also Technical Access note below.\u003c/p\u003e\n","\u003cp\u003eContact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. \u003c/p\u003e\n","\u003cp\u003eUsers may access this collection at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eunarranged\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["unarranged"],"bioghist_html_tesm":["\u003cp\u003eRev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph \u003cemph render=\"italic\"\u003eIs God A White Racist?\u003c/emph\u003e, as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).\u003c/p\u003e\n","\u003cp\u003eJones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.\u003c/p\u003e\n","\u003cp\u003eJones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.\u003c/p\u003e\n","\u003cp\u003eJones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.\u003c/p\u003e\n","\u003cp\u003eHe was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. \u003c/p\u003e\n","\u003cp\u003eHe became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.\u003c/p\u003e\n","\u003cp\u003eJones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece, \u003cemph render=\"italic\"\u003eIs God A White Racist? A Preamble to Black Theology\u003c/emph\u003e, and in 1978, he co-edited and contributed to the monograph \u003cemph render=\"italic\"\u003eBlack Theology II\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eJones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.\u003c/p\u003e\n","\u003cp\u003eJones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983\u0026#x2013;84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. \u003c/p\u003e\n","\u003cp\u003e\nSources:\u003c/p\u003e\n","\u003cp\u003eAmerican Philosophical Association. (Spring 2013). \u003cemph render=\"italic\"\u003eAPA Newsletters\u003c/emph\u003e. \u003cextref href=\"https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf\"\u003ehttps://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eHarper, Daniel. \"William R. Jones: a brief appreciation.\" \u003cextref href=\"https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/\"\u003ehttps://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eUnitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\" \u003cextref href=\"https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012\"\u003ehttps://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Rev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph  Is God A White Racist? , as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).","Jones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.","Jones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.","Jones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.","He was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. ","He became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.","Jones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece,  Is God A White Racist? A Preamble to Black Theology , and in 1978, he co-edited and contributed to the monograph  Black Theology II .","Jones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.","Jones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983–84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. ","\nSources:","American Philosophical Association. (Spring 2013).  APA Newsletters .  https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf","Harper, Daniel. \"William R. Jones: a brief appreciation.\"  https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/","Unitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\"  https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012"],"custodhist_html_tesm":["\u003cp\u003eMoved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Moved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020."],"phystech_html_tesm":["\u003cp\u003eContent of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Access"],"phystech_tesim":["Content of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder Number], William R. Jones Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"https://purl.lib.fsu.edu/fa/MSS_2020-001\"\u003ehttps://purl.lib.fsu.edu/fa/MSS_2020-001\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder Number], William R. Jones Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  https://purl.lib.fsu.edu/fa/MSS_2020-001"],"relatedmaterial_html_tesm":["\u003cp\u003eJones, William R. (1998). \u003cemph render=\"italic\"\u003eIs God a white racist? : a preamble to Black theology\u003c/emph\u003e. Beacon Press. \u003cextref href=\"https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588\"\u003ehttps://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eJones, William R. (1978). \u003cemph render=\"italic\"\u003eBlack theology II: essays on the formation and outreach of contemporary Black theology\u003c/emph\u003e. Bucknell University Press. \u003cextref href=\"https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090\"\u003ehttps://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003e\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026amp; University Archives. \u003cextref href=\"http://purl.flvc.org/fcla/herb/126350a1.sid\"\u003ehttp://purl.flvc.org/fcla/herb/126350a1.sid\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026amp; University Archives. \u003cextref href=\"http://purl.flvc.org/fcla/herb/126348a1.sid\"\u003ehttp://purl.flvc.org/fcla/herb/126348a1.sid\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eAmerican Humanist Association Records, Library \u0026amp; Archives, Meadville Lombard Theological Seminary, Chicago, Illinois. \u003cextref href=\"https://www.meadville.edu/library-and-archives/\"\u003ehttps://www.meadville.edu/library-and-archives\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Works By William R. Jones At FSU Libraries","Related Materials - FSU Special Collections \u0026 Archives","Related Materials - Beyond FSU Libraries"],"relatedmaterial_tesim":["Jones, William R. (1998).  Is God a white racist? : a preamble to Black theology . Beacon Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588","Jones, William R. (1978).  Black theology II: essays on the formation and outreach of contemporary Black theology . Bucknell University Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090","\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126350a1.sid","\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126348a1.sid","American Humanist Association Records, Library \u0026 Archives, Meadville Lombard Theological Seminary, Chicago, Illinois.  https://www.meadville.edu/library-and-archives"],"scopecontent_html_tesm":["\u003cp\u003eCorrespondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.\u003c/p\u003e","\u003cp\u003eSelect born-digital materials from this collection are available through \u003cextref href=\"http://pass.lib.fsu.edu/#Jones-MSS_2020-001/\"\u003ePASS\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eSelect materials from the William R. Jones Papers have been digitized and are available through the \u003cextref href=\"https://repository.lib.fsu.edu/islandora/object/fsu:williamrjonespapers\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available","Online Copies Available"],"scopecontent_tesim":["Correspondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.","Select born-digital materials from this collection are available through  PASS .","Select materials from the William R. Jones Papers have been digitized and are available through the  FSU Digital Library ."],"separatedmaterial_html_tesm":["\u003cp\u003eWilliam R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["William R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum."],"userestrict_html_tesm":["\u003cp\u003eCopyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e\n","\u003cp\u003eCopyright terms for unpublished works by William R. Jones will expire on January 1, 2083.\u003c/p\u003e\n","\u003cp\u003eCopyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2768,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"017ffe6dc656d61d4bc03ca6","timestamp":"2026-07-10T05:18:33.704Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969"}},{"id":"1ac4ca82cbf9f71c689e9408_aspace_156990","type":"File","attributes":{"title":"Who Needs To Love Forever?","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1ac4ca82cbf9f71c689e9408_aspace_156990#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_156990","ref_ssm":["aspace_156990","aspace_156990"],"id":"1ac4ca82cbf9f71c689e9408_aspace_156990","title_filing_ssi":"Who Needs To Love Forever?","title_ssm":["Who Needs To Love Forever?"],"title_tesim":["Who Needs To Love Forever?"],"normalized_title_ssm":["Who Needs To Love Forever?"],"text":["Who Needs To Love Forever?","Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Poetry","Some Poems for My Friends, 2014-2017","Folder 52","/repositories/2/archival_objects/8665","box 1","folder 52"],"component_level_isim":[4],"parent_ids_ssim":["1ac4ca82cbf9f71c689e9408","1ac4ca82cbf9f71c689e9408_aspace_156854","1ac4ca82cbf9f71c689e9408_aspace_156856","1ac4ca82cbf9f71c689e9408_aspace_157010"],"parent_unittitles_ssm":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Poetry","Some Poems for My Friends, 2014-2017"],"parent_unittitles_tesim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Poetry","Some Poems for My Friends, 2014-2017"],"parent_levels_ssm":["collection","Box","Item","Series"],"unitid_ssm":["Folder 52","/repositories/2/archival_objects/8665"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":139,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 1","folder 52"],"_nest_path_":"/components#0/components#1/components#4/components#37","_nest_parent_":"1ac4ca82cbf9f71c689e9408_aspace_157010","_root_":"1ac4ca82cbf9f71c689e9408","timestamp":"2026-07-10T04:34:20.107Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1ac4ca82cbf9f71c689e9408","title_ssm":["Randy Jones Digital Dreams"],"title_tesim":["Randy Jones Digital Dreams"],"ead_ssi":"1ac4ca82cbf9f71c689e9408","unitdate_ssm":["2013-2017","2017","Date acquired: 00/00/2017"],"unitdate_bulk_ssim":["2017"],"unitdate_inclusive_ssm":["2013-2017"],"unitdate_other_ssim":["Date acquired: 00/00/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2017-03","/repositories/2/resources/46"],"text":["MS-2017-03","/repositories/2/resources/46","Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists","These items are bound collections maintained in the original arrangment.","Randy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026 Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.","Note written by Randy Jones","published","processed","This collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\"","USF Libraries - Tampa Special Collections","Jones, Randy","English"],"unitid_tesim":["MS-2017-03","/repositories/2/resources/46"],"normalized_date_ssm":["2013-2017, Date acquired: 00/00/2017, bulk 2017"],"normalized_title_ssm":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"collection_title_tesim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"collection_ssim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Jones, Randy"],"creator_ssim":["Jones, Randy"],"creator_persname_ssim":["Jones, Randy"],"creators_ssim":["Jones, Randy"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Randy Jones","Donation."],"access_subjects_ssim":["Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists"],"access_subjects_ssm":["Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","1 boxes"],"extent_tesim":["0.21 Linear Feet","1 boxes"],"date_range_isim":[2013,2014,2015,2016,2017],"arrangement_html_tesm":["\u003cp\u003eThese items are bound collections maintained in the original arrangment.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["These items are bound collections maintained in the original arrangment."],"bioghist_html_tesm":["\u003cp\u003eRandy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026amp; Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.\u003c/p\u003e\n","\u003cp\u003eNote written by Randy Jones\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Randy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026 Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.","Note written by Randy Jones"],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"processinfo_html_tesm":["\u003cp\u003eprocessed\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["processed"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_afb433d2040bf3f2d68e9fd799b1a54f\" label=\"Abstract\"\u003eThis collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\"\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\""],"names_ssim":["USF Libraries - Tampa Special Collections","Jones, Randy"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Jones, Randy"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":157,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"1ac4ca82cbf9f71c689e9408","timestamp":"2026-07-10T04:34:20.107Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1ac4ca82cbf9f71c689e9408_aspace_156990"}},{"id":"b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc","type":"File","attributes":{"title":"Whoop-Dee-Doo!, 1994","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b5f782044e7aff9a064a2287688ba4bc","ref_ssm":["aspace_b5f782044e7aff9a064a2287688ba4bc","aspace_b5f782044e7aff9a064a2287688ba4bc"],"id":"b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc","title_filing_ssi":"Whoop-Dee-Doo!","title_ssm":["Whoop-Dee-Doo!"],"title_tesim":["Whoop-Dee-Doo!"],"unitdate_other_ssim":["1994"],"normalized_date_ssm":["1994"],"normalized_title_ssm":["Whoop-Dee-Doo!, 1994"],"text":["Whoop-Dee-Doo!, 1994","Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN","/repositories/2/archival_objects/78922","box 7","folder 4","object 10"],"component_level_isim":[3],"parent_ids_ssim":["b8bf361dc0d2b04552d16184","b8bf361dc0d2b04552d16184_aspace_c1bdf43498b0305134f7b9c84b63bf0f","b8bf361dc0d2b04552d16184_aspace_a57adee4e5fd4941f31b0aa141a87252"],"parent_unittitles_ssm":["Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN"],"parent_unittitles_tesim":["Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN"],"parent_levels_ssm":["collection","Other level","Series"],"unitid_ssm":["/repositories/2/archival_objects/78922"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Louis Miano Theater Collection, 1896-2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1000,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"date_range_isim":[1994],"containers_ssim":["box 7","folder 4","object 10"],"_nest_path_":"/components#6/components#3/components#9","_nest_parent_":"b8bf361dc0d2b04552d16184_aspace_a57adee4e5fd4941f31b0aa141a87252","_root_":"b8bf361dc0d2b04552d16184","_version_":1870844485139693568,"timestamp":"2026-07-16T04:32:15.452Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b8bf361dc0d2b04552d16184","title_ssm":["Louis Miano Theater Collection"],"title_tesim":["Louis Miano Theater Collection"],"ead_ssi":"b8bf361dc0d2b04552d16184","unitdate_ssm":["1896-2017"],"unitdate_inclusive_ssm":["1896-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9020","/repositories/2/resources/113"],"text":["SPC9020","/repositories/2/resources/113","Louis Miano Theater Collection, 1896-2017","Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater","Advertising","This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","The materials are arranged into the following series alphabetically based on the title of the performance:","1.\tAB – AL\n2.\tAM – AN\n3.\tAR – AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR","There are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio","LANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","personal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present.","The materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe.","The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Russian French"],"unitid_tesim":["SPC9020","/repositories/2/resources/113"],"normalized_date_ssm":["1896-2017"],"normalized_title_ssm":["Louis Miano Theater Collection, 1896-2017"],"collection_title_tesim":["Louis Miano Theater Collection, 1896-2017"],"collection_ssim":["Louis Miano Theater Collection, 1896-2017"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"geogname_ssim":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"places_ssim":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"access_terms_ssm":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were donated by Louis Miano and others."],"access_subjects_ssim":["Advertising"],"access_subjects_ssm":["Advertising"],"has_online_content_ssim":["false"],"extent_ssm":["8.93 Linear Feet 7 Boxes\n1 Oversize Flat Box"],"extent_tesim":["8.93 Linear Feet 7 Boxes\n1 Oversize Flat Box"],"date_range_isim":[1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eThe materials are arranged into the following series alphabetically based on the title of the performance:\u003c/p\u003e\n","\u003cp\u003e1.\tAB \u0026#x2013; AL\n2.\tAM \u0026#x2013; AN\n3.\tAR \u0026#x2013; AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR\u003c/p\u003e\n","\u003cp\u003eThere are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The materials are arranged into the following series alphabetically based on the title of the performance:","1.\tAB – AL\n2.\tAM – AN\n3.\tAR – AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR","There are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio"],"odd_html_tesm":["\u003cp\u003eLANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.\u003c/p\u003e\n","\u003cp\u003epersonal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present.\u003c/p\u003e"],"odd_heading_ssm":["Harmful Language Statement"],"odd_tesim":["LANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","personal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe."],"userestrict_html_tesm":["\u003cp\u003eThe Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Russian French"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1032,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844485139693568,"_root_":"b8bf361dc0d2b04552d16184","timestamp":"2026-07-16T04:32:15.452Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc"}},{"id":"456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9","type":"File","attributes":{"title":"Whoopee","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_5d759df858f32cf703ca8d8689eebda9","ref_ssm":["aspace_5d759df858f32cf703ca8d8689eebda9","aspace_5d759df858f32cf703ca8d8689eebda9"],"id":"456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9","title_filing_ssi":"Whoopee","title_ssm":["Whoopee"],"title_tesim":["Whoopee"],"normalized_title_ssm":["Whoopee"],"text":["Whoopee","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida","/repositories/3/archival_objects/45459","box 9","folder 63"],"component_level_isim":[2],"parent_ids_ssim":["456875eab9536e3707a4b04f","456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540"],"parent_unittitles_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_unittitles_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/3/archival_objects/45459"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":847,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 9","folder 63"],"_nest_path_":"/components#3/components#662","_nest_parent_":"456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540","_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"456875eab9536e3707a4b04f","title_ssm":["Tom Mack Citrus and Vegetable Label Collection"],"title_tesim":["Tom Mack Citrus and Vegetable Label Collection"],"ead_ssi":"456875eab9536e3707a4b04f","unitdate_ssm":["1900-1970"],"unitdate_inclusive_ssm":["1900-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT1000-1","/repositories/3/resources/145"],"text":["CIT1000-1","/repositories/3/resources/145","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia","Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.","In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.","The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. ","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT1000-1","/repositories/3/resources/145"],"normalized_date_ssm":["1900-1970"],"normalized_title_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"collection_title_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"geogname_ssm":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"geogname_ssim":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"places_ssim":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was created by Professor Tom Mack as part of his efforts to document the history of the citrus industry. It was transferred to the archives via the library upon his retirement."],"access_subjects_ssim":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"access_subjects_ssm":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"has_online_content_ssim":["false"],"extent_ssm":["2.3 Linear Feet"],"extent_tesim":["2.3 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eCitrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name."],"bioghist_html_tesm":["\u003cp\u003eIn the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.\u003c/p\u003e\n","\u003cp\u003eTo ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.\u003c/p\u003e\n","\u003cp\u003eWhile all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.\u003c/p\u003e\n","\u003cp\u003eCalifornia was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.\u003c/p\u003e\n","\u003cp\u003eBecause the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.\u003c/p\u003e\n","\u003cp\u003eFlorida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.\u003c/p\u003e\n","\u003cp\u003eCommon motifs included flamingos, herons, alligators, palm trees, and pristine beaches. 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Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything\u0026#x2014;including the marketing\u0026#x2014;was bigger and bolder in Texas.\u003c/p\u003e\n","\u003cp\u003erizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.\u003c/p\u003e\n","\u003cp\u003eArizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.\u003c/p\u003e\n","\u003cp\u003eBy the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. \u003c/p\u003e\n","\u003cp\u003eThis collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.\u003c/p\u003e\n","\u003cp\u003eAlso notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.\u003c/p\u003e\n","\u003cp\u003eMost labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. "],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":949,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9"}},{"id":"9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330","type":"File","attributes":{"title":"Whoopee (JE.0722)","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c987dd269176df49da68a46a6d516330","ref_ssm":["aspace_c987dd269176df49da68a46a6d516330","aspace_c987dd269176df49da68a46a6d516330"],"id":"9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330","title_filing_ssi":"Whoopee (JE.0722)","title_ssm":["Whoopee (JE.0722)"],"title_tesim":["Whoopee (JE.0722)"],"normalized_title_ssm":["Whoopee (JE.0722)"],"text":["Whoopee (JE.0722)","Jim Ellis Citrus Crate Label Collection, n/a","/repositories/3/archival_objects/35080","box 8","folder 24"],"component_level_isim":[1],"parent_ids_ssim":["9b83f60114f461d46ead1fe9"],"parent_unittitles_ssm":["Jim Ellis Citrus Crate Label Collection, n/a"],"parent_unittitles_tesim":["Jim Ellis Citrus Crate Label Collection, n/a"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/35080"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Jim Ellis Citrus Crate Label Collection, n/a"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":725,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 8","folder 24"],"_nest_path_":"/components#724","_nest_parent_":"9b83f60114f461d46ead1fe9","_root_":"9b83f60114f461d46ead1fe9","_version_":1870852077888995328,"timestamp":"2026-07-16T06:32:56.465Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"9b83f60114f461d46ead1fe9","title_ssm":["Jim Ellis Citrus Crate Label Collection"],"title_tesim":["Jim Ellis Citrus Crate Label Collection"],"ead_ssi":"9b83f60114f461d46ead1fe9","unitdate_ssm":["n/a"],"unitdate_other_ssim":["n/a"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT6085","/repositories/3/resources/136"],"text":["CIT6085","/repositories/3/resources/136","Jim Ellis Citrus Crate Label Collection, n/a","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.","Labels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747).","The contents of this collection are made up of various citrus crate labels from different companies.","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT6085","/repositories/3/resources/136"],"normalized_date_ssm":["n/a"],"normalized_title_ssm":["Jim Ellis Citrus Crate Label Collection, n/a"],"collection_title_tesim":["Jim Ellis Citrus Crate Label Collection, n/a"],"collection_ssim":["Jim Ellis Citrus Crate Label Collection, n/a"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was donated by Jim Ellis 2014-current."],"access_subjects_ssim":["Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing"],"access_subjects_ssm":["Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing"],"has_online_content_ssim":["false"],"extent_ssm":["5.4 Linear Feet"],"extent_tesim":["5.4 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eJames Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees \u0026#x2013; whatever needed to be done \u0026#x2013; a trait he would carry with him throughout his life.\u003c/p\u003e\n","\u003cp\u003eHe attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute \u0026#x2013; where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.\u003c/p\u003e\n","\u003cp\u003eHe finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.\u003c/p\u003e\n","\u003cp\u003eShortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM\u0026#x2013; hosting steak dinners and signing up growers as members of the organization.\u003c/p\u003e\n","\u003cp\u003eIn 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.\u003c/p\u003e\n","\u003cp\u003eAs general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but \u0026#x2013; more importantly \u0026#x2013; sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.\u003c/p\u003e\n","\u003cp\u003eWhen the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026amp; Bonds, Division of Fruits \u0026amp; Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.\u003c/p\u003e\n","\u003cp\u003eJim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.\u003c/p\u003e\n","\u003cp\u003eHis main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and \u0026#x2013; if you don't \u0026#x2013; you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections \u0026#x2013; along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.\u003c/p\u003e\n","\u003cp\u003eHowever, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the d\u0026#xE9;cor of a restaurant recently opened in Sarasota!\u003c/p\u003e\n","\u003cp\u003eHowever, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.\u003c/p\u003e\n","\u003cp\u003eHe has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.\u003c/p\u003e\n","\u003cp\u003eJim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain \u0026#x2013; his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website."],"odd_html_tesm":["\u003cp\u003eLabels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747).\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Labels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747)."],"scopecontent_html_tesm":["\u003cp\u003eThe contents of this collection are made up of various citrus crate labels from different companies.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The contents of this collection are made up of various citrus crate labels from different companies."],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"total_component_count_is":1301,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870852077888995328,"_root_":"9b83f60114f461d46ead1fe9","timestamp":"2026-07-16T06:32:56.465Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330"}},{"id":"b8bf361dc0d2b04552d16184_aspace_3f67ba5b0776f4178a583979b1910bfe","type":"File","attributes":{"title":"Whoopie!, 1979","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b8bf361dc0d2b04552d16184_aspace_3f67ba5b0776f4178a583979b1910bfe#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_3f67ba5b0776f4178a583979b1910bfe","ref_ssm":["aspace_3f67ba5b0776f4178a583979b1910bfe","aspace_3f67ba5b0776f4178a583979b1910bfe"],"id":"b8bf361dc0d2b04552d16184_aspace_3f67ba5b0776f4178a583979b1910bfe","title_filing_ssi":"Whoopie!","title_ssm":["Whoopie!"],"title_tesim":["Whoopie!"],"unitdate_other_ssim":["1979"],"normalized_date_ssm":["1979"],"normalized_title_ssm":["Whoopie!, 1979"],"text":["Whoopie!, 1979","Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN","/repositories/2/archival_objects/78921","box 7","folder 4","object 9"],"component_level_isim":[3],"parent_ids_ssim":["b8bf361dc0d2b04552d16184","b8bf361dc0d2b04552d16184_aspace_c1bdf43498b0305134f7b9c84b63bf0f","b8bf361dc0d2b04552d16184_aspace_a57adee4e5fd4941f31b0aa141a87252"],"parent_unittitles_ssm":["Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN"],"parent_unittitles_tesim":["Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN"],"parent_levels_ssm":["collection","Other level","Series"],"unitid_ssm":["/repositories/2/archival_objects/78921"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Louis Miano Theater Collection, 1896-2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":999,"parent_access_restrict_tesm":["This collection is open for research. 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Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","The materials are arranged into the following series alphabetically based on the title of the performance:","1.\tAB – AL\n2.\tAM – AN\n3.\tAR – AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR","There are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio","LANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","personal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present.","The materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe.","The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Russian French"],"unitid_tesim":["SPC9020","/repositories/2/resources/113"],"normalized_date_ssm":["1896-2017"],"normalized_title_ssm":["Louis Miano Theater Collection, 1896-2017"],"collection_title_tesim":["Louis Miano Theater Collection, 1896-2017"],"collection_ssim":["Louis Miano Theater Collection, 1896-2017"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"geogname_ssim":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"places_ssim":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"access_terms_ssm":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were donated by Louis Miano and others."],"access_subjects_ssim":["Advertising"],"access_subjects_ssm":["Advertising"],"has_online_content_ssim":["false"],"extent_ssm":["8.93 Linear Feet 7 Boxes\n1 Oversize Flat Box"],"extent_tesim":["8.93 Linear Feet 7 Boxes\n1 Oversize Flat Box"],"date_range_isim":[1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eThe materials are arranged into the following series alphabetically based on the title of the performance:\u003c/p\u003e\n","\u003cp\u003e1.\tAB \u0026#x2013; AL\n2.\tAM \u0026#x2013; AN\n3.\tAR \u0026#x2013; AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR\u003c/p\u003e\n","\u003cp\u003eThere are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The materials are arranged into the following series alphabetically based on the title of the performance:","1.\tAB – AL\n2.\tAM – AN\n3.\tAR – AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR","There are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio"],"odd_html_tesm":["\u003cp\u003eLANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.\u003c/p\u003e\n","\u003cp\u003epersonal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present.\u003c/p\u003e"],"odd_heading_ssm":["Harmful Language Statement"],"odd_tesim":["LANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","personal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe."],"userestrict_html_tesm":["\u003cp\u003eThe Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Russian French"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1032,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844485139693568,"_root_":"b8bf361dc0d2b04552d16184","timestamp":"2026-07-16T04:32:15.452Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b8bf361dc0d2b04552d16184_aspace_3f67ba5b0776f4178a583979b1910bfe"}},{"id":"dfef092a22481784ca33b961_aspace_163580","type":"File","attributes":{"title":"Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 1, November 2002","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/dfef092a22481784ca33b961_aspace_163580#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_163580","ref_ssm":["aspace_163580","aspace_163580"],"id":"dfef092a22481784ca33b961_aspace_163580","title_filing_ssi":"Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 1","title_ssm":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 1"],"title_tesim":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 1"],"unitdate_other_ssim":["November 2002"],"normalized_date_ssm":["November 2002"],"normalized_title_ssm":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 1, November 2002"],"text":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 1, November 2002","Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Slides 4","13","/repositories/2/archival_objects/3409","box 4","folder 13"],"component_level_isim":[2],"parent_ids_ssim":["dfef092a22481784ca33b961","dfef092a22481784ca33b961_aspace_159184"],"parent_unittitles_ssm":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Slides 4"],"parent_unittitles_tesim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Slides 4"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["13","/repositories/2/archival_objects/3409"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":89,"parent_access_terms_tesm":["Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS."],"containers_ssim":["box 4","folder 13"],"_nest_path_":"/components#3/components#12","_nest_parent_":"dfef092a22481784ca33b961_aspace_159184","_root_":"dfef092a22481784ca33b961","timestamp":"2026-07-11T04:07:57.651Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"dfef092a22481784ca33b961","title_ssm":["Tampa Audubon Society Slide collection"],"title_tesim":["Tampa Audubon Society Slide collection"],"ead_ssi":"dfef092a22481784ca33b961","unitdate_ssm":["1900-2005","1960-2005","Date acquired: 01/01/2015"],"unitdate_bulk_ssim":["1960-2005"],"unitdate_inclusive_ssm":["1900-2005"],"unitdate_other_ssim":["Date acquired: 01/01/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A57","/repositories/2/resources/38"],"text":["A57","/repositories/2/resources/38","Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Environmental protection -- Florida -- Tampa Bay","Conservationists -- Florida","Groupings and slide shows are preserved in the original order.","published","Audubon Florida Records, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Lorida Audubon Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Audubon Everglades Science Center Research Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","These materials were mostly employed from the 1980s to the early 2000s in the Tampa Bay area, and cover the concerns and activities of the Audubon Society in the twentieth century.","None. The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov  for more information.","Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS.","This collection consists of slide presentations, photographs, video tapes, bird reports, and promotional and educational materials from the Florida Audubon Society. The materials in this collection document local bird life, conservation projects, and infrastructure issues, as well as environmental initiatives specific to the Florida Audubon Society branch.  Most of all, the slides document the educational efforts of the Audubon Society in Florida, specifically in the Tampa Bay region.","USF Libraries - Tampa Special Collections","Florida Audubon Society","National Audubon Society","English"],"unitid_tesim":["A57","/repositories/2/resources/38"],"normalized_date_ssm":["1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"normalized_title_ssm":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"collection_title_tesim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"collection_ssim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Florida Audubon Society"],"creator_ssim":["Florida Audubon Society"],"creator_corpname_ssim":["Florida Audubon Society"],"creators_ssim":["Florida Audubon Society"],"access_terms_ssm":["None. The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov  for more information.","Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS."],"acqinfo_ssim":["Ann Paul, Tampa Audubon Society","Donation"],"access_subjects_ssim":["Environmental protection -- Florida -- Tampa Bay","Conservationists -- Florida"],"access_subjects_ssm":["Environmental protection -- Florida -- Tampa Bay","Conservationists -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["13.50 Linear Feet","26 boxes"],"extent_tesim":["13.50 Linear Feet","26 boxes"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"arrangement_html_tesm":["\u003cp\u003eGroupings and slide shows are preserved in the original order.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Groupings and slide shows are preserved in the original order."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eFlorida Audubon Slide Collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Audubon Slide Collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"relatedmaterial_html_tesm":["\u003cp\u003eAudubon Florida Records, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e\n","\u003cp\u003eLorida Audubon Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e\n","\u003cp\u003eAudubon Everglades Science Center Research Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Audubon Florida Records, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Lorida Audubon Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Audubon Everglades Science Center Research Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThese materials were mostly employed from the 1980s to the early 2000s in the Tampa Bay area, and cover the concerns and activities of the Audubon Society in the twentieth century.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["These materials were mostly employed from the 1980s to the early 2000s in the Tampa Bay area, and cover the concerns and activities of the Audubon Society in the twentieth century."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/%C2%A0\"\u003ehttp://www.copyright.gov\u003c/extref\u003e for more information.\u003c/p\u003e","\u003cp\u003eUntil 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use","Conditions Governing Use"],"userestrict_tesim":["None. The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov  for more information.","Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS."],"abstract_html_tesm":["\u003cabstract id=\"aspace_86f1dfe2dd99ef99ff05baa5f1c97edc\" label=\"Abstract\"\u003eThis collection consists of slide presentations, photographs, video tapes, bird reports, and promotional and educational materials from the Florida Audubon Society. The materials in this collection document local bird life, conservation projects, and infrastructure issues, as well as environmental initiatives specific to the Florida Audubon Society branch.\u0026#xA0; Most of all, the slides document the educational efforts of the Audubon Society in Florida, specifically in the Tampa Bay region.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of slide presentations, photographs, video tapes, bird reports, and promotional and educational materials from the Florida Audubon Society. The materials in this collection document local bird life, conservation projects, and infrastructure issues, as well as environmental initiatives specific to the Florida Audubon Society branch.  Most of all, the slides document the educational efforts of the Audubon Society in Florida, specifically in the Tampa Bay region."],"names_coll_ssim":["National Audubon Society","Florida Audubon Society"],"names_ssim":["USF Libraries - Tampa Special Collections","Florida Audubon Society","National Audubon Society"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Florida Audubon Society","National Audubon Society"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":624,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"dfef092a22481784ca33b961","timestamp":"2026-07-11T04:07:57.651Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/dfef092a22481784ca33b961_aspace_163580"}},{"id":"dfef092a22481784ca33b961_aspace_163581","type":"File","attributes":{"title":"Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 2 / 2D, 3D Terns, Chick nest, etc. 1, 5/23/2003","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/dfef092a22481784ca33b961_aspace_163581#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_163581","ref_ssm":["aspace_163581","aspace_163581"],"id":"dfef092a22481784ca33b961_aspace_163581","title_filing_ssi":"Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 2 / 2D, 3D Terns, Chick nest, etc. 1","title_ssm":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 2 / 2D, 3D Terns, Chick nest, etc. 1"],"title_tesim":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 2 / 2D, 3D Terns, Chick nest, etc. 1"],"unitdate_other_ssim":["5/23/2003"],"normalized_date_ssm":["5/23/2003"],"normalized_title_ssm":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 2 / 2D, 3D Terns, Chick nest, etc. 1, 5/23/2003"],"text":["Whooping Crane Flight #2, Ozello, LL Park, Roberts Bay Trip with SHS 2 / 2D, 3D Terns, Chick nest, etc. 1, 5/23/2003","Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Slides 4","14","/repositories/2/archival_objects/3440","box 4","folder 14"],"component_level_isim":[2],"parent_ids_ssim":["dfef092a22481784ca33b961","dfef092a22481784ca33b961_aspace_159184"],"parent_unittitles_ssm":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Slides 4"],"parent_unittitles_tesim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Slides 4"],"parent_levels_ssm":["collection","Box"],"unitid_ssm":["14","/repositories/2/archival_objects/3440"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":90,"parent_access_terms_tesm":["Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS."],"containers_ssim":["box 4","folder 14"],"_nest_path_":"/components#3/components#13","_nest_parent_":"dfef092a22481784ca33b961_aspace_159184","_root_":"dfef092a22481784ca33b961","timestamp":"2026-07-11T04:07:57.651Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"dfef092a22481784ca33b961","title_ssm":["Tampa Audubon Society Slide collection"],"title_tesim":["Tampa Audubon Society Slide collection"],"ead_ssi":"dfef092a22481784ca33b961","unitdate_ssm":["1900-2005","1960-2005","Date acquired: 01/01/2015"],"unitdate_bulk_ssim":["1960-2005"],"unitdate_inclusive_ssm":["1900-2005"],"unitdate_other_ssim":["Date acquired: 01/01/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A57","/repositories/2/resources/38"],"text":["A57","/repositories/2/resources/38","Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005","Environmental protection -- Florida -- Tampa Bay","Conservationists -- Florida","Groupings and slide shows are preserved in the original order.","published","Audubon Florida Records, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Lorida Audubon Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Audubon Everglades Science Center Research Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","These materials were mostly employed from the 1980s to the early 2000s in the Tampa Bay area, and cover the concerns and activities of the Audubon Society in the twentieth century.","None. The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov  for more information.","Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS.","This collection consists of slide presentations, photographs, video tapes, bird reports, and promotional and educational materials from the Florida Audubon Society. The materials in this collection document local bird life, conservation projects, and infrastructure issues, as well as environmental initiatives specific to the Florida Audubon Society branch.  Most of all, the slides document the educational efforts of the Audubon Society in Florida, specifically in the Tampa Bay region.","USF Libraries - Tampa Special Collections","Florida Audubon Society","National Audubon Society","English"],"unitid_tesim":["A57","/repositories/2/resources/38"],"normalized_date_ssm":["1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"normalized_title_ssm":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"collection_title_tesim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"collection_ssim":["Tampa Audubon Society Slide collection, 1900-2005, Date acquired: 01/01/2015, bulk 1960-2005"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Florida Audubon Society"],"creator_ssim":["Florida Audubon Society"],"creator_corpname_ssim":["Florida Audubon Society"],"creators_ssim":["Florida Audubon Society"],"access_terms_ssm":["None. The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov  for more information.","Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS."],"acqinfo_ssim":["Ann Paul, Tampa Audubon Society","Donation"],"access_subjects_ssim":["Environmental protection -- Florida -- Tampa Bay","Conservationists -- Florida"],"access_subjects_ssm":["Environmental protection -- Florida -- Tampa Bay","Conservationists -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["13.50 Linear Feet","26 boxes"],"extent_tesim":["13.50 Linear Feet","26 boxes"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"arrangement_html_tesm":["\u003cp\u003eGroupings and slide shows are preserved in the original order.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Groupings and slide shows are preserved in the original order."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003eFlorida Audubon Slide Collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"prefercite_tesim":["Florida Audubon Slide Collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"relatedmaterial_html_tesm":["\u003cp\u003eAudubon Florida Records, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e\n","\u003cp\u003eLorida Audubon Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e\n","\u003cp\u003eAudubon Everglades Science Center Research Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Audubon Florida Records, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Lorida Audubon Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida.","Audubon Everglades Science Center Research Papers, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida."],"scopecontent_html_tesm":["\u003cp\u003eThese materials were mostly employed from the 1980s to the early 2000s in the Tampa Bay area, and cover the concerns and activities of the Audubon Society in the twentieth century.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["These materials were mostly employed from the 1980s to the early 2000s in the Tampa Bay area, and cover the concerns and activities of the Audubon Society in the twentieth century."],"userestrict_html_tesm":["\u003cp\u003eNone. The contents of this collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/%C2%A0\"\u003ehttp://www.copyright.gov\u003c/extref\u003e for more information.\u003c/p\u003e","\u003cp\u003eUntil 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use","Conditions Governing Use"],"userestrict_tesim":["None. The contents of this collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov  for more information.","Until 2034, USF Libraries must provide 90 day notice to FAS in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the FAS."],"abstract_html_tesm":["\u003cabstract id=\"aspace_86f1dfe2dd99ef99ff05baa5f1c97edc\" label=\"Abstract\"\u003eThis collection consists of slide presentations, photographs, video tapes, bird reports, and promotional and educational materials from the Florida Audubon Society. The materials in this collection document local bird life, conservation projects, and infrastructure issues, as well as environmental initiatives specific to the Florida Audubon Society branch.\u0026#xA0; Most of all, the slides document the educational efforts of the Audubon Society in Florida, specifically in the Tampa Bay region.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of slide presentations, photographs, video tapes, bird reports, and promotional and educational materials from the Florida Audubon Society. The materials in this collection document local bird life, conservation projects, and infrastructure issues, as well as environmental initiatives specific to the Florida Audubon Society branch.  Most of all, the slides document the educational efforts of the Audubon Society in Florida, specifically in the Tampa Bay region."],"names_coll_ssim":["National Audubon Society","Florida Audubon Society"],"names_ssim":["USF Libraries - Tampa Special Collections","Florida Audubon Society","National Audubon Society"],"corpname_ssim":["USF Libraries - Tampa Special Collections","Florida Audubon Society","National Audubon Society"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":624,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"dfef092a22481784ca33b961","timestamp":"2026-07-11T04:07:57.651Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/dfef092a22481784ca33b961_aspace_163581"}},{"id":"a0b8dca0cc27e719e79a099f_aspace_e05e39bbcd18d07c1e90e9f4fbb12a25","type":"File","attributes":{"title":"Whooping Crane / Widgeon / Willet / Wood Duck / Woodpeckers A","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/a0b8dca0cc27e719e79a099f_aspace_e05e39bbcd18d07c1e90e9f4fbb12a25#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_e05e39bbcd18d07c1e90e9f4fbb12a25","ref_ssm":["aspace_e05e39bbcd18d07c1e90e9f4fbb12a25","aspace_e05e39bbcd18d07c1e90e9f4fbb12a25"],"id":"a0b8dca0cc27e719e79a099f_aspace_e05e39bbcd18d07c1e90e9f4fbb12a25","title_filing_ssi":"Whooping Crane / Widgeon / Willet / Wood Duck / Woodpeckers A ","title_ssm":["Whooping Crane / Widgeon / Willet / Wood Duck / Woodpeckers A "],"title_tesim":["Whooping Crane / Widgeon / Willet / Wood Duck / Woodpeckers A "],"normalized_title_ssm":["Whooping Crane / Widgeon / Willet / Wood Duck / Woodpeckers A"],"text":["Whooping Crane / Widgeon / Willet / Wood Duck / Woodpeckers A","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","Slides XII","/repositories/2/archival_objects/198878","box 90","folder 11"],"component_level_isim":[3],"parent_ids_ssim":["a0b8dca0cc27e719e79a099f","a0b8dca0cc27e719e79a099f_aspace_26c95e041b9fe0414423bbd3d0650002","a0b8dca0cc27e719e79a099f_aspace_cab85311738a2fe6c5e33b0304b3fe75"],"parent_unittitles_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","Slides XII"],"parent_unittitles_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Photographs \u0026 Slides","Slides XII"],"parent_levels_ssm":["collection","Series","Box"],"unitid_ssm":["/repositories/2/archival_objects/198878"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":2408,"parent_access_restrict_tesm":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 90","folder 11"],"_nest_path_":"/components#2/components#14/components#10","_nest_parent_":"a0b8dca0cc27e719e79a099f_aspace_cab85311738a2fe6c5e33b0304b3fe75","_root_":"a0b8dca0cc27e719e79a099f","_version_":1872946110924849152,"timestamp":"2026-08-08T09:16:41.949Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"a0b8dca0cc27e719e79a099f","title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records"],"title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records"],"ead_ssi":"a0b8dca0cc27e719e79a099f","unitdate_ssm":["1937-2019"],"unitdate_inclusive_ssm":["1937-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2020-03","/repositories/2/resources/583"],"text":["MS-2020-03","/repositories/2/resources/583","Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019","Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration","Good.","Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.","This collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. The first series includes documents from work conducted at the sanctuary proper, though additional related documents may be found in the subject files. Within series, folders are arranged alphabetically.","Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.","The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.","This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.","Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","The Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. In addition, this collection includes research materials from several National Audubon Society projects, including from the Paul J. Rainey Wildlife Sanctuary and Platte River.","USF Libraries - Tampa Special Collections","Ed Carlson","English"],"unitid_tesim":["MS-2020-03","/repositories/2/resources/583"],"normalized_date_ssm":["1937-2019"],"normalized_title_ssm":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_title_tesim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"collection_ssim":["Audubon Society Corkscrew Swamp Sanctuary records, 1937-2019"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Ed Carlson"],"creator_ssim":["Ed Carlson"],"creator_persname_ssim":["Ed Carlson"],"creators_ssim":["Ed Carlson"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"access_subjects_ssim":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"access_subjects_ssm":["Ecology -- Florida","Conservationists -- Florida","Birds -- Habitat -- Florida","Birds -- Migration"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good."],"extent_ssm":["51 Linear Feet","96 boxes"],"extent_tesim":["51 Linear Feet","96 boxes"],"date_range_isim":[1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eUntil 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Until 2034, USF Libraries must provide a 90 day notice to Florida Audubon Society in advance of any exhibition or cultural activity initiated by USF Libraries in which the sole focus of the exhibition or activity is the Florida Audubon Society."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into four series: Corkscrew Swamp Sanctuary records, subject files, photographs and slides, and oversized material. 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It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns.\u003c/p\u003e"],"bioghist_heading_ssm":["Content Description"],"bioghist_tesim":["Audubon Florida's Corkscrew Swamp Sanctuary is a site which had been protected by Audubon wardens since the 1910s.  With no interest from the state in preserving the area, Audubon Florida founded the sanctuary in the mid-1950s.  From an initial 5,000 acres, it was expanded to more than 13,000 acres.  It is especially notable for its bald cypress forest and cypress domes, the only part of the original Fakahatchee cypress strand in the area to be preserved from logging, which commenced in 1944. As part of the Corkscrew watershed, the sanctuary is part of the western Everglades. To save the remaining cypress and vital habitat from destruction, Audubon led an effort to raise money to buy the property. By 1954, 5,680 acres were accumulated, the last virgin cypress forest in the entire world and the most important Wood Stork rookery in the U.S. When offered the property, the state of Florida expressed no interest in the site, so Audubon took ownership. By the 1970s and 80s, development had altered the local landscape and made the sanctuary a much less isolated site. Under the leadership of Executive Director (and longtime Audubon employee) Ed Carlson in the 1980s and 90s, the sanctuary incoroporated more formal education programs, a visitor center, and a boardwalk that provides a scenic tour of parts of the property. These records document the activities of the sanctuary, including habitat studies, research materials, educational records, correspondence, and general management of the site, from invasive species mitigation to controlled burns."],"odd_html_tesm":["\u003cp\u003eThe Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record.\u003c/p\u003e"],"odd_heading_ssm":["Cataloged Publications"],"odd_tesim":["The Audubon Florida Corkscrew Swamp Sanctuary Records donation included published book materials that are being processed for inclusion into the collection and will be traced on this record."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of organizational papers, scientific data, field notebooks, correspondence, photographs and photographic slides, maps, and clippings."],"separatedmaterial_html_tesm":["\u003cp\u003eMaps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Maps and publications related to the archival collection are cataloged individually and shelved in the Environment and Natural History Collection. Titles and links to the catalog record are available on this finding aid via the \"Cataloged Books, Publications, and Media\" and \"Cataloged Maps\" series."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_bf60a5a83f90c49360b71829ac95b658\"\u003eThe Audubon Society Corkscrew Swamp Sanctuary records contain materials collecting the history of this sanctuary and the scientific and outreach work conducted on the property and surrounding area. 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It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"containers_ssim":["box 12","folder 15"],"odd_html_tesm":["\u003cp\u003eLeroy, Danny / Leroy, Joe / Weed, Buddy\u003c/p\u003e","\u003cp\u003eBeverly Music Corporation\u003c/p\u003e","\u003cp\u003eNew York, NY\u003c/p\u003e","\u003cp\u003eLeroy, Danny / Leroy, Joe / Weed, Buddy\u003c/p\u003e"],"odd_heading_ssm":["Composer","Publisher","Place","Lyricist"],"odd_tesim":["Leroy, Danny / Leroy, Joe / Weed, Buddy","Beverly Music Corporation","New York, NY","Leroy, Danny / Leroy, Joe / Weed, Buddy"],"separatedmaterial_html_tesm":["\u003cp\u003eEnglish\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Language"],"separatedmaterial_tesim":["English"],"_nest_path_":"/components#0/components#0/components#1065","_nest_parent_":"3232c27cb5756431732dd4dd_aspace_128095","_root_":"3232c27cb5756431732dd4dd","timestamp":"2026-04-21T17:58:43.015Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3232c27cb5756431732dd4dd","title_ssm":["Joe Merman Sheet Music Collection"],"title_tesim":["Joe Merman Sheet Music Collection"],"ead_ssi":"3232c27cb5756431732dd4dd","unitdate_ssm":["1909-1999"],"unitdate_inclusive_ssm":["1909-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00012","/repositories/2/resources/98"],"text":["PMC00012","/repositories/2/resources/98","Joe Merman Sheet Music Collection, 1909-1999","Collections are available for supervised use in the Special Collections reading room during regular hours or by appointment. Users are required to complete a registration form and to comply with regulations governing use. Research assistance may be available but please email or phone first to set up an appointment. Photocopies or electronic copies of material in the collections may be provided within copyright limits but may not be ready immediately. In addition, selected materials are digitized and available electronically through the Digital Library.","Alphabetical by score name","Joe Merman was a composer, pianist, orchestrator, and arranger of popular Jewish and American music. The Joe Merman Music Collection includes 1000 pieces of sheet music; all scores are unpublished, single-copy manuscripts and represent his diverse talent in writing different combinations of big band charts and pieces for theatre and radio orchestras. The collections also includes two scrap books that contain numerous images, pamphlets, newspaper clippings, and correspondence spanning across Joe Merman","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"has_online_content_ssim":["false"],"extent_ssm":["8.50 Linear Feet","41 boxes other_unmapped"],"extent_tesim":["8.50 Linear Feet","41 boxes other_unmapped"],"date_range_isim":[1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eCollections are available for supervised use in the Special Collections reading room during regular hours or by appointment. 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