{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.page=2\u0026page=65595\u0026view=compact","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.page=2\u0026page=65594\u0026view=compact","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.page=2\u0026page=65596\u0026view=compact","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.page=2\u0026page=65773\u0026view=compact"},"meta":{"pages":{"current_page":65595,"next_page":65596,"prev_page":65594,"total_pages":65773,"limit_value":10,"offset_value":655940,"total_count":657728,"first_page?":false,"last_page?":false}},"data":[{"id":"2326334e5e159c8d459e96a3_aspace_38351","type":"Item","attributes":{"title":"\"You invented what? A helicopter?! How do you think up such crazy ideas!?\", July 3, 1994.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_38351#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_38351","ref_ssm":["aspace_38351","aspace_38351"],"id":"2326334e5e159c8d459e96a3_aspace_38351","title_filing_ssi":"\"You invented what? A helicopter?! How do you think up such crazy ideas!?\"","title_ssm":["\"You invented what? A helicopter?! How do you think up such crazy ideas!?\""],"title_tesim":["\"You invented what? A helicopter?! How do you think up such crazy ideas!?\""],"unitdate_other_ssim":["July 3, 1994."],"normalized_date_ssm":["July 3, 1994."],"normalized_title_ssm":["\"You invented what? A helicopter?! How do you think up such crazy ideas!?\", July 3, 1994."],"text":["\"You invented what? A helicopter?! How do you think up such crazy ideas!?\", July 3, 1994.","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Hijinx, 1987-1989, 1994, Undated.","Comic Strips (Pencil Drawings), 1988-1989, 1994, Undated.","Item 112","/repositories/4/archival_objects/3549","box 10","folder 3"],"component_level_isim":[5],"parent_ids_ssim":["2326334e5e159c8d459e96a3","2326334e5e159c8d459e96a3_aspace_37101","2326334e5e159c8d459e96a3_aspace_37826","2326334e5e159c8d459e96a3_aspace_38164","2326334e5e159c8d459e96a3_aspace_38237"],"parent_unittitles_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Hijinx, 1987-1989, 1994, Undated.","Comic Strips (Pencil Drawings), 1988-1989, 1994, Undated."],"parent_unittitles_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Hijinx, 1987-1989, 1994, Undated.","Comic Strips (Pencil Drawings), 1988-1989, 1994, Undated."],"parent_levels_ssm":["collection","Series","Subseries","Subseries","File"],"unitid_ssm":["Item 112","/repositories/4/archival_objects/3549"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1159,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 10","folder 3"],"_nest_path_":"/components#0/components#1/components#4/components#2/components#111","_nest_parent_":"2326334e5e159c8d459e96a3_aspace_38237","_root_":"2326334e5e159c8d459e96a3","_version_":1870857743444738048,"timestamp":"2026-07-16T08:02:59.476Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2326334e5e159c8d459e96a3","title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"ead_ssi":"2326334e5e159c8d459e96a3","unitdate_ssm":["1955-2013","1970-2013"],"unitdate_bulk_ssim":["1970-2013"],"unitdate_inclusive_ssm":["1955-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.094","/repositories/4/resources/12"],"text":["SC.094","/repositories/4/resources/12","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Florida -- Politics and government -- Caricatures and cartoons","Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida","The entire collection is open for research.","Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.","Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.","Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File","Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).","UCF Special Collections","Stein, Glenn M., 1962-","English"],"unitid_tesim":["SC.094","/repositories/4/resources/12"],"normalized_date_ssm":["1955-2013, bulk 1970-2013"],"normalized_title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida -- Politics and government -- Caricatures and cartoons"],"geogname_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"places_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["The materials were donated to the University of Central Florida Special Collections by Glenn \"Marty\" Stein in 2013 (CFM2013_04)."],"access_subjects_ssim":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"access_subjects_ssm":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"extent_tesim":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eGlenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.\u003c/p\u003e\n","\u003cp\u003e\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogot\u0026#xE1;, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.\u003c/p\u003e\n","\u003cp\u003e\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelg\u0026#xE4;ngers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.\u003c/p\u003e\n","\u003cp\u003e\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelg\u0026#xE4;ngers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.\u003c/p\u003e\n","\u003cp\u003e\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects."],"prefercite_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.\u003c/p\u003e","\u003cp\u003eAll materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein cartoons at the Library of Congress: \u003cextref href=\"http://www.loc.gov/pictures/search/?q=stein%2C%20glenn%20m\"\u003eGMS cartoons at the Library of Congress\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nGlenn \"Marty\" Stein cartoons at the University of South Florida: \u003cextref href=\"http://exhibits.lib.usf.edu/exhibits/show/poison-pens/new-millennium/stein\"\u003eArt of the Poison Pens: A Century of American Political Cartoons\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Ohio State University, Libraries: \u003cextref href=\"http://library.ohio-state.edu/record=b6830269~S7\"\u003eGlenn (Marty) Stein Biographical File\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File"],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelg\u0026#xE4;ngers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. \u003c/p\u003e\n","\u003cp\u003e\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC)."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_79c7f7749bbd2323aa47f5f32d6c812f\" label=\"Abstract\"\u003eThe collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8\u0026#xBD; years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3\u0026#xBD; years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).\u003c/abstract\u003e"],"abstract_tesim":["The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955)."],"names_ssim":["UCF Special Collections","Stein, Glenn M., 1962-"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Stein, Glenn M., 1962-"],"persname_ssim":["Stein, Glenn M., 1962-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1521,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857743444738048,"_root_":"2326334e5e159c8d459e96a3","timestamp":"2026-07-16T08:02:59.476Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_38351"}},{"id":"2326334e5e159c8d459e96a3_aspace_38331","type":"Item","attributes":{"title":"\"You invented what? A helicopter!? How do you think up such crazy ideas!?\", September 3, 1989.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_38331#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_38331","ref_ssm":["aspace_38331","aspace_38331"],"id":"2326334e5e159c8d459e96a3_aspace_38331","title_filing_ssi":"\"You invented what? A helicopter!? How do you think up such crazy ideas!?\"","title_ssm":["\"You invented what? A helicopter!? How do you think up such crazy ideas!?\""],"title_tesim":["\"You invented what? A helicopter!? How do you think up such crazy ideas!?\""],"unitdate_other_ssim":["September 3, 1989."],"normalized_date_ssm":["September 3, 1989."],"normalized_title_ssm":["\"You invented what? A helicopter!? How do you think up such crazy ideas!?\", September 3, 1989."],"text":["\"You invented what? A helicopter!? How do you think up such crazy ideas!?\", September 3, 1989.","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Hijinx, 1987-1989, 1994, Undated.","Comic Strips (Pencil Drawings), 1988-1989, 1994, Undated.","Item 92","/repositories/4/archival_objects/3517","box 10","folder 3"],"component_level_isim":[5],"parent_ids_ssim":["2326334e5e159c8d459e96a3","2326334e5e159c8d459e96a3_aspace_37101","2326334e5e159c8d459e96a3_aspace_37826","2326334e5e159c8d459e96a3_aspace_38164","2326334e5e159c8d459e96a3_aspace_38237"],"parent_unittitles_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Hijinx, 1987-1989, 1994, Undated.","Comic Strips (Pencil Drawings), 1988-1989, 1994, Undated."],"parent_unittitles_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Hijinx, 1987-1989, 1994, Undated.","Comic Strips (Pencil Drawings), 1988-1989, 1994, Undated."],"parent_levels_ssm":["collection","Series","Subseries","Subseries","File"],"unitid_ssm":["Item 92","/repositories/4/archival_objects/3517"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1139,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 10","folder 3"],"_nest_path_":"/components#0/components#1/components#4/components#2/components#91","_nest_parent_":"2326334e5e159c8d459e96a3_aspace_38237","_root_":"2326334e5e159c8d459e96a3","_version_":1870857743444738048,"timestamp":"2026-07-16T08:02:59.476Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2326334e5e159c8d459e96a3","title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"ead_ssi":"2326334e5e159c8d459e96a3","unitdate_ssm":["1955-2013","1970-2013"],"unitdate_bulk_ssim":["1970-2013"],"unitdate_inclusive_ssm":["1955-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.094","/repositories/4/resources/12"],"text":["SC.094","/repositories/4/resources/12","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Florida -- Politics and government -- Caricatures and cartoons","Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida","The entire collection is open for research.","Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.","Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.","Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File","Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).","UCF Special Collections","Stein, Glenn M., 1962-","English"],"unitid_tesim":["SC.094","/repositories/4/resources/12"],"normalized_date_ssm":["1955-2013, bulk 1970-2013"],"normalized_title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida -- Politics and government -- Caricatures and cartoons"],"geogname_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"places_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["The materials were donated to the University of Central Florida Special Collections by Glenn \"Marty\" Stein in 2013 (CFM2013_04)."],"access_subjects_ssim":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"access_subjects_ssm":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"extent_tesim":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eGlenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.\u003c/p\u003e\n","\u003cp\u003e\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogot\u0026#xE1;, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.\u003c/p\u003e\n","\u003cp\u003e\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelg\u0026#xE4;ngers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.\u003c/p\u003e\n","\u003cp\u003e\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelg\u0026#xE4;ngers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.\u003c/p\u003e\n","\u003cp\u003e\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects."],"prefercite_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.\u003c/p\u003e","\u003cp\u003eAll materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein cartoons at the Library of Congress: \u003cextref href=\"http://www.loc.gov/pictures/search/?q=stein%2C%20glenn%20m\"\u003eGMS cartoons at the Library of Congress\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nGlenn \"Marty\" Stein cartoons at the University of South Florida: \u003cextref href=\"http://exhibits.lib.usf.edu/exhibits/show/poison-pens/new-millennium/stein\"\u003eArt of the Poison Pens: A Century of American Political Cartoons\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Ohio State University, Libraries: \u003cextref href=\"http://library.ohio-state.edu/record=b6830269~S7\"\u003eGlenn (Marty) Stein Biographical File\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File"],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelg\u0026#xE4;ngers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. \u003c/p\u003e\n","\u003cp\u003e\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC)."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_79c7f7749bbd2323aa47f5f32d6c812f\" label=\"Abstract\"\u003eThe collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8\u0026#xBD; years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3\u0026#xBD; years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).\u003c/abstract\u003e"],"abstract_tesim":["The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955)."],"names_ssim":["UCF Special Collections","Stein, Glenn M., 1962-"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Stein, Glenn M., 1962-"],"persname_ssim":["Stein, Glenn M., 1962-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1521,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857743444738048,"_root_":"2326334e5e159c8d459e96a3","timestamp":"2026-07-16T08:02:59.476Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_38331"}},{"id":"7cebb39144b2c94f6c91b418_aspace_62174","type":"File","attributes":{"title":"You Keep Coming Back Like a Song, 1943","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/7cebb39144b2c94f6c91b418_aspace_62174#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eScore\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/7cebb39144b2c94f6c91b418_aspace_62174#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_62174","ref_ssm":["aspace_62174","aspace_62174"],"id":"7cebb39144b2c94f6c91b418_aspace_62174","title_filing_ssi":"You Keep Coming Back Like a Song","title_ssm":["You Keep Coming Back Like a Song"],"title_tesim":["You Keep Coming Back Like a Song"],"unitdate_other_ssim":["1943"],"normalized_date_ssm":["1943"],"normalized_title_ssm":["You Keep Coming Back Like a Song, 1943"],"text":["You Keep Coming Back Like a Song, 1943","Dance Band Combo, 1925-1962, bulk 1946-1953","Folder 10","/repositories/2/archival_objects/34603","4","Blue Skies","box 3","folder 10","Berlin, Irving","Mason, Jack","Irving Berlin","New York","Score","Eb Alto Sax, Bb Tenor Sax"],"component_level_isim":[1],"parent_ids_ssim":["7cebb39144b2c94f6c91b418"],"parent_unittitles_ssm":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"parent_unittitles_tesim":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"parent_levels_ssm":["collection"],"unitid_ssm":["Folder 10","/repositories/2/archival_objects/34603"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"physdesc_tesim":["4"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":107,"parent_access_restrict_tesm":["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."],"parent_access_terms_tesm":["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. Also, If the researcher desires to reuse material for commercial use, please contact Special Collections."],"language_ssim":["Blue Skies"],"containers_ssim":["box 3","folder 10"],"odd_html_tesm":["\u003cp\u003eBerlin, Irving\u003c/p\u003e","\u003cp\u003eMason, Jack\u003c/p\u003e","\u003cp\u003eIrving Berlin\u003c/p\u003e","\u003cp\u003eNew York\u003c/p\u003e"],"odd_heading_ssm":["Composer","Arranger","Publisher","Place"],"odd_tesim":["Berlin, Irving","Mason, Jack","Irving Berlin","New York"],"scopecontent_html_tesm":["\u003cp\u003eScore\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Score"],"materialspec_html_tesm":["\u003cmaterialspec id=\"aspace_b509756762ceee57b953ca200372b625\"\u003eEb Alto Sax, Bb Tenor Sax\u003c/materialspec\u003e"],"materialspec_tesim":["Eb Alto Sax, Bb Tenor Sax"],"_nest_path_":"/components#106","_nest_parent_":"7cebb39144b2c94f6c91b418","_root_":"7cebb39144b2c94f6c91b418","timestamp":"2026-04-21T17:59:32.872Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"7cebb39144b2c94f6c91b418","title_ssm":["Dance Band Combo"],"title_tesim":["Dance Band Combo"],"ead_ssi":"7cebb39144b2c94f6c91b418","unitdate_ssm":["1925-1962","1946-1953"],"unitdate_bulk_ssim":["1946-1953"],"unitdate_inclusive_ssm":["1925-1962"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PMC00016","/repositories/2/resources/91"],"text":["PMC00016","/repositories/2/resources/91","Dance Band Combo, 1925-1962, bulk 1946-1953","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.","In 2012 this collection was processed by Elizabeth Fairall and Victoria Thur.","The Dance Band Combos Collection consists of instrumental arrangements of popular songs first made for distribution to theater and music hall orchestras. These early to mid 20th century arrangements proved so popular that surprised publishers began making them available for general sale. Pit bands could then purchase a ready-made score of a current hit tune to vary their repertoire. Dance groups found them useful as well, and they made novel additions to the programs of salon ensembles and amateur combinations. Later, these multi-purpose orchestrations became commonly known as stock arrangements.","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. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections .","Florida Atlantic University Libraries","English"],"unitid_tesim":["PMC00016","/repositories/2/resources/91"],"normalized_date_ssm":["1925-1962, bulk 1946-1953"],"normalized_title_ssm":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"collection_title_tesim":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"collection_ssim":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"repository_ssm":["Florida Atlantic University Libraries"],"repository_ssim":["Florida Atlantic University Libraries"],"access_terms_ssm":["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. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"acqinfo_ssim":["Donation"],"has_online_content_ssim":["false"],"extent_ssm":["3.50 Linear Feet"],"extent_tesim":["3.50 Linear Feet"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollections 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.\u003c/p\u003e\n","\u003cp\u003ePhotocopies 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.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["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."],"prefercite_html_tesm":["\u003cp\u003eCollection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida.\u003c/p\u003e"],"prefercite_tesim":["Collection Title including series, if any; Box and item number; Special Collections; Florida Atlantic University Libraries, Boca Raton, Florida."],"processinfo_html_tesm":["\u003cp\u003eIn 2012 this collection was processed by Elizabeth Fairall and Victoria Thur.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2012 this collection was processed by Elizabeth Fairall and Victoria Thur."],"scopecontent_html_tesm":["\u003cp\u003eThe Dance Band Combos Collection consists of instrumental arrangements of popular songs first made for distribution to theater and music hall orchestras. These early to mid 20th century arrangements proved so popular that surprised publishers began making them available for general sale. Pit bands could then purchase a ready-made score of a current hit tune to vary their repertoire. Dance groups found them useful as well, and they made novel additions to the programs of salon ensembles and amateur combinations. Later, these multi-purpose orchestrations became commonly known as stock arrangements.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Dance Band Combos Collection consists of instrumental arrangements of popular songs first made for distribution to theater and music hall orchestras. These early to mid 20th century arrangements proved so popular that surprised publishers began making them available for general sale. Pit bands could then purchase a ready-made score of a current hit tune to vary their repertoire. Dance groups found them useful as well, and they made novel additions to the programs of salon ensembles and amateur combinations. Later, these multi-purpose orchestrations became commonly known as stock arrangements."],"userestrict_html_tesm":["\u003cp\u003eMaterials 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.\u003c/p\u003e\n","\u003cp\u003eWhen 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.\u003c/p\u003e\n","\u003cp\u003eShould 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 \u003ca href=\"mailto:lysca@fau.edu\"\u003eSpecial Collections\u003c/a\u003e.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["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. Also, If the researcher desires to reuse material for commercial use, please contact  Special Collections ."],"names_ssim":["Florida Atlantic University Libraries"],"corpname_ssim":["Florida Atlantic University Libraries"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":186,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"7cebb39144b2c94f6c91b418","timestamp":"2026-04-21T17:59:32.872Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/7cebb39144b2c94f6c91b418_aspace_62174"}},{"id":"377018d2c691025d88612f9e_aspace_8a581fa1ac5df7378f418095fdb2a433","type":"File","attributes":{"title":"\"You keep coming back like a song\", undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/377018d2c691025d88612f9e_aspace_8a581fa1ac5df7378f418095fdb2a433#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_8a581fa1ac5df7378f418095fdb2a433","ref_ssm":["aspace_8a581fa1ac5df7378f418095fdb2a433","aspace_8a581fa1ac5df7378f418095fdb2a433"],"id":"377018d2c691025d88612f9e_aspace_8a581fa1ac5df7378f418095fdb2a433","title_filing_ssi":"\"You keep coming back like a song\"","title_ssm":["\"You keep coming back like a song\""],"title_tesim":["\"You keep coming back like a song\""],"unitdate_inclusive_ssm":["undated"],"normalized_date_ssm":["undated"],"normalized_title_ssm":["\"You keep coming back like a song\", undated"],"text":["\"You keep coming back like a song\", undated","Burt Szabo music collection, 1955-2017","/repositories/2/archival_objects/79820","/repositories/2/archival_objects/83082","box 25","folder 19"],"component_level_isim":[1],"parent_ids_ssim":["377018d2c691025d88612f9e"],"parent_unittitles_ssm":["Burt Szabo music collection, 1955-2017"],"parent_unittitles_tesim":["Burt Szabo music collection, 1955-2017"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/2/archival_objects/79820","/repositories/2/archival_objects/83082"],"repository_ssim":["UCF University Archives"],"collection_ssim":["Burt Szabo music collection, 1955-2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":856,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 25","folder 19"],"_nest_path_":"/components#855","_nest_parent_":"377018d2c691025d88612f9e","_root_":"377018d2c691025d88612f9e","_version_":1870858782767054848,"timestamp":"2026-07-16T08:19:30.734Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"377018d2c691025d88612f9e","title_ssm":["Burt Szabo music collection"],"title_tesim":["Burt Szabo music collection"],"ead_ssi":"377018d2c691025d88612f9e","unitdate_ssm":["1955-2017"],"unitdate_inclusive_ssm":["1955-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA21G","/repositories/2/resources/332"],"text":["UA21G","/repositories/2/resources/332","Burt Szabo music collection, 1955-2017","Barbershop quartets","sheet music","The entire collection is open for research.","The collection is arranged in the original order that it was received.","Albert Edward \"Burt\" Szabo,  a composer, arranger, and music educator, was born in Ohio in 1931. He composed and published several pieces of music for barbershop quartets, choruses, schools, and churches. Szabo was a faculty member of the music department at the University of Central Florida (then Florida Technological University). He taught courses in music composition, music theory, and music calligraphy and created the melody and lyrics for the university's alma mater in 1974.  ","A strong proponent of the barbershop musical style, Szabo worked for the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA) in Kenosha, Wisconsin as their Music Publications Editor from 1982 to 1992.  He was inducted into the Barbershop Society Hall of Fame in 2009 and worked as an Arrangement judge for the Barbershop Harmony Society. His publications, such as the  Barbershop Arranging Manual  and his work on the Barbershop Harmony Society staff, cemented his long-lasting influence on the musical style. Szabo passed away in 2022. ","Processed by and finding aid prepared by Simone DeLuque in 2025.","For more information on Special Collections \u0026 University Archives, please see our website.","The Burt Szabo music collection is comprised of sheet music of pieces Burtz Szabo collected, composed, arranged, and/or published.","Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.","The Burt Szabo music collection is comprised of sheet music of pieces Burtz Szabo collected, composed, arranged, and/or published. \n\nAlbert Edward \"Burt\" Szabo,  a composer, arranger, and music educator, was born in Ohio in 1931. He composed and published several pieces of music for barbershop quartets, choruses, schools, and churches. Szabo was a faculty member of the music department at the University of Central Florida (then Florida Technological University). He taught courses in music composition, music theory, and music calligraphy and created the melody and lyrics for the university's alma mater in 1974.  \n\nA strong proponent of the barbershop musical style, Szabo worked for the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA) in Kenosha, Wisconsin as their Music Publications Editor from 1982 to 1992.  He was inducted into the Barbershop Society Hall of Fame in 2009 and worked as an Arrangement judge for the Barbershop Harmony Society. His publications, such as the  Barbershop Arranging Manual  and his work on the Barbershop Harmony Society staff, cemented his long-lasting influence on the musical style. Szabo passed away in 2022.","UCF University Archives","Szabo, Burt","English"],"unitid_tesim":["UA21G","/repositories/2/resources/332"],"normalized_date_ssm":["1955-2017"],"normalized_title_ssm":["Burt Szabo music collection, 1955-2017"],"collection_title_tesim":["Burt Szabo music collection, 1955-2017"],"collection_ssim":["Burt Szabo music collection, 1955-2017"],"repository_ssm":["UCF University Archives"],"repository_ssim":["UCF University Archives"],"creator_ssm":["Szabo, Burt"],"creator_ssim":["Szabo, Burt"],"creator_persname_ssim":["Szabo, Burt"],"creators_ssim":["Szabo, Burt"],"access_terms_ssm":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["Gift of David Schreier in 2018 (Accession no. CFU2018_47)."],"access_subjects_ssim":["Barbershop quartets","sheet music"],"access_subjects_ssm":["Barbershop quartets","sheet music"],"has_online_content_ssim":["false"],"extent_ssm":["11.8 Linear Feet 30 boxes"],"extent_tesim":["11.8 Linear Feet 30 boxes"],"genreform_ssim":["sheet music"],"date_range_isim":[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\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The entire collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in the original order that it was received.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in the original order that it was received."],"bioghist_html_tesm":["\u003cp\u003eAlbert Edward \"Burt\" Szabo,  a composer, arranger, and music educator, was born in Ohio in 1931. He composed and published several pieces of music for barbershop quartets, choruses, schools, and churches. Szabo was a faculty member of the music department at the University of Central Florida (then Florida Technological University). He taught courses in music composition, music theory, and music calligraphy and created the melody and lyrics for the university's alma mater in 1974.  \u003c/p\u003e\n","\u003cp\u003eA strong proponent of the barbershop musical style, Szabo worked for the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA) in Kenosha, Wisconsin as their Music Publications Editor from 1982 to 1992.  He was inducted into the Barbershop Society Hall of Fame in 2009 and worked as an Arrangement judge for the Barbershop Harmony Society. His publications, such as the \u003cemph render=\"italic\"\u003eBarbershop Arranging Manual\u003c/emph\u003e and his work on the Barbershop Harmony Society staff, cemented his long-lasting influence on the musical style. Szabo passed away in 2022. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Albert Edward \"Burt\" Szabo,  a composer, arranger, and music educator, was born in Ohio in 1931. He composed and published several pieces of music for barbershop quartets, choruses, schools, and churches. Szabo was a faculty member of the music department at the University of Central Florida (then Florida Technological University). He taught courses in music composition, music theory, and music calligraphy and created the melody and lyrics for the university's alma mater in 1974.  ","A strong proponent of the barbershop musical style, Szabo worked for the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA) in Kenosha, Wisconsin as their Music Publications Editor from 1982 to 1992.  He was inducted into the Barbershop Society Hall of Fame in 2009 and worked as an Arrangement judge for the Barbershop Harmony Society. His publications, such as the  Barbershop Arranging Manual  and his work on the Barbershop Harmony Society staff, cemented his long-lasting influence on the musical style. Szabo passed away in 2022. "],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Burt Szabo music collection, Special Collections \u0026amp; University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Burt Szabo music collection, Special Collections \u0026 University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eProcessed by and finding aid prepared by Simone DeLuque in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by and finding aid prepared by Simone DeLuque in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eFor more information on Special Collections \u0026amp; University Archives, please see our website.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["For more information on Special Collections \u0026 University Archives, please see our website."],"scopecontent_html_tesm":["\u003cp\u003eThe Burt Szabo music collection is comprised of sheet music of pieces Burtz Szabo collected, composed, arranged, and/or published.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Burt Szabo music collection is comprised of sheet music of pieces Burtz Szabo collected, composed, arranged, and/or published."],"userestrict_html_tesm":["\u003cp\u003eUnpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Copyright Statement"],"userestrict_tesim":["Unpublished manuscripts are protected by copyright. Permission to publish, quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_47ef4f2c9d3944ef54170a551f97a3e7\"\u003eThe Burt Szabo music collection is comprised of sheet music of pieces Burtz Szabo collected, composed, arranged, and/or published. \n\nAlbert Edward \"Burt\" Szabo,  a composer, arranger, and music educator, was born in Ohio in 1931. He composed and published several pieces of music for barbershop quartets, choruses, schools, and churches. Szabo was a faculty member of the music department at the University of Central Florida (then Florida Technological University). He taught courses in music composition, music theory, and music calligraphy and created the melody and lyrics for the university's alma mater in 1974.  \n\nA strong proponent of the barbershop musical style, Szabo worked for the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA) in Kenosha, Wisconsin as their Music Publications Editor from 1982 to 1992.  He was inducted into the Barbershop Society Hall of Fame in 2009 and worked as an Arrangement judge for the Barbershop Harmony Society. His publications, such as the \u003cemph render=\"italic\"\u003eBarbershop Arranging Manual\u003c/emph\u003e and his work on the Barbershop Harmony Society staff, cemented his long-lasting influence on the musical style. Szabo passed away in 2022.\u003c/abstract\u003e"],"abstract_tesim":["The Burt Szabo music collection is comprised of sheet music of pieces Burtz Szabo collected, composed, arranged, and/or published. \n\nAlbert Edward \"Burt\" Szabo,  a composer, arranger, and music educator, was born in Ohio in 1931. He composed and published several pieces of music for barbershop quartets, choruses, schools, and churches. Szabo was a faculty member of the music department at the University of Central Florida (then Florida Technological University). He taught courses in music composition, music theory, and music calligraphy and created the melody and lyrics for the university's alma mater in 1974.  \n\nA strong proponent of the barbershop musical style, Szabo worked for the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA) in Kenosha, Wisconsin as their Music Publications Editor from 1982 to 1992.  He was inducted into the Barbershop Society Hall of Fame in 2009 and worked as an Arrangement judge for the Barbershop Harmony Society. His publications, such as the  Barbershop Arranging Manual  and his work on the Barbershop Harmony Society staff, cemented his long-lasting influence on the musical style. Szabo passed away in 2022."],"names_ssim":["UCF University Archives","Szabo, Burt"],"corpname_ssim":["UCF University Archives"],"names_coll_ssim":["Szabo, Burt"],"persname_ssim":["Szabo, Burt"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1087,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870858782767054848,"_root_":"377018d2c691025d88612f9e","timestamp":"2026-07-16T08:19:30.734Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/377018d2c691025d88612f9e_aspace_8a581fa1ac5df7378f418095fdb2a433"}},{"id":"3809a92600af476ee27dc057_aspace_69113","type":"File","attributes":{"title":"You Keep Coming Like a Song by Irving Berlin featured in film \"Blue Skies\" published by Irving Berlin","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/3809a92600af476ee27dc057_aspace_69113#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_69113","ref_ssm":["aspace_69113","aspace_69113"],"id":"3809a92600af476ee27dc057_aspace_69113","title_filing_ssi":"You Keep Coming Like a Song by Irving Berlin featured in film \"Blue Skies\" published by Irving Berlin","title_ssm":["You Keep Coming Like a Song by Irving Berlin featured in film \"Blue Skies\" published by Irving Berlin"],"title_tesim":["You Keep Coming Like a Song by Irving Berlin featured in film \"Blue Skies\" published by Irving Berlin"],"normalized_title_ssm":["You Keep Coming Like a Song by Irving Berlin featured in film \"Blue Skies\" published by Irving Berlin"],"text":["You Keep Coming Like a Song by Irving Berlin featured in film \"Blue Skies\" published by Irving Berlin","J. Floyd Monk Collection, bulk 1826-1999","Box 6","Folder 141","/repositories/2/archival_objects/4798","folder 141"],"component_level_isim":[2],"parent_ids_ssim":["3809a92600af476ee27dc057","3809a92600af476ee27dc057_aspace_68897"],"parent_unittitles_ssm":["J. Floyd Monk Collection, bulk 1826-1999","Box 6"],"parent_unittitles_tesim":["J. Floyd Monk Collection, bulk 1826-1999","Box 6"],"parent_levels_ssm":["collection","Other level"],"unitid_ssm":["Folder 141","/repositories/2/archival_objects/4798"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["J. Floyd Monk Collection, bulk 1826-1999"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":342,"parent_access_restrict_tesm":["This collection is open for research."],"parent_access_terms_tesm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general"],"containers_ssim":["folder 141"],"_nest_path_":"/components#5/components#140","_nest_parent_":"3809a92600af476ee27dc057_aspace_68897","_root_":"3809a92600af476ee27dc057","_version_":1870844519624212480,"timestamp":"2026-07-16T04:32:48.350Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"3809a92600af476ee27dc057","title_ssm":["J. Floyd Monk Collection"],"title_tesim":["J. Floyd Monk Collection"],"ead_ssi":"3809a92600af476ee27dc057","unitdate_ssm":["1826-1999"],"unitdate_bulk_ssim":["1826-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC5075","/repositories/2/resources/19"],"text":["SPC5075","/repositories/2/resources/19","J. Floyd Monk Collection, bulk 1826-1999","cedar Key (Fla)- Description and travels","Cedar Key (Fla)- History","Rosewood (Fla)- Race relations","Seminole War, 2nd, 1835-1842","This collection is open for research.","J. Floyd Monk was born in 1914 in Moultrie, Georgia. He was the youngest in a family of 13 children. Though all of his brothers (and a few of his sisters) went to college, the highest degree he earned was a High School diploma (as class valedictorian) in 1932. Floyd worked in Moultrie for a few years before moving to Miami, Florida in 1936. He took a job as a clerk for Florida National Bank. By the time he retired in the 1970's—after 42 years—he had ascended to Vice President of the bank. He died in September of 2004 at the age of 90. Monk's collection of books and papers were donated to FIU's Special Collections department in 2005.","Please note: Newspaper text may reflect biases and prejudices or terms that are outdated, offensive or insensitive.","J. Floyd Monk began amassing his book collection in the 1930's and continued collecting throughout his life. He was especially interested in books on Florida history, geography and wildlife. Most of his books were purchased from the used book stores he frequently visited. A\t large portion of his Florida book collection was compiled as part of his research while writing the two books and several articles he authored. Although his books went unpublished, several of his articles were accepted for publication. The J. Floyd Monk papers are comprised of 4 boxes of research in Florida history and boxes of music sheets. Some of his frequently addressed topics include: The Seminole War, tourism in Florida, and the history of Cedar Key, one of Monk's special interests which also served as a vacation place for his family. The sub-topics within Cedar Key that he researched include: wildlife conservation (sea turtle habitat), industry (the pencil company) and racial tensions (Rosewood Massacre). Included are the manuscripts of his scholarly articles and works of fiction.","Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","Eberhard Faber Pencil Company","Monk, J. Floyd, 1914-2004","English"],"unitid_tesim":["SPC5075","/repositories/2/resources/19"],"normalized_date_ssm":["bulk 1826-1999"],"normalized_title_ssm":["J. Floyd Monk Collection, bulk 1826-1999"],"collection_title_tesim":["J. Floyd Monk Collection, bulk 1826-1999"],"collection_ssim":["J. Floyd Monk Collection, bulk 1826-1999"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"access_terms_ssm":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general"],"access_subjects_ssim":["cedar Key (Fla)- Description and travels","Cedar Key (Fla)- History","Rosewood (Fla)- Race relations","Seminole War, 2nd, 1835-1842"],"access_subjects_ssm":["cedar Key (Fla)- Description and travels","Cedar Key (Fla)- History","Rosewood (Fla)- Race relations","Seminole War, 2nd, 1835-1842"],"has_online_content_ssim":["false"],"extent_ssm":["4.00 boxes"],"extent_tesim":["4.00 boxes"],"date_range_isim":[1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eJ. Floyd Monk was born in 1914 in Moultrie, Georgia. He was the youngest in a family of 13 children. Though all of his brothers (and a few of his sisters) went to college, the highest degree he earned was a High School diploma (as class valedictorian) in 1932. Floyd worked in Moultrie for a few years before moving to Miami, Florida in 1936. He took a job as a clerk for Florida National Bank. By the time he retired in the 1970's\u0026#x2014;after 42 years\u0026#x2014;he had ascended to Vice President of the bank. He died in September of 2004 at the age of 90. Monk's collection of books and papers were donated to FIU's Special Collections department in 2005.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["J. Floyd Monk was born in 1914 in Moultrie, Georgia. He was the youngest in a family of 13 children. Though all of his brothers (and a few of his sisters) went to college, the highest degree he earned was a High School diploma (as class valedictorian) in 1932. Floyd worked in Moultrie for a few years before moving to Miami, Florida in 1936. He took a job as a clerk for Florida National Bank. By the time he retired in the 1970's—after 42 years—he had ascended to Vice President of the bank. He died in September of 2004 at the age of 90. Monk's collection of books and papers were donated to FIU's Special Collections department in 2005."],"odd_html_tesm":["\u003cp\u003ePlease note: Newspaper text may reflect biases and prejudices or terms that are outdated, offensive or insensitive.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["Please note: Newspaper text may reflect biases and prejudices or terms that are outdated, offensive or insensitive."],"scopecontent_html_tesm":["\u003cp\u003eJ. Floyd Monk began amassing his book collection in the 1930's and continued collecting throughout his life. He was especially interested in books on Florida history, geography and wildlife. Most of his books were purchased from the used book stores he frequently visited. A\t large portion of his Florida book collection was compiled as part of his research while writing the two books and several articles he authored. Although his books went unpublished, several of his articles were accepted for publication. The J. Floyd Monk papers are comprised of 4 boxes of research in Florida history and boxes of music sheets. Some of his frequently addressed topics include: The Seminole War, tourism in Florida, and the history of Cedar Key, one of Monk's special interests which also served as a vacation place for his family. The sub-topics within Cedar Key that he researched include: wildlife conservation (sea turtle habitat), industry (the pencil company) and racial tensions (Rosewood Massacre). Included are the manuscripts of his scholarly articles and works of fiction.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["J. Floyd Monk began amassing his book collection in the 1930's and continued collecting throughout his life. He was especially interested in books on Florida history, geography and wildlife. Most of his books were purchased from the used book stores he frequently visited. A\t large portion of his Florida book collection was compiled as part of his research while writing the two books and several articles he authored. Although his books went unpublished, several of his articles were accepted for publication. The J. Floyd Monk papers are comprised of 4 boxes of research in Florida history and boxes of music sheets. Some of his frequently addressed topics include: The Seminole War, tourism in Florida, and the history of Cedar Key, one of Monk's special interests which also served as a vacation place for his family. The sub-topics within Cedar Key that he researched include: wildlife conservation (sea turtle habitat), industry (the pencil company) and racial tensions (Rosewood Massacre). Included are the manuscripts of his scholarly articles and works of fiction."],"userestrict_html_tesm":["\u003cp\u003eRights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/\u003c/p\u003e\n","\u003cp\u003eSpecial Collections \u0026amp; University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. \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":["Rights: In copyright. Standardized rights statement: https://rightsstatements.org/page/InC/1.0/","Special Collections \u0026 University Archives provides copies of materials in our collections for private study, scholarship, or research. Patrons are responsible for determining the proper copyright holder and securing permission to publish, quote, broadcast, exhibit, or perform that work. FIU Special Collections will provide all available information about the copyright holder of materials found in our collections. ","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_coll_ssim":["Eberhard Faber Pencil Company","Monk, J. Floyd, 1914-2004"],"names_ssim":["FIU Special Collections","Eberhard Faber Pencil Company","Monk, J. Floyd, 1914-2004"],"corpname_ssim":["FIU Special Collections","Eberhard Faber Pencil Company"],"persname_ssim":["Monk, J. Floyd, 1914-2004"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":348,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844519624212480,"_root_":"3809a92600af476ee27dc057","timestamp":"2026-07-16T04:32:48.350Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/3809a92600af476ee27dc057_aspace_69113"}},{"id":"18ce43a3c782b797db9fa781_aspace_176235","type":"Item","attributes":{"title":"You Kids be Quiet","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176235#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eHand-colored illustration. By A.J. Clapham. Title card, accompanied by illustration of policeman with club.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176235#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_176235","ref_ssm":["aspace_176235","aspace_176235"],"id":"18ce43a3c782b797db9fa781_aspace_176235","title_filing_ssi":"You Kids be Quiet","title_ssm":["You Kids be Quiet"],"title_tesim":["You Kids be Quiet"],"normalized_title_ssm":["You Kids be Quiet"],"text":["You Kids be Quiet","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","Theater Title Cards","Item 13","/repositories/2/archival_objects/82383","Hand-colored illustration. By A.J. Clapham. Title card, accompanied by illustration of policeman with club."],"component_level_isim":[3],"parent_ids_ssim":["18ce43a3c782b797db9fa781","18ce43a3c782b797db9fa781_aspace_179818","18ce43a3c782b797db9fa781_aspace_176222"],"parent_unittitles_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","Theater Title Cards"],"parent_unittitles_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Slides -Title Cards, Theather Title Cards, Christmas, World War I Posters, Historical Figures, Fashion, Patriotic Illustrations","Theater Title Cards"],"parent_levels_ssm":["collection","Box","Series"],"unitid_ssm":["Item 13","/repositories/2/archival_objects/82383"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":617,"parent_access_restrict_tesm":["Fragile materials served by appointment. Gloves required."],"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."],"scopecontent_html_tesm":["\u003cp\u003eHand-colored illustration. By A.J. Clapham. Title card, accompanied by illustration of policeman with club.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hand-colored illustration. By A.J. Clapham. Title card, accompanied by illustration of policeman with club."],"_nest_path_":"/components#16/components#1/components#12","_nest_parent_":"18ce43a3c782b797db9fa781_aspace_176222","_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"18ce43a3c782b797db9fa781","title_ssm":["Photographic lantern slide collection"],"title_tesim":["Photographic lantern slide collection"],"ead_ssi":"18ce43a3c782b797db9fa781","unitdate_ssm":["1902-1929","Date acquired: 00/00/1995"],"unitdate_inclusive_ssm":["1902-1929"],"unitdate_other_ssim":["Date acquired: 00/00/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-1995-06","/repositories/2/resources/391"],"text":["MS-1995-06","/repositories/2/resources/391","Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995","Lantern slides","Fragile materials served by appointment. Gloves required.","Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.","The slides have been issued inventory numbers; for item level description see printed document with the collection.","The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139.","published","Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.","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.","USF Libraries - Tampa Special Collections","English"],"unitid_tesim":["MS-1995-06","/repositories/2/resources/391"],"normalized_date_ssm":["1902-1929, Date acquired: 00/00/1995"],"normalized_title_ssm":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_title_tesim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"collection_ssim":["Photographic lantern slide collection, 1902-1929, Date acquired: 00/00/1995"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"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":["Donation"],"access_subjects_ssim":["Lantern slides"],"access_subjects_ssm":["Lantern slides"],"has_online_content_ssim":["false"],"extent_ssm":["20.23 Linear Feet","39 boxes"],"extent_tesim":["20.23 Linear Feet","39 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eFragile materials served by appointment. Gloves required.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Fragile materials served by appointment. Gloves required."],"accruals_html_tesm":["\u003cp\u003eFive lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Five lantern slides measuring 1.75\" by 6.75\" donated to USF Special Collections on August 23, 2023."],"arrangement_html_tesm":["\u003cp\u003eThe slides have been issued inventory numbers; for item level description see printed document with the collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The slides have been issued inventory numbers; for item level description see printed document with the collection."],"bioghist_html_tesm":["\u003cp\u003eThe history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides.\u003c/p\u003e\n","\u003cp\u003e \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations.\u003c/p\u003e\n","\u003cp\u003e \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding.\u003c/p\u003e\n","\u003cp\u003e \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026amp; Company, Ltd., 1901), 133-139.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The history of the lantern slide has its origins in seventeenth-century optical viewing devices which came to be known as \"magic lanterns\". The earliest slides for magic lanterns consisted of hand-painted images on glass, projected by itinerant showmen to amuse their audiences. In 1849, about ten years after the invention of photography, lantern slides began to be produced photographically.  Rapid improvements in photographic reproduction methods and more effective projection illuminants sparked the increased popularization of magic lantern slides."," \nIn the United States, magic lantern shows were especially popular in formal education settings. From the 1850s, following the lead of the Philadelphia-based Langenheim Brothers, a growing number of slide manufacturers retained stock collections of negatives from which lantern slides could be produced, assembled into thematic boxed sets, and sold to consumers, including universities, companies, clubs and other social organizations."," \nThe vast majority of these commercial lantern slides were black-and-white positive images, created with the wet collodion or a dry gelatine process. Slide lantern photographers made either \"contact\" or \"reduction\" prints. They made contact prints by placing a negative over a piece of light-sensitive lantern glass and then developing the image by exposure under controlled light. For a reduction print, the photographer affixed the negative to a window with a clear view, and photographed the illuminated negative directly onto the light-senstive lantern glass with a camera. After the completion of the photographic process, slide makers often affixed a paper border to the lantern glass, covered it with a clear piece of protective glass, and then bound the glass \"sandwich\" together with tape. The paper borders often bore printed identification of the commercial studio. Less frequently, manufacturers employed professional colorists to apply pigment washes to the lantern glass image prior to labeling and binding."," \nIn the 1930s and 1940s, less expensive film-based transparencies replaced glass lantern slides.  Commercial glass lantern slide firms and photographic studios disappeared or adapted to the new medium of 35 mm slides. [1] John Barnes. Catalogue of the Collection. Part 2: Optical Projection, The History of the Magic Lantern from the 17th to the 20th Century (St. Ives, Cornwall: Barnes Museum of Cinematography, 1970), 27-29. [2] Elizabeth Shepard. \"The Magic Lantern Slide in Entertainment and Education, 1860-1920.\" History of Photography 11: 2 (April-June 1987), 91. [3] Paul N. Hasluck. Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides (London: Cassell \u0026 Company, Ltd., 1901), 133-139."],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"prefercite_html_tesm":["\u003cp\u003ePhotographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL.\u003c/p\u003e"],"prefercite_tesim":["Photographic Lantern Slide Collection, USF Libraries - Tampa Special Collections, University of South Florida, Tampa, FL."],"scopecontent_html_tesm":["\u003cp\u003eLantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.\u003c/p\u003e\n","\u003cp\u003eThe Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.\u003c/p\u003e\n","\u003cp\u003eDocumentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.\u003c/p\u003e\n","\u003cp\u003eThe bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]\u003c/p\u003e\n","\u003cp\u003eOnce the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.\u003c/p\u003e\n","\u003cp\u003eIn the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.\u003c/p\u003e\n","\u003cp\u003eThe manufacturers, retailers, photographers, studios or colorists identified in this collection are:\u003c/p\u003e\n","\u003cp\u003eBeseler Lantern Slide Company, 131 East 23\u003cemph render=\"super\"\u003erd\u003c/emph\u003e Street, New York\u003c/p\u003e\n","\u003cp\u003eBrown and Dawson, Stamford, Connecticut\u003c/p\u003e\n","\u003cp\u003eDetroit Publishing Company, Detroit, Michigan\u003c/p\u003e\n","\u003cp\u003eC. H. Graves Company, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eMisses Griffith (colorists), New York, New York\u003c/p\u003e\n","\u003cp\u003eA. D. Handy, Boston, Massachusetts\u003c/p\u003e\n","\u003cp\u003eJoseph Hawkes, 108 Fulton Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eMilton R. Holmes (photographer), Pennsylvania\u003c/p\u003e\n","\u003cp\u003eW. C. Ives, New York, New York\u003c/p\u003e\n","\u003cp\u003eKeystone View Company, Meadville, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eChas. W. Kimble, Trenton, New Jersey\u003c/p\u003e\n","\u003cp\u003eT. H. McAllister-Keller Co., Inc., New York, New York\u003c/p\u003e\n","\u003cp\u003eMoore, Bond \u0026amp; Company, Chicago, Illinois\u003c/p\u003e\n","\u003cp\u003eWilliam Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eRiley Optical, New York, New York\u003c/p\u003e\n","\u003cp\u003eJohn Duer Scott (photographer), New York, New York\u003c/p\u003e\n","\u003cp\u003eScott and Van Altena, 59 Pearl Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eUnderwood and Underwood, Washington, D. C.\u003c/p\u003e\n","\u003cp\u003eEdward Van Altena, 71-79 West 45\u003cemph render=\"super\"\u003eth\u003c/emph\u003e Street, New York, New York\u003c/p\u003e\n","\u003cp\u003eWilliams, Brown \u0026amp; Earle, Inc., Philadelphia, Pennsylvania\u003c/p\u003e\n","\u003cp\u003eIn most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.\u003c/p\u003e\n","\u003cp\u003eSlide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.\u003c/p\u003e\n","\u003cp\u003eLantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref1][1][/url] John A. Tennant, ed.  \u003cemph render=\"italic\"\u003eThe Photo-Miniature: A Magazine of Photographic Information\u003c/emph\u003e 7:83 (Nov. 1907), 501-539.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref2][2][/url] Hasluck, 129-132.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref4][4][/url] David Robinson, et al., editors.  \u003cemph render=\"italic\"\u003eEncyclopaedia of the Magic Lantern  \u003c/emph\u003e(London: The Magic Lantern Society, 2001),181-2.\u003c/p\u003e\n","\u003cp\u003e[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Lantern slides have their origins in optical projection devices dating to the seventeenth century, yet their widespread use did not begin until after the advent of the wet collodion photographic process by Frederick Scott Archer in the late 1840s. As the nineteenth century progressed, lantern slides with photographic images quickly became popular forms of public and private education and entertainment.","The Photographic Lantern Slide collection is a source of visual imagery that spans the world in historical, architectural, cultural and agricultural subjects.  It represents one of the most popular categories of lantern slides, travel destinations.  It is international in scope, with scenes varying by locale, as indicated in the container listing. Many of the slides in this collection represent the sacred spaces of the Jewish, Buddhist, Christian and Muslim religions. Popular tourist destinations and historic sites are also prevalent, as are scenes of working people, housing structures, rural agriculture and transportation methods.","Documentation pertaining to this collection is limited to information affixed to the slides. Studios, manufacturers and retailers are identified on printed or handwritten labels, and some slides bear dates ranging from 1902 to 1929.  The hand colorists known as \"the Misses Griffith\" are identified on a number of slides, yet in most instances, the photographer who took the picture and the date of the negative's creation are not indicated. Nonetheless, the collection documents the products of a number of photographers, manufacturers, retailers of optical supplies and hand colorists.  The collection is especially notable for its number of hand-colored lantern slides.","The bulk of photographic lantern slides sold in the United States in the early twentieth century were black and white, products of the wet collodion or a gelatine photographic process. Hand coloring required additional skilled labor, space and tools, and delayed the mass production of the slides. Its relationship to painting on china and glass meant that women often performed the skilled labor.  Transparent oil paints, aniline dyes or watercolors were most frequently used in the process, the slides sometimes baked in an oven to set the paint layers prior to subsequent pigment applications.  While the earliest hand-colored slides required the painter's experimentation with different pigments and dyes, by the early twentieth century, paint manufacturers produced sets of colors specifically designed for slide lantern use.[url=#_ftn1][1][/url]","Once the photographic image was ready for assembly, the binders often applied a gummed opaque paper border (called a mask) to the glass negative and then topped it with a clear glass cover.  They then placed the two pieces of glass into a binding clamp and bound them together with gummed paper tape.[url=#_ftn2][2][/url]  Slides could then be individually sold or grouped into thematic sets, placed in grooved boxes, and distributed. Originally housed in the wooden boxes associated with glass negatives, the majority of the slides bearing the labels of individual manufacturers and studios, the Photographic Lantern Slide Collection is representative of such commercial sales.","In the early twentieth century, various American companies sold thematic slide lecture sets. The Keystone View Company (1892-1963), founded by the amateur photographer B.L. Singley in Meadville, Pennsylvania, was one of the largest commercial suppliers.[url=#_ftn3][3][/url] The McAllister family was another leader in the magic lantern business, establishing operations in Philadelphia by 1846 and in New York by 1866.  Trading under the name McAllister-Keller Co., Inc. from 1917, the company continued to offer lantern slides and other supplies until 1942.[url=#_ftn4][4][/url] The photographer John Duer Scott and the colorist Edward Van Altena joined forces to create a New York-based business in 1904. Riley Optical was a British company specializing in slide and lantern manufacturing, which opened a New York branch by 1895. Williams, Brown and Earle primarily sold laboratory supplies and optical equipment, but also produced lantern slide sets.","The manufacturers, retailers, photographers, studios or colorists identified in this collection are:","Beseler Lantern Slide Company, 131 East 23 rd  Street, New York","Brown and Dawson, Stamford, Connecticut","Detroit Publishing Company, Detroit, Michigan","C. H. Graves Company, Philadelphia, Pennsylvania","Misses Griffith (colorists), New York, New York","A. D. Handy, Boston, Massachusetts","Joseph Hawkes, 108 Fulton Street, New York, New York","Milton R. Holmes (photographer), Pennsylvania","W. C. Ives, New York, New York","Keystone View Company, Meadville, Pennsylvania","Chas. W. Kimble, Trenton, New Jersey","T. H. McAllister-Keller Co., Inc., New York, New York","Moore, Bond \u0026 Company, Chicago, Illinois","William Herman Rau, 1324 Chestnut Street, Philadelphia, Pennsylvania","Riley Optical, New York, New York","John Duer Scott (photographer), New York, New York","Scott and Van Altena, 59 Pearl Street, New York, New York","Underwood and Underwood, Washington, D. C.","Edward Van Altena, 71-79 West 45 th  Street, New York, New York","Williams, Brown \u0026 Earle, Inc., Philadelphia, Pennsylvania","In most instances, the maker's identification labels do not distinguish professions of the named entities, although the Misses Griffith are clearly indicated as hand colorists operating out of New York City. The street addresses listed above reflect identification printed on the commercial paper labels. In some instances, additional research revealed city or state of operation.","Slide lantern manufacturers also sold instruction manuals and mass-produced kits intended for amateur photographers, teachers, organizations, and educational institutions. Such kits included light sensitive lantern glass, clear cover glass, gummed paper masks, binding tape, and grooved wooden boxes for safe storage. Museums, schools and universities frequently created their own lantern slides for educational use. Photographic clubs emerged in American cities, offering lantern slide lectures and organizing slide exchanges. The slides in this collection that lack manufacturer, retailer or studio labels may be the products of such non-commercial endeavors.","Lantern slides created a new way to view both commercial and amateur photography. While the earliest photographic methods required an intimate viewership, the projection capabilities of the magic lantern allowed for a sizable audience. In the United States, the greatest impact of lantern slides was as a didactic tool and a form of entertainment.[url=#_ftn5][5][/url] Photographic lantern slides reached the peak of their popularity during the first third of the twentieth century, and dramatically impacted the development of animation technologies as well as visual-based education methods in fields such as anthropology, art history, and geography. As new photographic films emerged in the 1930s and 1940s, magic lantern shows became a rarity and ultimately obsolete.","[url=#_ftnref1][1][/url] John A. Tennant, ed.   The Photo-Miniature: A Magazine of Photographic Information  7:83 (Nov. 1907), 501-539.","[url=#_ftnref2][2][/url] Hasluck, 129-132.","[url=#_ftnref3][3][/url] Shepard, \"The Magic Lantern Slide,\" 105.  The company was purchased by the Mast Development Company in 1963.","[url=#_ftnref4][4][/url] David Robinson, et al., editors.   Encyclopaedia of the Magic Lantern   (London: The Magic Lantern Society, 2001),181-2.","[url=#_ftnref5][5][/url] Shepard, \"The Magic Lantern Slide,\" 91."],"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."],"names_ssim":["USF Libraries - Tampa Special Collections"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2479,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"18ce43a3c782b797db9fa781","timestamp":"2026-06-19T03:16:57.188Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/18ce43a3c782b797db9fa781_aspace_176235"}},{"id":"2326334e5e159c8d459e96a3_aspace_37968","type":"Item","attributes":{"title":"\"You know Grizzwald, life's so unfair... If you're a nice guy people take advantage of you - \", \"If you donate to charities, they hound you for more money. And then I heard somebody say the other day - 'Only the good die young.' Sheesh! So much for growing old!\", \"I'm gonna live for-r-rever!\", September 10, 1988.","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_37968#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_37968","ref_ssm":["aspace_37968","aspace_37968"],"id":"2326334e5e159c8d459e96a3_aspace_37968","title_filing_ssi":"\"You know Grizzwald, life's so unfair... If you're a nice guy people take advantage of you - \", \"If you donate to charities, they hound you for more money. And then I heard somebody say the other day - 'Only the good die young.' Sheesh! So much for growing old!\", \"I'm gonna live for-r-rever!\"","title_ssm":["\"You know Grizzwald, life's so unfair... If you're a nice guy people take advantage of you - \", \"If you donate to charities, they hound you for more money. And then I heard somebody say the other day - 'Only the good die young.' Sheesh! So much for growing old!\", \"I'm gonna live for-r-rever!\""],"title_tesim":["\"You know Grizzwald, life's so unfair... If you're a nice guy people take advantage of you - \", \"If you donate to charities, they hound you for more money. And then I heard somebody say the other day - 'Only the good die young.' Sheesh! So much for growing old!\", \"I'm gonna live for-r-rever!\""],"unitdate_other_ssim":["September 10, 1988."],"normalized_date_ssm":["September 10, 1988."],"normalized_title_ssm":["\"You know Grizzwald, life's so unfair... If you're a nice guy people take advantage of you - \", \"If you donate to charities, they hound you for more money. And then I heard somebody say the other day - 'Only the good die young.' Sheesh! So much for growing old!\", \"I'm gonna live for-r-rever!\", September 10, 1988."],"text":["\"You know Grizzwald, life's so unfair... If you're a nice guy people take advantage of you - \", \"If you donate to charities, they hound you for more money. And then I heard somebody say the other day - 'Only the good die young.' Sheesh! So much for growing old!\", \"I'm gonna live for-r-rever!\", September 10, 1988.","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Doppelgängers, 1987-1988, 1990, Undated.","Comic Strips (Templates), 1987-1988, 2000, Undated.","Item 12","/repositories/4/archival_objects/2826","box 8","folder 5"],"component_level_isim":[5],"parent_ids_ssim":["2326334e5e159c8d459e96a3","2326334e5e159c8d459e96a3_aspace_37101","2326334e5e159c8d459e96a3_aspace_37826","2326334e5e159c8d459e96a3_aspace_37827","2326334e5e159c8d459e96a3_aspace_37899"],"parent_unittitles_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Doppelgängers, 1987-1988, 1990, Undated.","Comic Strips (Templates), 1987-1988, 2000, Undated."],"parent_unittitles_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Editorial Cartoon Arts, 1983-2003, Undated.","Unpublished Cartoons.","Doppelgängers, 1987-1988, 1990, Undated.","Comic Strips (Templates), 1987-1988, 2000, Undated."],"parent_levels_ssm":["collection","Series","Subseries","Subseries","File"],"unitid_ssm":["Item 12","/repositories/4/archival_objects/2826"],"repository_ssim":["UCF Special Collections"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":798,"parent_access_restrict_tesm":["The entire collection is open for research."],"parent_access_terms_tesm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"containers_ssim":["box 8","folder 5"],"_nest_path_":"/components#0/components#1/components#0/components#3/components#65","_nest_parent_":"2326334e5e159c8d459e96a3_aspace_37899","_root_":"2326334e5e159c8d459e96a3","_version_":1870857743444738048,"timestamp":"2026-07-16T08:02:59.476Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"2326334e5e159c8d459e96a3","title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art"],"ead_ssi":"2326334e5e159c8d459e96a3","unitdate_ssm":["1955-2013","1970-2013"],"unitdate_bulk_ssim":["1970-2013"],"unitdate_inclusive_ssm":["1955-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC.094","/repositories/4/resources/12"],"text":["SC.094","/repositories/4/resources/12","Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013","Florida -- Politics and government -- Caricatures and cartoons","Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida","The entire collection is open for research.","Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.","Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.","Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File","Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).","Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.","The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).","UCF Special Collections","Stein, Glenn M., 1962-","English"],"unitid_tesim":["SC.094","/repositories/4/resources/12"],"normalized_date_ssm":["1955-2013, bulk 1970-2013"],"normalized_title_ssm":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_title_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"collection_ssim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, bulk 1970-2013"],"repository_ssm":["UCF Special Collections"],"repository_ssim":["UCF Special Collections"],"geogname_ssm":["Florida -- Politics and government -- Caricatures and cartoons"],"geogname_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"places_ssim":["Florida -- Politics and government -- Caricatures and cartoons"],"access_terms_ssm":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["The materials were donated to the University of Central Florida Special Collections by Glenn \"Marty\" Stein in 2013 (CFM2013_04)."],"access_subjects_ssim":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"access_subjects_ssm":["Comic books, strips, etc.","Editorial cartoonist -- Florida","Editorial cartoons -- Florida"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"extent_tesim":["8 Linear Feet 17 Boxes, 1 Flat File, 67 Digital Files"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe entire collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The entire collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eGlenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.\u003c/p\u003e\n","\u003cp\u003e\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogot\u0026#xE1;, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.\u003c/p\u003e\n","\u003cp\u003e\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelg\u0026#xE4;ngers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.\u003c/p\u003e\n","\u003cp\u003e\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelg\u0026#xE4;ngers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.\u003c/p\u003e\n","\u003cp\u003e\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Glenn Martin Stein was born in Miami, Florida on October 4, 1962. When he was 5 years old, he moved from Miami to Satellite Beach, on the barrier island off the coast of Florida. He attended Ocean Breeze Elementary (Indian Harbour Beach) where he started drawing cartoons and comic books. He mainly derived his artistic ability from both parents, though it was his father who had particular talent, and he patiently spent many hours showing him how to draw any number of living and non-living subjects. His mother was very encouraging, in part because the time he spent drawing sapped from of his considerable over-abundance of energy. She would buy rolls of wide wax paper that he could sprawl over the dining room table and draw on the unwaxed side.","\nAfter graduating from high school, he attended University of Florida where he became a midshipman in the Navy ROTC program. Due to an eye injury he had at the age of 14, he was forced to leave the program after only six months. He continued to study at the University of Florida and earned a bachelor's degree in Public Relations and minor in History. In 1983, after taking a basic Spanish course, he spent six weeks as a foreign exchange student, studying Spanish at the Universidad de Los Andes (Bogotá, Colombia), and living with a Colombian family. By the end of his Colombian studies, he was just beginning to think in Spanish. Around this time, he was drawn toward editorial cartoons, and successfully approached the student newspaper, The Independent Florida Alligator, about submissions. His first cartoon is the only one that survives from this period; the rough draft, finished cartoon and tear sheet are part of the collection. Getting some cartoons printed made him realize how much he enjoyed editorial cartooning and decided this would be his focus for the future. After graduating in spring of 1985, he turned to The Gainesville Sun and published his first cartoon. He was always seeking freelance cartooning; designed a letterhead featuring a cartoon head and a business card in 1999. In 1987, he began self-publishing \"A Weekly Editorial Cartoon Statement\" he called American Punch, and left issues at newsstands around town. The name was taken from the long running British humor and satire magazine Punch that had been around since 1841.","\nSeeking out the gag cartoon market, he began sending cartoons to The New Yorker, which he continued doing off and on in the years that followed. The late 1980s and 1990s he became keen about creating comic strips and created three main strips; Doppelgängers (1987), HIJINX (1988), and Dr. Roget (1991). Since Glenn was living near the ocean, he got into the sport of wave skiing in 1988. He introduced Mr. T-Bones to Surf Ski Quarterly magazine and his episodes were published four times a year. Later, T-Bones became Mr. Tibs and went through five episodes, with artwork for a sixth episode (no. 11) being produced, but never published, due to the cancellation of the strip on June 1993. During two different period of time, Glenn drew editorial cartoons and illustrations for the Orlando Business Journal. Firstly from December 1990 until April 1991, and then from November 1998 through February 1999. Glenn was asked to generate cartoons generally relate the subjects to business and industry. After contributing cartoons to The Apopka Chief from February 1999 to March 2000, Glenn moved to Spanish-language weekly La Prensa (Central Florida), a family-run publication that had been in print for nearly 20 years. His first cartoon appeared in La Prensa on February 3, 2000.","\nIn October 1999, only a few months before joining La Prensa, Glenn was invited to a Florida Chapter meeting of the National Cartoonist Society (NCS) by cartoonist Dana Summers (The Orlando Sentinel) and became member of the NCS in May 2000, his membership was confirmed on a Certificate of Membership dated January 1, 2003. Membership to the American Association of Editorial Cartoonists (AAEC) was in 2001, and he received a certificate on September 13, 2003. In January 2000, Glenn wanted to revive the Doppelgängers strip and he changed the name to El Oasis. Glenn submitted El Oasis to FineToon Fellowship competition in 2004. However, it was eliminated in one of the final rounds in the pool of 400 submissions for FineToon/2004.","\nAfter a few months, La Prensa ceased publishing El Oasis due to space and financial reasons. Afterwards, Glenn tightened the cap on his ink bottle and scrubbed his pen and brush for the last time. Since 2006, Glenn had begun focusing more and more on Arctic/Antarctic and maritime research and writing, and laying the groundwork for short and long term projects."],"prefercite_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida.\u003c/p\u003e"],"prefercite_tesim":["Glenn \"Marty\" Stein Collection of Cartoon Art, 1955-2013, Special Collections and University Archives, University of Central Florida, Orlando, Florida."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.\u003c/p\u003e","\u003cp\u003eAll materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Suphi Burak Ogreten; finding aid encoded by Suphi Burak Ogreten.","All materials were placed in acid-free boxes and folders. Materials were minimally processed and kept in original order."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenn \"Marty\" Stein cartoons at the Library of Congress: \u003cextref href=\"http://www.loc.gov/pictures/search/?q=stein%2C%20glenn%20m\"\u003eGMS cartoons at the Library of Congress\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nGlenn \"Marty\" Stein cartoons at the University of South Florida: \u003cextref href=\"http://exhibits.lib.usf.edu/exhibits/show/poison-pens/new-millennium/stein\"\u003eArt of the Poison Pens: A Century of American Political Cartoons\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Ohio State University, Libraries: \u003cextref href=\"http://library.ohio-state.edu/record=b6830269~S7\"\u003eGlenn (Marty) Stein Biographical File\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Glenn \"Marty\" Stein cartoons at the Library of Congress:  GMS cartoons at the Library of Congress","\nGlenn \"Marty\" Stein cartoons at the University of South Florida:  Art of the Poison Pens: A Century of American Political Cartoons","\nThe Ohio State University, Libraries:  Glenn (Marty) Stein Biographical File"],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelg\u0026#xE4;ngers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.\u003c/p\u003e\n","\u003cp\u003e\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.\u003c/p\u003e\n","\u003cp\u003e\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. \u003c/p\u003e\n","\u003cp\u003e\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).\u003c/p\u003e\n","\u003cp\u003e\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection consists of approximately 1,300 items dated between 1955 and 2010. The drawings are in water color, pencil or ink on white cardsctock. Afew cartoons have been mounted onto white cardboard. Most of the cartoons are signed and dated either on front or reverse. Some cartoons are marked with an indication ofwhere they were published. The cartoons are arranged chronologically. Before viewing the collection, please consult \"Recollections of a Cartoonist: Creating in Different Worlds\" (hard copy on file), which is an autobiographical piece by Glenn. In addition to insight into Glenn's cartooning experiences, these writings provide information on materials he used to create his cartoons.","\nSeries I: Editorial Cartoon Arts, 1983-2003, contains published cartoons include American Punch, The Apopka Chief, The Independent Florida Alligator, El Oasis, Orlando Business Journal, La Prensa, Mr. T-Bones, Mr. Tibs, Washington Hispanic, The West Orange Times, [unknown: Hispanic Newspaper in a State other than Florida], and [unknown: Orlando Business Journal or the Apopka Chief?]. Unpublished cartoons include Doppelgängers, Dr. Roget, Gag Cartoons, Greeting Cards, Hijinx, and various editorial cartoons.","\nSeries II: General Cartoon Arts, 1955, 1970-2010, include advertising cartoons, caricatures, children books, general art and a political cartoon artwork by American editorial cartoonist (Pulitzer Price Recipient, 1958), Bruce McKinley Shanks.","\nSeries III: Personal files, 1974-2013, includes autobiography of Glenn \"Marty\" Stein, newsclippings, correspondence, invoice, letterhead, publications, and four sketch books. ","\nSeries IV: United States Wave Ski Championships, 1990, contains event calendar, notes, posters, and t-shirt design (t-shirt, vinyl color separation layers, sketches, and logo design).","\nSeries V: Digital Files, 1991-2008, includes one Computer Disc (CD) which contains sixty-seven JPEG images: forty-five cartoon artworks, twenty editorial cartoons that Glenn \"Marty\" Stein donated to Library of Congress, and two certificates; National Cartoonists Society (NCS) and Association of American Editorial Cartoonists (AAEC)."],"userestrict_html_tesm":["\u003cp\u003eUnpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Unpublished records are protected by copyright. Permission to publish quote or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_79c7f7749bbd2323aa47f5f32d6c812f\" label=\"Abstract\"\u003eThe collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8\u0026#xBD; years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3\u0026#xBD; years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955).\u003c/abstract\u003e"],"abstract_tesim":["The collection was acquired from editorial cartoonist Glenn \"Marty\" Stein, who started drawing editorial cartoons and illustrations for the Orlando Business Journal. Afterwards, Marty worked for The Apopka Chief, and finally 8½ years for La Prensa (Orlando), a Spanish-language newspaper where he created weekly editorial cartoons in Spanish. In addition, he wrote and drew his original comic strip El Oasis for over 3½ years. The cartoon art collection consists of published and unpublished original drawings, sketches, comic strips, 1990 US Waveski Championships items, and one piece of editorial cartoon art by Bruce Shanks (1955)."],"names_ssim":["UCF Special Collections","Stein, Glenn M., 1962-"],"corpname_ssim":["UCF Special Collections"],"names_coll_ssim":["Stein, Glenn M., 1962-"],"persname_ssim":["Stein, Glenn M., 1962-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1521,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870857743444738048,"_root_":"2326334e5e159c8d459e96a3","timestamp":"2026-07-16T08:02:59.476Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/2326334e5e159c8d459e96a3_aspace_37968"}},{"id":"826ec9e46b95f700555c74a0_aspace_c341a8f60f1790af42b79c11c1c5919f","type":"File","attributes":{"title":"\"You Know How to Love Me\", undated","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/826ec9e46b95f700555c74a0_aspace_c341a8f60f1790af42b79c11c1c5919f#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c341a8f60f1790af42b79c11c1c5919f","ref_ssm":["aspace_c341a8f60f1790af42b79c11c1c5919f","aspace_c341a8f60f1790af42b79c11c1c5919f"],"id":"826ec9e46b95f700555c74a0_aspace_c341a8f60f1790af42b79c11c1c5919f","title_filing_ssi":"\"You Know How to Love Me\"","title_ssm":["\"You Know How to Love Me\""],"title_tesim":["\"You Know How to Love Me\""],"unitdate_inclusive_ssm":["undated"],"normalized_date_ssm":["undated"],"normalized_title_ssm":["\"You Know How to Love Me\", undated"],"text":["\"You Know How to Love Me\", undated","Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002","Personal Papers","Sheet Music","/repositories/2/archival_objects/8397","Box 2","folder 18"],"component_level_isim":[3],"parent_ids_ssim":["826ec9e46b95f700555c74a0","826ec9e46b95f700555c74a0_aspace_ae64fdd1a4bcc86cf7181105a7d6c49d","826ec9e46b95f700555c74a0_aspace_7a05eac17ad6b43f32121db47b485c5a"],"parent_unittitles_ssm":["Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002","Personal Papers","Sheet Music"],"parent_unittitles_tesim":["Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002","Personal Papers","Sheet Music"],"parent_levels_ssm":["collection","Series","Subseries"],"unitid_ssm":["/repositories/2/archival_objects/8397"],"repository_ssim":["AARLCC Special Collections"],"collection_ssim":["Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":57,"parent_access_terms_tesm":["The Emridge \"E.J.\" Jones, Jr. Collection is open for research."],"containers_ssim":["Box 2","folder 18"],"_nest_path_":"/components#1/components#3/components#11","_nest_parent_":"826ec9e46b95f700555c74a0_aspace_7a05eac17ad6b43f32121db47b485c5a","_root_":"826ec9e46b95f700555c74a0","_version_":1870838762494230528,"timestamp":"2026-07-16T03:01:17.896Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"826ec9e46b95f700555c74a0","title_filing_ssi":"Jones, Emridge \"E.J.\" Jr. Collection","title_ssm":["Emridge \"E.J.\" Jones, Jr. Collection"],"title_tesim":["Emridge \"E.J.\" Jones, Jr. Collection"],"ead_ssi":"826ec9e46b95f700555c74a0","unitdate_ssm":["Circa 1960-2002"],"unitdate_inclusive_ssm":["Circa 1960-2002"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["AARLCC.2006.2","/repositories/2/resources/253"],"text":["AARLCC.2006.2","/repositories/2/resources/253","Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002","Notated music","The collection is organized into eight series: Series I. Correspondence, Series II. Personal Papers, Series III. Professional Papers, Series IV. Photographs, Series V. Printed Materials, Series VI. Awards, Series VII. Objects, and Series VIII. Audio-Visual Materials.","Emridge \"E.J.\" Jones, Jr. was born on July 10, 1950, to parents Emridge Jones, Sr and Norma Brady Jones of Chicago, Illinois. He began performing in church as a child and learned to play the saxophone, piano, flute, and other instruments. He received his early education in Cook County, Illinois. He attended John Marshall Harlan High School where he graduated as an honor student. He earned his Bachelor of Science degree in Music Education from Florida Agricultural and Mechanical University in 1972 and did additional musical studies at Roosevelt University in Chicago, Illinois. He married Linda Houston in 1974, and they have two children, daughter Jemilah L. Jones and son Emridge Jones Ⅲ.","Emridge \"E.J.\" Jones Jr. blossomed into a master musician and created the professional contemporary jazz group called E.J. and Company that performed for audiences at clubs, events, and other venues. Their unique sound is funky, sensual, and rhythmic. He was also the President of New Rel J Records 1994 to 2002.","Jones worked with other musicians as a music producer to compose, arrange, and record music and performed with and opened for other national and international acts such as Maze ft. Frankie Beverly, Jimmy Bo Horne, Earth Wind and Fire, KC and The Sunshine Band, Kool and the Gang, Miami Sound Machine, Issac Hayes, George Benson, Olivia Newton-John, George Michaels, BB King, and many more.","In addition to his music career, Emridge \"E.J.\" Jones Jr. was a music instructor and band director for the Broward County School District and music director for Ashanti Cultural Arts, Incorporated. He participated in youth creation programs in the City of Lauderdale Lakes and various parks within Broward County youth activity organizations that included football, baseball, basketball, and other youth related leagues. Emridge \"E.J.\" Jones Jr. also tutored young people in music and consulted others in music business and legal matters that included copywrite, publishing and songwriting.","At the age of 51, he passed away from colon cancer in his home at Pompano, Florida, on February 23, 2002.","The Community Foundation of Broward created an endowment fund in Emridge \"E.J.\" Jones Jr. name that continues his legacy of uplifting young African American musicians and artists with scholarships to support their creative initiatives.","Throughout his lifetime he was recognized and received prestigious awards including Musician of the Year on February 15, 2002, and the JM Family Enterprises African-American Achiever of the Arts in 2001. He was also awarded the North Broward County Links Male Pillars of the Community Award in May 1996, and Outstanding Contribution to the Youth in our Community on August 12, 1994. Notably, November 18, 2001, was declared Emridge \"E.J.\" Jones Day.","E.J. \u0026 Company produced a 15-track album entitled \"Everything Happens in Time\" released in 1999 with famous tracks; \"Suki Suki' \"Ah Yeah\" and \"Amazing Grace\".","This collection received file level processing. The finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.","View a selection of digitized materials from the Emridge \"E.J.\" Jones, Jr. Collection in the Broward County Library Digital Archives.","The Emridge \"E.J.\" Jones, Jr. Collection contains photographs, plaques, awards, newspaper clippings,  sheet music, correspondence to and from Emridge \"E.J.\" Jones Jr., a card, certificates, contracts, a yearbook, a membership card, proclamations, resume, adjudication forms, printed ephemera, one CD, a saxophone mouthpiece, coffee mug, license plate, oval shaped plate and sweater belonging to Emridge \"E.J.\" Jones Jr. of Pompano Beach, Florida.","The Emridge \"E.J.\" Jones, Jr. Collection is open for research.","AARLCC Special Collections","English"],"unitid_tesim":["AARLCC.2006.2","/repositories/2/resources/253"],"normalized_date_ssm":["Circa 1960-2002"],"normalized_title_ssm":["Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002"],"collection_title_tesim":["Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002"],"collection_ssim":["Emridge \"E.J.\" Jones, Jr. Collection, Circa 1960-2002"],"repository_ssm":["AARLCC Special Collections"],"repository_ssim":["AARLCC Special Collections"],"access_terms_ssm":["The Emridge \"E.J.\" Jones, Jr. Collection is open for research."],"access_subjects_ssim":["Notated music"],"access_subjects_ssm":["Notated music"],"has_online_content_ssim":["false"],"extent_ssm":["8 Hollinger Boxes"],"extent_tesim":["8 Hollinger Boxes"],"genreform_ssim":["Notated music"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into eight series: Series I. Correspondence, Series II. Personal Papers, Series III. Professional Papers, Series IV. Photographs, Series V. Printed Materials, Series VI. Awards, Series VII. Objects, and Series VIII. Audio-Visual Materials.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into eight series: Series I. Correspondence, Series II. Personal Papers, Series III. Professional Papers, Series IV. Photographs, Series V. Printed Materials, Series VI. Awards, Series VII. Objects, and Series VIII. Audio-Visual Materials."],"bioghist_html_tesm":["\u003cp\u003eEmridge \"E.J.\" Jones, Jr. was born on July 10, 1950, to parents Emridge Jones, Sr and Norma Brady Jones of Chicago, Illinois. He began performing in church as a child and learned to play the saxophone, piano, flute, and other instruments. He received his early education in Cook County, Illinois. He attended John Marshall Harlan High School where he graduated as an honor student. He earned his Bachelor of Science degree in Music Education from Florida Agricultural and Mechanical University in 1972 and did additional musical studies at Roosevelt University in Chicago, Illinois. He married Linda Houston in 1974, and they have two children, daughter Jemilah L. Jones and son Emridge Jones \u0026#x2162;.\u003c/p\u003e\n","\u003cp\u003eEmridge \"E.J.\" Jones Jr. blossomed into a master musician and created the professional contemporary jazz group called E.J. and Company that performed for audiences at clubs, events, and other venues. Their unique sound is funky, sensual, and rhythmic. He was also the President of New Rel J Records 1994 to 2002.\u003c/p\u003e\n","\u003cp\u003eJones worked with other musicians as a music producer to compose, arrange, and record music and performed with and opened for other national and international acts such as Maze ft. Frankie Beverly, Jimmy Bo Horne, Earth Wind and Fire, KC and The Sunshine Band, Kool and the Gang, Miami Sound Machine, Issac Hayes, George Benson, Olivia Newton-John, George Michaels, BB King, and many more.\u003c/p\u003e\n","\u003cp\u003eIn addition to his music career, Emridge \"E.J.\" Jones Jr. was a music instructor and band director for the Broward County School District and music director for Ashanti Cultural Arts, Incorporated. He participated in youth creation programs in the City of Lauderdale Lakes and various parks within Broward County youth activity organizations that included football, baseball, basketball, and other youth related leagues. Emridge \"E.J.\" Jones Jr. also tutored young people in music and consulted others in music business and legal matters that included copywrite, publishing and songwriting.\u003c/p\u003e\n","\u003cp\u003eAt the age of 51, he passed away from colon cancer in his home at Pompano, Florida, on February 23, 2002.\u003c/p\u003e\n","\u003cp\u003eThe Community Foundation of Broward created an endowment fund in Emridge \"E.J.\" Jones Jr. name that continues his legacy of uplifting young African American musicians and artists with scholarships to support their creative initiatives.\u003c/p\u003e\n","\u003cp\u003eThroughout his lifetime he was recognized and received prestigious awards including Musician of the Year on February 15, 2002, and the JM Family Enterprises African-American Achiever of the Arts in 2001. He was also awarded the North Broward County Links Male Pillars of the Community Award in May 1996, and Outstanding Contribution to the Youth in our Community on August 12, 1994. Notably, November 18, 2001, was declared Emridge \"E.J.\" Jones Day.\u003c/p\u003e\n","\u003cp\u003eE.J. \u0026amp; Company produced a 15-track album entitled \"Everything Happens in Time\" released in 1999 with famous tracks; \"Suki Suki' \"Ah Yeah\" and \"Amazing Grace\".\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Emridge \"E.J.\" Jones, Jr. was born on July 10, 1950, to parents Emridge Jones, Sr and Norma Brady Jones of Chicago, Illinois. He began performing in church as a child and learned to play the saxophone, piano, flute, and other instruments. He received his early education in Cook County, Illinois. He attended John Marshall Harlan High School where he graduated as an honor student. He earned his Bachelor of Science degree in Music Education from Florida Agricultural and Mechanical University in 1972 and did additional musical studies at Roosevelt University in Chicago, Illinois. He married Linda Houston in 1974, and they have two children, daughter Jemilah L. Jones and son Emridge Jones Ⅲ.","Emridge \"E.J.\" Jones Jr. blossomed into a master musician and created the professional contemporary jazz group called E.J. and Company that performed for audiences at clubs, events, and other venues. Their unique sound is funky, sensual, and rhythmic. He was also the President of New Rel J Records 1994 to 2002.","Jones worked with other musicians as a music producer to compose, arrange, and record music and performed with and opened for other national and international acts such as Maze ft. Frankie Beverly, Jimmy Bo Horne, Earth Wind and Fire, KC and The Sunshine Band, Kool and the Gang, Miami Sound Machine, Issac Hayes, George Benson, Olivia Newton-John, George Michaels, BB King, and many more.","In addition to his music career, Emridge \"E.J.\" Jones Jr. was a music instructor and band director for the Broward County School District and music director for Ashanti Cultural Arts, Incorporated. He participated in youth creation programs in the City of Lauderdale Lakes and various parks within Broward County youth activity organizations that included football, baseball, basketball, and other youth related leagues. Emridge \"E.J.\" Jones Jr. also tutored young people in music and consulted others in music business and legal matters that included copywrite, publishing and songwriting.","At the age of 51, he passed away from colon cancer in his home at Pompano, Florida, on February 23, 2002.","The Community Foundation of Broward created an endowment fund in Emridge \"E.J.\" Jones Jr. name that continues his legacy of uplifting young African American musicians and artists with scholarships to support their creative initiatives.","Throughout his lifetime he was recognized and received prestigious awards including Musician of the Year on February 15, 2002, and the JM Family Enterprises African-American Achiever of the Arts in 2001. He was also awarded the North Broward County Links Male Pillars of the Community Award in May 1996, and Outstanding Contribution to the Youth in our Community on August 12, 1994. Notably, November 18, 2001, was declared Emridge \"E.J.\" Jones Day.","E.J. \u0026 Company produced a 15-track album entitled \"Everything Happens in Time\" released in 1999 with famous tracks; \"Suki Suki' \"Ah Yeah\" and \"Amazing Grace\"."],"prefercite_html_tesm":["\u003cp\u003eEmridge \"E.J.\" Jones, Jr. Collection, African American Research Library and Cultural Center, Broward County Library.\u003c/p\u003e"],"prefercite_tesim":["Emridge \"E.J.\" Jones, Jr. Collection, African American Research Library and Cultural Center, Broward County Library."],"processinfo_html_tesm":["\u003cp\u003eThis collection received file level processing. The finding aid may be updated to reflect new descriptions as well as acquisitions to the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received file level processing. The finding aid may be updated to reflect new descriptions as well as acquisitions to the collection."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://digitalarchives.broward.org/digital/collection/p16146coll9/search\" target=\"_blank\"\u003eView a selection of digitized materials from the Emridge \"E.J.\" Jones, Jr. Collection in the Broward County Library Digital Archives.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Digital Materials"],"relatedmaterial_tesim":["View a selection of digitized materials from the Emridge \"E.J.\" Jones, Jr. Collection in the Broward County Library Digital Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Emridge \"E.J.\" Jones, Jr. Collection contains photographs, plaques, awards, newspaper clippings,  sheet music, correspondence to and from Emridge \"E.J.\" Jones Jr., a card, certificates, contracts, a yearbook, a membership card, proclamations, resume, adjudication forms, printed ephemera, one CD, a saxophone mouthpiece, coffee mug, license plate, oval shaped plate and sweater belonging to Emridge \"E.J.\" Jones Jr. of Pompano Beach, Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Emridge \"E.J.\" Jones, Jr. Collection contains photographs, plaques, awards, newspaper clippings,  sheet music, correspondence to and from Emridge \"E.J.\" Jones Jr., a card, certificates, contracts, a yearbook, a membership card, proclamations, resume, adjudication forms, printed ephemera, one CD, a saxophone mouthpiece, coffee mug, license plate, oval shaped plate and sweater belonging to Emridge \"E.J.\" Jones Jr. of Pompano Beach, Florida."],"userestrict_html_tesm":["\u003cp\u003eThe Emridge \"E.J.\" Jones, Jr. Collection is open for research.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Emridge \"E.J.\" Jones, Jr. Collection is open for research."],"names_ssim":["AARLCC Special Collections"],"corpname_ssim":["AARLCC Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":164,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870838762494230528,"_root_":"826ec9e46b95f700555c74a0","timestamp":"2026-07-16T03:01:17.896Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/826ec9e46b95f700555c74a0_aspace_c341a8f60f1790af42b79c11c1c5919f"}},{"id":"7c55237a86962eb72ad56ef5_aspace_06ef057e3d3cef1adca584d453312252","type":"Item","attributes":{"title":"You Know I Can't Hear You When the Water's Running, 1968-02","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/7c55237a86962eb72ad56ef5_aspace_06ef057e3d3cef1adca584d453312252#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eTheatre: Ambassador Theatre. Cast: Martin Balsam, Eileen Heckart, George Grizzard, Joe Silver, Melinda Dillon.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/7c55237a86962eb72ad56ef5_aspace_06ef057e3d3cef1adca584d453312252#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_06ef057e3d3cef1adca584d453312252","ref_ssm":["aspace_06ef057e3d3cef1adca584d453312252","aspace_06ef057e3d3cef1adca584d453312252"],"id":"7c55237a86962eb72ad56ef5_aspace_06ef057e3d3cef1adca584d453312252","title_filing_ssi":"You Know I Can't Hear You When the Water's Running","title_ssm":["You Know I Can't Hear You When the Water's Running"],"title_tesim":["You Know I Can't Hear You When the Water's Running"],"unitdate_other_ssim":["1968-02"],"normalized_date_ssm":["1968-02"],"normalized_title_ssm":["You Know I Can't Hear You When the Water's Running, 1968-02"],"text":["You Know I Can't Hear You When the Water's Running, 1968-02","Playbill Collection., 1938-2005","Playbill Collection, Box 8, 1966-1974","MS004/08/05","/repositories/2/archival_objects/229","Ambassador Theatre (Organization : New York, N.Y.)","Ambassador Theatre (Organization : New York, N.Y.)","Balsam, Martin, 1919-1996","Heckart, Eileen, 1919-2001","Grizzard, George","Silver, Joe, 1922-1989","Dillon, Melinda, 1939-","Balsam, Martin, 1919-1996","Heckart, Eileen, 1919-2001","Grizzard, George","Silver, Joe, 1922-1989","Dillon, Melinda, 1939-","box 8","folder 5","Theatre: Ambassador Theatre.  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However, please contact Broward College Archives and Special Collections, University/College Library at Broward College Central Campus in advance to schedule an appointment."],"date_range_isim":[1968],"names_ssim":["Ambassador Theatre (Organization : New York, N.Y.)","Ambassador Theatre (Organization : New York, N.Y.)","Balsam, Martin, 1919-1996","Heckart, Eileen, 1919-2001","Grizzard, George","Silver, Joe, 1922-1989","Dillon, Melinda, 1939-","Balsam, Martin, 1919-1996","Heckart, Eileen, 1919-2001","Grizzard, George","Silver, Joe, 1922-1989","Dillon, Melinda, 1939-"],"corpname_ssim":["Ambassador Theatre (Organization : New York, N.Y.)"],"persname_ssim":["Balsam, Martin, 1919-1996","Heckart, Eileen, 1919-2001","Grizzard, George","Silver, Joe, 1922-1989","Dillon, Melinda, 1939-"],"containers_ssim":["box 8","folder 5"],"scopecontent_html_tesm":["\u003cp\u003eTheatre: Ambassador Theatre.  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Cast: Martin Balsam, Eileen Heckart, George Grizzard, Joe Silver, Melinda Dillon."],"_nest_path_":"/components#7/components#4","_nest_parent_":"7c55237a86962eb72ad56ef5_aspace_c7f9f05a57af90d79dd0b4cea0ce9e34","_root_":"7c55237a86962eb72ad56ef5","timestamp":"2026-07-09T01:29:14.283Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"7c55237a86962eb72ad56ef5","title_ssm":["Playbill Collection."],"title_tesim":["Playbill Collection."],"ead_ssi":"7c55237a86962eb72ad56ef5","unitdate_ssm":["1938-2005"],"unitdate_inclusive_ssm":["1938-2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS004","/repositories/2/resources/2"],"text":["MS004","/repositories/2/resources/2","Playbill Collection., 1938-2005","Broadway (New York, N.Y.)","Special Collections","Playbills","Theater","Theater programs","22 boxes.","Donated to Special Collections in 2005 by faculty of the Visual and Performing Arts department.","Processed by Lisa Amato.","Since there are no restrictions on this collection, it is open to research. However, please contact Broward College Archives and Special Collections, University/College Library at Broward College Central Campus in advance to schedule an appointment.","Collection of Playbills of Broadway productions, 1938-2005. Collected by the faculty of the Visual and Performing Arts department.","Broward College Archives and Special Collections ","Cort Theatre (New York, N.Y.)","Forrest Theatre (Organization : New York, N.Y.)","Shubert Theatre (Organization : New York, N.Y.)","Plymouth Theatre Corporation (New York, N.Y.)","Empire Theatre (New York, N.Y.)","Longacre Theatre (Organization : New York, N.Y.)","Music Box Theater (New York, N.Y.)","Martin Beck Theatre (New York, N.Y.)","Biltmore Theatre (Organization : New York, N.Y.)","Henry Miller's Theatre (New York, N.Y.)","Fulton Theatre (Organization : New York, N.Y.)","Booth Theatre (New York, N.Y.)","John Golden Theatre (Organization : New York, N.Y. : 1937-)","Majestic Theatre (Organization : New York, N.Y.)","Playhouse Theatre (Organization : New York, N.Y.)","Royale Theatre (Organization : New York, N.Y.)","Lyceum Theatre (New York, N.Y. : 45th Street)","Barrymore Theatre Corporation","Belasco Theatre (New York, N.Y.)","Morosco Theatre (Organization : New York, N.Y.)","Forty-Eighth Street Theatre (Organization : New York, N.Y.)","Coronet Theatre (Organization : New York, N.Y.)","Alvin Theatre Corporation","Hudson Theatre (Organization : New York, N.Y.)","Ziegfeld Theatre (Organization : New York, N.Y.)","St. James Theatre (Organization : New York, N.Y.)","Forty-sixth Street Theatre (New York, N.Y.)","Barton Brothers (Comedy team)","National Theatre (Organization : New York, N.Y.)","Mark Hellinger Theatre (Organization : New York, N.Y.)","ANTA (Organization). National Theatre Service","Broadhurst Theatre (Organization : New York, N.Y.)","Phoenix Theatre (Organization : New York, N.Y.)","Imperial Theatre (Organization : New York, N.Y.)","Adelphi Theatre (Organization : New York, N.Y.)","Winter Garden (Organization : New York, N.Y.)","Broadway Theatre (Organization : New York, N.Y.)","Ambassador Theatre (Organization : New York, N.Y.)","Lunt-Fontanne Theatre (Organization : New York, N.Y.)","Jones Beach Stadium (Long Island, N.Y.)","Brooks Atkinson Theatre (Organization : New York, N.Y.)","Helen Hayes Theatre (Organization : New York, N.Y.)","New York City Center","ANTA Washington Square Theatre (Organization : New York, N.Y.)","Hospice de Charenton","Billy Rose Theatre (Organization : New York, N.Y.)","Royal Shakespeare Company","Eugene O'Neill Theatre (Organization : New York, N.Y.)","Joseph E. Levine Theatre (Organization : New York, N.Y.)","Theatre de Lys (Organization : New York, N.Y.)","Palace Theatre (Organization : New York, N.Y.)","Vivian Beaumont Theater (Organization : New York, N.Y.)","Uris Theatre (Organization : New York, N.Y.)","Walnut Street Theatre (Philadelphia, Pa.)","Circle in the Square (Organization : New York, N.Y.)","Nederlander Theatre (New York, N.Y.)","George Gershwin Theatre (New York, N.Y.)","Neil Simon Theatre (New York, N.Y.)","Al Hirschfeld Theatre (New York, N.Y.)","Richard Rodgers Theatre (New York, N.Y.)","Walter Kerr Theatre (New York, N.Y.)","Union Square Theatre","Manhattan Theatre Club","New Amsterdam Theatre (New York, N.Y.)","Asro, Alexander, 1888-1963","Greaza, Walter, 1897-1973","Dunstan, Cliff, 1906-1968","Barton, James, 1890-1962","Dere, Ann, 1868-1954","Hepburn, Katharine, 1907-2003","Heflin, Van, 1910-1971","Cotten, Joseph, 1905-1994","Dinehart, Alan, 1918-1992","Farrell, Glenda, 1904-1971","Talbot, Lyle","Stickney, Dorothy","Craig, Helen, 1912-1986","Woolley, Monty, 1888-1963","Hammond, Virginia, 1893-1972","Watson, Lucile, 1879-1962","Lukas, Paul, 1894-1971","Christians, Mady, 1900-1951","Booth, Shirley","Carnovsky, Morris","Sayers, Jo Ann","Musgrove, Gertrude","Fay, Terence J., 1932-","Bolen, Mellie Virginia","Gordon, Bruce, 1931-","Adair, Jean, 1873-1953","Brooks, Patricia (Amy Helen Patricia)","Sundberg, Clinton, 1903-1987","Wood, Peggy, 1892-1978","Natwick, Mildred, 1905-1994","Corbett, Leonora, 1908-1960","Evelyn, Judith, 1913-1967","Emery, John, 1905-1964","Ober, Philip, 1902-1982","Robbins, Barbara","Field, Betty, 1918-1973","Field, Virginia, 1917-1992","Calder, King, 1898-1964","Burton, Robert, (Actor)","Owen, Ethel, 1893-1997","Gresham, Edith, 1897-1976","Calhern, Louis, 1895-1956","Annabella, 1909-1996","Karlweiss, Oskar, 1894?-1956","Bromberg, J. Edward, 1903-1951","Nagel, Conrad, 1897-1970","Daniell, Henry, 1894-1963","Margetson, Arthur, 1897-1951","Goodner, Carol, 1904-2001","Burr, Anne, 1920-2003","Landis, Jessie Royce, 1904-1972","Keith, Robert, 1896-1966","Caulfield, Betty","Sullavan, Margaret, 1909-1960","Nugent, Elliott, 1896-1980","Christie, Audrey","Blackmer, Sidney, 1895-1973","Wilson, Lois, 1894-1988","Fitzgerald, Neil, 1892-1982","Harvey, Georgia, -1960","O'Connor, Patrick, 1925-2012","Smith, Howard, 1893-1968","MacKellar, Helen, 1895-1966","Dabney, Augusta, 1918-2008","Bernard, Dorothy, 1890-1955","Homolka, Oscar, 1898-1978","Lawrence, Gertrude","Massey, Raymond","Daly, James, 1918-1978","Holliday, Judy","Douglas, Paul, 1907-1959","Merrill, Beth, 1892-1986","Kennedy, Arthur, 1914-1990","Snow, Lois Wheeler","Begley, Ed, 1901-1970","Malden, Karl","Bergman, Ingrid, 1915-1982","Wanamaker, Sam, 1919-1993","Brent, Romney, 1902-1976","Bellamy, Ralph, 1904-1991","Francis, Kay, 1905-1968","McCormick, Myron","Watson, Minor, 1889-1965","Gillmore, Margalo, 1897-1986","Brooks, David, (Vocalist)","Sullivan, Elliott, 1907-1974","Fassett, Jay, 1889-1973","Kelly, Paul, 1899-1956","Whitmore, James, 1921-2009","Garfield, John","Anthony, Joseph, 1912-1993","White, Bobby","Oakland, Simon","Loder, John, 1898-1988","Cummings, Victoria","Lockhart, June, 1925-","Daniels, Marc","Rathbone, Basil, 1892-1967","Hiller, Wendy, 1912-2003","Collinge, Patricia, 1894-1974","Muni, Paul, 1895-1967","Stone, Carol, 1915-","Andrews, Ted, 1907-1966","Jones, Henry, 1912-1999","Fonda, Henry, 1905-1982","Lane, Rusty, 1899-1986","Berg, Gertrude, 1899-1966","Loeb, Philip, 1894-1955","Lascoe, Henry","Drake, Alfred, 1914-1992","Hunt, Marsha, 1917-","Tandy, Jessica","Brando, Marlon","Hunter, Kim, 1922-2002","Emerson, Faye","Cossart, Ernest, 1876-1951","Allister, Claude, 1891-1970","Clarke, Robert, 1920-2005","Bankhead, Tallulah, 1902-1968","Cook, Donald, 1901-1961","Baxley, Barbara","Langford, William, 1920-1955","Carroll, Madeleine, 1906-1987","Bolger, Ray","Cornell, Katherine, 1972-","Wiseman, Joseph","Gilbert, Lou, 1909-1978","Westerfield, James, 1913-1971","Martin, Mary, 1913-1990","Pinza, Ezio","Duncan, Todd","Banks, Leslie, 1890-1952","Gregory, James, 1911-2002","Keefer, Don, 1916-2014","Cushing, Winifred, 1907-1990","Jerome, Edwin, 1884-1959","Lorring, Joan","Lishner, Leon, 1913-1995","Blakely, Don, -2004","Lane, Gloria","Alda, Robert","Blaine, Vivian, 1921-1995","Levene, Sam, 1905-1980","Bigley, Isabel","Rooney, Pat, 1880-1962","Kaye, Stubby","Pedi, Tom, 1913-1996","Harrison, Rex","Palmer, Lilli, 1914-1986","McKay, Scott, 1915-1987","Gates, Larry, 1915-1996","Howard, Michael, 1923-","Hagen, Uta, 1919-2004","Dann, Roger","Kasznar, Kurt, 1913-1979","Dana, Leora","Burr, Donald","Stehli, Edgar, 1884-1973","Gabor, Eva, 1921-1995","Hugo, Laurence, 1917-1994","Maxwell, Frank","Ericson, John, 1927-","Henderson, Douglas, 1919-1978","Aherne, Brian, 1902-1986","George, Grace, 1879-1961","Sullivan, Liam, 1923-1998","Harris, Julie, 1925-2013","Prince, William, 1913-1996","Fabian, Olga, 1885-1983","Brooks, Martin E., 1925-2015","Jeffreys, Anne","Raitt, John E., 1912-","Wheeler, Bert, 1895-1968","Halliday, Robert, 1891-1975","Keen, Malcolm, 1887-1970","Morrow, Jeff, 1907-1993","Morgan, Ralph, 1883-1956","Cobb, Lee J., 1911-1976","Smith, Art, 1899-1973","Hansen, William, 1911-1975","De Santis, Joe, 1909-1989","Hodiak, John","McCarthy, Lin","Bel Geddes, Barbara","Nelson, Barry, 1920-2007","Dunn, Ralph, 1900-1968","Elliott, Stephen, 1918-2005","Donehue, Vincent J., 1915-1966","Segal, Vivienne","Lang, Harold, -1985","Hanley, James, 1918-1970","Berghof, Herbert","Sinclair, Betty","Merivale, John, 1917-1990","Ritchard, Cyril, 1897-1977","Mitchell-Cotts, Campbell, 1902-1964","Dyneley, Peter, 1921-1977","Douglas, Melvyn","Rowles, Polly, 1914-2001","Pierpont, Laura, 1881-1972","Di Luca, Dino, 1903-1991","Brooks, Geraldine, 1925-1977","St. Clair, Lydia, 1898-1970","Murphy, Donald, 1918-","Coote, Robert, 1909-1982","Skulnik, Menasha, 1892-1970","Whorf, Richard, 1906-1966","Rose, Norman, 1917-2004","Huber, Gusti, 1914-1993","Derr, Richard, 1917-1992","Bethencourt, Francis, 1923-2001","O'Malley, J. Pat (James Pat)","Brown, Vanessa, 1928-1999","Emhardt, Robert, 1914-1994","Allbritton, Louise, 1920-1979","Ewell, Tom, 1909-1994","Wayne, David, 1914-1995","Forsythe, John, 1918-2010","Ford, Paul, 1901-1976","Niki, Mariko","Gazzara, Ben, 1930-2012","Storch, Arthur, 1925-2013","Kellin, Mike, 1922-1983","Hingle, Pat","Franciosa, Anthony, 1928-2006","Nesbitt, Cathleen, 1888-1982","Gear, Luella, 1897-1980","Cromwell, John, 1886-1979","Brynner, Yul","Von Furstenberg, Betsy, 1931-2015","Tone, Franchot","Jackson, Anne, 1925-2016","Blyden, Larry, 1925-1975","Young, Gig, 1913-1978","Gillette, Priscilla","Douglass, Stephen, 1921-2011","Ballard, Kaye","Whiting, Jack, 1901-1961","Miller, Betty, 1925-","Penn, Leo, 1921-1998","Greene, James, 1926-","D'Annunzio, Lola, 1930-1956","Hepburn, Audrey, 1929-1993","Ferrer, Mel","Alexander, John, 1897-1982","King, Edith, 1896-1963","Hewitt, Alan, 1915-1986","Preston, Robert, 1918-1987","Graham, Ronny","McCormick, Parker","Faye, Joey","Leachman, Cloris","Thompson, Rex, 1942-","Cooper, Jackie, 1922-2011","Nolan, Lloyd","Sullivan, Barry, 1912-1994","Carey, Macdonald","Lord, Marjorie","Myers, Pauline, 1913-1996","Walken, Ken","Povah, Phyllis","Kelly, Nancy, 1921-1995","McCormack, Patty, 1945-","O'Hare, John","Varden, Evelyn, 1893-1958","Heckart, Eileen, 1919-2001","Coleman, Nancy, 1912-2000","Newman, Paul, 1925-2008","Pratt, Judson, 1916-2002","Blakely, Gene","Hackett, Buddy, 1924-2003","Bond, Sheila","Cowan, Jerome, 1897-1972","Knef, Hildegard, 1925-2002","Ameche, Don","Sullivan, Francis L.","Jessel, Patricia, 1920-1968","Lyons, Gene, 1921-1974","Randall, Anthony L.","Leslie, Bethel","Bagley, Ed","Schildkraut, Joseph, 1895-1964","Strasberg, Susan","Moore, Dennie, 1907-1978","Gilford, Jack","Winters, Shelley","Silvera, Frank, 1914-1970","Robinson, Edward G., 1893-1973","Rowlands, Gena","Russell, Rosalind","Blackburn, Dorothy","Klavun, Walter, 1906-1984","Chaplin, Sydney","Stapleton, Jean, 1923-2013","Lawrence, Eddie, 1919-2014","Clark, Dort, 1917-1989","Lamas, Fernando","Gibson, Virginia","Polk, Gordon","Merman, Ethel","Olson, Nancy, 1928-","McGavin, Darren, 1922-2006","Frey, Nathaniel","Lawrence, Carol, 1932-","Kert, Larry","Rivera, Chita","Callan, Michael, 1935-","Leroy, Ken","Verdon, Gwen","Ritter, Thelma","Wallace, George, 1917-2005","Prud'homme, Cameron, 1892-1967","Hayes, Helen, 1900-1993","Burton, Richard, 1925-1984","Cook, Barbara","Burns, David, 1902-1971","Kelton, Pert","Macready, George, 1899-1973","Darvas, Lilli, 1902-1974","Burstyn, Ellen, 1932-","Webber, Robert, 1924-1989","Ballard, Shirley, 1925-","Millay, Diana","Reilly, Hugh, 1915-1998","Horne, Lena","Montalbán, Ricardo","Premice, Josephine","Adams, Joe, 1922-","Hall, Adelaide","Davis, Ossie","Desmond, Johnny","Seymour, Anne, 1909-1988","Andrews, Dana, 1909-1992","Bancroft, Anne, 1931-2005","Nuyen, France, 1939-","Shatner, William","Randell, Ron, 1918-2005","Marshall, Sarah, 1933-2014","Cheng, Stephen Chun-Tao","Leslie, Noel","Colbert, Claudette","Boyer, Charles, 1899-1978","Newmar, Julie, 1933-","Ryan, Edmon","Skinner, Cornelia Otis, 1901-1979","Ruggles, Charlie, 1886-1970","Peppard, George","Hart, Dolores, 1938-","Umeki, Miyoshi, 1929-2007","Hall, Juanita, 1901-1968","Kenney, Ed","Luke, Keye, 1904-1991","Hong Young, Arabella","Suzuki, Pat","Bloom, Claire, 1931-","Steiger, Rod, 1925-2002","Tamiroff, Akim, 1899-1972","Willman, Noel, 1918-1988","Hardwicke, Cedric, 1893-1964","Balin, Ina, 1937-1990","Questel, Mae, 1910-1998","Tolan, Michael, 1925-2011","Klugman, Jack","Church, Sandra","Griffith, Andy, 1926-2012","Gray, Dolores","Lund, Art","Prince, Jack, 1920-1994","McNeil, Claudia","Dee, Ruby","Gossett, Louis, Jr., 1936-","Marshall, E. G., 1914-1998","Dixon, Jean, 1896-1981","Thatcher, Torin, 1905-1981","Congdon, James","Duke, Patty, 1946-2016","Culver, Roland, 1900-1984","Bryant, Michael, 1928-2002","Bedford, Brian, 1935-2016","Bosley, Tom","Hanley, Ellen","Da Silva, Howard, 1909-1986","Bacall, Lauren, 1924-2014","Robards, Jason","Stapleton, Maureen","Worth, Irene","Revere, Anne, 1903-1990","Gleason, Jackie, 1916-1987","Pidgeon, Walter, 1897-1984","Herlie, Eileen","Morse, Robert, 1931-","Bikel, Theodore","Neway, Patricia, 1919-2012","Tracy, Lee, 1898-1968","Lovejoy, Frank, 1912-1962","Maguire, Kathleen, 1925-1989","Chayefsky, Paddy, 1923-1981","Harron, Don","Ben-Ami, Jacob","Van Dyke, Dick","Lynde, Paul","Pollard, Michael J.","Watson, Susan, 1938-","Nelson, Gene, 1920-1996","Kean, Jane","Grove, Betty Ann","Munshin, Jules, 1915-1970","Sherwood, Madeleine","Fonda, Jane, 1937-","MacArthur, James, 1937-2010","Husmann, Ron","Rodgers, Eileen","Everhart, Rex","Miller, Wynne","Kiley, Richard","Morris, Chester","McCarthy, Kevin, 1914-2010","Cotsworth, Staats, 1908-1979","Ball, Lucille, 1911-1989","Andes, Keith","Stewart, Paula, 1929-","David, Clifford, 1932-","Andrews, Julie","McDowall, Roddy","Goulet, Robert, 1933-2007","Seal, Elizabeth","March, Hal, 1920-1970","Jacobi, Lou","Berlinger, Warren, 1937-","Alberghetti, Anna Maria","Mitchell, James, 1920-2010","Weede, Robert","Benzell, Mimi","Picon, Molly","Rall, Tommy","Vallée, Rudy, 1901-1986","Scott, Bonnie, 1941-","Reilly, Charles Nelson","Carson, Jeannie","Lipson, Paul","Nelson, Jen","Squire, William, 1916-1989","Pavek, Janet, 1936-2009","Main, Laurie","Allinson, Michael","Moser, Margot, 1930-","Cooper, Melville, 1896-1973","Dilworth, Gordon","Maude, Margery, 1889-1979","Carroll, Diahann","Newley, Anthony","Quayle, Anna","Baker, Jennifer, 1946-","Revill, Clive","Sewell, Danny, 1930-2001","Carroll, Helena","Ramsay, Robin, 1939-","Leigh, Vivien, 1913-1967","Aumont, Jean Pierre","De Koven, Roger","Troy, Louise","Irving, George S.","McGuire, Biff, 1927-","Smith, Patricia, 1930-2011","Evans, Mike, 1949-2006","Sherman, Hiram, 1908-1989","Allen, Norman, 1939-","Bond, Gary, 1940-1995","Dobie, Alan","McEwan, Geraldine","Foster, Barry, 1927-2002","Shawn, Dick","Kobart, Ruth","Cooper, Horace","Dayton, Dan, 1923-1999","Dennis, Sandy, 1937-1992","Porter, Don, 1912-1997","Murphy, Rosemary","Hackman, Gene","Torn, Rip, 1931-2019","Daniels, Billy, 1915-1988","Wayne, Paula, 1934-","Burnett, Carol","Cassidy, Jack, 1927-1976","Patterson, Dick","Garrett, Betty, 1919-2011","Shaw, Robert, 1927-1978","Cronyn, Hume","Voskovec, Jiří, 1905-1981","Hubbard, Elizabeth, 1933-","Bates, Alan, 1934-2003","Pettet, Joanna","Alexander, Joan","Salsbury, Colgate","Moreno, Rita","Dell, Gabriel","Ghostley, Alice, 1926-2007","Alderman, John, 1933-1987","Schofield, Frank, (Actor)","Dussault, Nancy","Bernardi, Herschel","Burr, Robert","Antonio, Lou, 1934-","Walker, Betty","Golonka, Arlene","Parsons, Estelle","Mostel, Zero, 1915-1977","Karnilova, Maria","Arthur, Beatrice","Merlin, Joanna","Pendleton, Austin","Convy, Bert","Wolfit, Donald, 1902-1968","Rhodes, Marjorie, 1897-1979","Murray, Brian, 1937-2018","Drivas, Robert, 1935-1986","Anspach, Susan, 1942-2018","St. John, Marco, 1939-","Hoffman, Ferdi, -1989","Davis, Sammy, Jr., 1925-1990","Tobey, Kenneth, 1917-2002","King, Alan, 1927-2004","MacRae, Sheila, 1921-2014","Orbach, Jerry","Gillette, Anita, 1936-","LaMotta, Jake","Campanella, Frank, 1919-2006","Dunaway, Faye","Holbrook, Hal","Beck, Stanley, 1936-","Costello, Mariclare","Loden, Barbara, 1932-1980","Mann, Paul, 1915-1985","Price, Gilbert","Jillson, Joyce","Francis, Arlene","Meeker, Ralph, 1920-1988","Forster, Robert, 1942-","Dekker, Albert, 1905-1968","Strudwick, Shepperd, 1907-1983","Peaslee, Richard. 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However, please contact Broward College Archives and Special Collections, University/College Library at Broward College Central Campus in advance to schedule an appointment."],"access_subjects_ssim":["Special Collections","Playbills","Theater","Theater programs"],"access_subjects_ssm":["Special Collections","Playbills","Theater","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":["15 Linear Feet"],"extent_tesim":["15 Linear Feet"],"date_range_isim":[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],"arrangement_html_tesm":["\u003cp\u003e22 boxes.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["22 boxes."],"custodhist_html_tesm":["\u003cp\u003eDonated to Special Collections in 2005 by faculty of the Visual and Performing Arts department.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Donated to Special Collections in 2005 by faculty of the Visual and Performing Arts department."],"prefercite_html_tesm":["\u003cp\u003eMS004, Playbill Collection 1938-2005, Broward College Archives and Special Collections,\nUniversity/College Library at Broward College Central Campus.\u003c/p\u003e"],"prefercite_tesim":["MS004, Playbill Collection 1938-2005, Broward College Archives and Special Collections,\nUniversity/College Library at Broward College Central Campus."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Lisa Amato.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Lisa Amato."],"userestrict_html_tesm":["\u003cp\u003eSince there are no restrictions on this collection, it is open to research. However, please contact Broward College Archives and Special Collections, University/College Library at Broward College Central Campus in advance to schedule an appointment.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Since there are no restrictions on this collection, it is open to research. However, please contact Broward College Archives and Special Collections, University/College Library at Broward College Central Campus in advance to schedule an appointment."],"abstract_html_tesm":["\u003cabstract id=\"aspace_b89326449acb6b72e3e484b7fbcef871\"\u003eCollection of Playbills of Broadway productions, 1938-2005. Collected by the faculty of the Visual and Performing Arts department.\u003c/abstract\u003e"],"abstract_tesim":["Collection of Playbills of Broadway productions, 1938-2005. Collected by the faculty of the Visual and Performing Arts department."],"names_ssim":["Broward College Archives and Special Collections ","Cort Theatre (New York, N.Y.)","Forrest Theatre (Organization : New York, N.Y.)","Shubert Theatre (Organization : New York, N.Y.)","Plymouth Theatre Corporation (New York, N.Y.)","Empire Theatre (New York, N.Y.)","Longacre Theatre (Organization : New York, N.Y.)","Music Box Theater (New York, N.Y.)","Martin Beck Theatre (New York, N.Y.)","Biltmore Theatre (Organization : New York, N.Y.)","Henry Miller's Theatre (New York, N.Y.)","Fulton Theatre (Organization : New York, N.Y.)","Booth Theatre (New York, N.Y.)","John Golden Theatre (Organization : New York, N.Y. : 1937-)","Majestic Theatre (Organization : New York, N.Y.)","Playhouse Theatre (Organization : New York, N.Y.)","Royale Theatre (Organization : New York, N.Y.)","Lyceum Theatre (New York, N.Y. : 45th Street)","Barrymore Theatre Corporation","Belasco Theatre (New York, N.Y.)","Morosco Theatre (Organization : New York, N.Y.)","Forty-Eighth Street Theatre (Organization : New York, N.Y.)","Coronet Theatre (Organization : New York, N.Y.)","Alvin Theatre Corporation","Hudson Theatre (Organization : New York, N.Y.)","Ziegfeld Theatre (Organization : New York, N.Y.)","St. James Theatre (Organization : New York, N.Y.)","Forty-sixth Street Theatre (New York, N.Y.)","Barton Brothers (Comedy team)","National Theatre (Organization : New York, N.Y.)","Mark Hellinger Theatre (Organization : New York, N.Y.)","ANTA (Organization). National Theatre Service","Broadhurst Theatre (Organization : New York, N.Y.)","Phoenix Theatre (Organization : New York, N.Y.)","Imperial Theatre (Organization : New York, N.Y.)","Adelphi Theatre (Organization : New York, N.Y.)","Winter Garden (Organization : New York, N.Y.)","Broadway Theatre (Organization : New York, N.Y.)","Ambassador Theatre (Organization : New York, N.Y.)","Lunt-Fontanne Theatre (Organization : New York, N.Y.)","Jones Beach Stadium (Long Island, N.Y.)","Brooks Atkinson Theatre (Organization : New York, N.Y.)","Helen Hayes Theatre (Organization : New York, N.Y.)","New York City Center","ANTA Washington Square Theatre (Organization : New York, N.Y.)","Hospice de Charenton","Billy Rose Theatre (Organization : New York, N.Y.)","Royal Shakespeare Company","Eugene O'Neill Theatre (Organization : New York, N.Y.)","Joseph E. Levine Theatre (Organization : New York, N.Y.)","Theatre de Lys (Organization : New York, N.Y.)","Palace Theatre (Organization : New York, N.Y.)","Vivian Beaumont Theater (Organization : New York, N.Y.)","Uris Theatre (Organization : New York, N.Y.)","Walnut Street Theatre (Philadelphia, Pa.)","Circle in the Square (Organization : New York, N.Y.)","Nederlander Theatre (New York, N.Y.)","George Gershwin Theatre (New York, N.Y.)","Neil Simon Theatre (New York, N.Y.)","Al Hirschfeld Theatre (New York, N.Y.)","Richard Rodgers Theatre (New York, N.Y.)","Walter Kerr Theatre (New York, N.Y.)","Union Square Theatre","Manhattan Theatre Club","New Amsterdam Theatre (New York, N.Y.)","Asro, Alexander, 1888-1963","Greaza, Walter, 1897-1973","Dunstan, Cliff, 1906-1968","Barton, James, 1890-1962","Dere, Ann, 1868-1954","Hepburn, Katharine, 1907-2003","Heflin, Van, 1910-1971","Cotten, Joseph, 1905-1994","Dinehart, Alan, 1918-1992","Farrell, Glenda, 1904-1971","Talbot, Lyle","Stickney, Dorothy","Craig, Helen, 1912-1986","Woolley, Monty, 1888-1963","Hammond, Virginia, 1893-1972","Watson, Lucile, 1879-1962","Lukas, Paul, 1894-1971","Christians, Mady, 1900-1951","Booth, Shirley","Carnovsky, Morris","Sayers, Jo Ann","Musgrove, Gertrude","Fay, Terence J., 1932-","Bolen, Mellie Virginia","Gordon, Bruce, 1931-","Adair, Jean, 1873-1953","Brooks, Patricia (Amy Helen Patricia)","Sundberg, Clinton, 1903-1987","Wood, Peggy, 1892-1978","Natwick, Mildred, 1905-1994","Corbett, Leonora, 1908-1960","Evelyn, Judith, 1913-1967","Emery, John, 1905-1964","Ober, Philip, 1902-1982","Robbins, Barbara","Field, Betty, 1918-1973","Field, Virginia, 1917-1992","Calder, King, 1898-1964","Burton, Robert, (Actor)","Owen, Ethel, 1893-1997","Gresham, Edith, 1897-1976","Calhern, Louis, 1895-1956","Annabella, 1909-1996","Karlweiss, Oskar, 1894?-1956","Bromberg, J. Edward, 1903-1951","Nagel, Conrad, 1897-1970","Daniell, Henry, 1894-1963","Margetson, Arthur, 1897-1951","Goodner, Carol, 1904-2001","Burr, Anne, 1920-2003","Landis, Jessie Royce, 1904-1972","Keith, Robert, 1896-1966","Caulfield, Betty","Sullavan, Margaret, 1909-1960","Nugent, Elliott, 1896-1980","Christie, Audrey","Blackmer, Sidney, 1895-1973","Wilson, Lois, 1894-1988","Fitzgerald, Neil, 1892-1982","Harvey, Georgia, -1960","O'Connor, Patrick, 1925-2012","Smith, Howard, 1893-1968","MacKellar, Helen, 1895-1966","Dabney, Augusta, 1918-2008","Bernard, Dorothy, 1890-1955","Homolka, Oscar, 1898-1978","Lawrence, Gertrude","Massey, Raymond","Daly, James, 1918-1978","Holliday, Judy","Douglas, Paul, 1907-1959","Merrill, Beth, 1892-1986","Kennedy, Arthur, 1914-1990","Snow, Lois Wheeler","Begley, Ed, 1901-1970","Malden, Karl","Bergman, Ingrid, 1915-1982","Wanamaker, Sam, 1919-1993","Brent, Romney, 1902-1976","Bellamy, Ralph, 1904-1991","Francis, Kay, 1905-1968","McCormick, Myron","Watson, Minor, 1889-1965","Gillmore, Margalo, 1897-1986","Brooks, David, (Vocalist)","Sullivan, Elliott, 1907-1974","Fassett, Jay, 1889-1973","Kelly, Paul, 1899-1956","Whitmore, James, 1921-2009","Garfield, John","Anthony, Joseph, 1912-1993","White, Bobby","Oakland, Simon","Loder, John, 1898-1988","Cummings, Victoria","Lockhart, June, 1925-","Daniels, Marc","Rathbone, Basil, 1892-1967","Hiller, Wendy, 1912-2003","Collinge, Patricia, 1894-1974","Muni, Paul, 1895-1967","Stone, Carol, 1915-","Andrews, Ted, 1907-1966","Jones, Henry, 1912-1999","Fonda, Henry, 1905-1982","Lane, Rusty, 1899-1986","Berg, Gertrude, 1899-1966","Loeb, Philip, 1894-1955","Lascoe, Henry","Drake, Alfred, 1914-1992","Hunt, Marsha, 1917-","Tandy, Jessica","Brando, Marlon","Hunter, Kim, 1922-2002","Emerson, Faye","Cossart, Ernest, 1876-1951","Allister, Claude, 1891-1970","Clarke, Robert, 1920-2005","Bankhead, Tallulah, 1902-1968","Cook, Donald, 1901-1961","Baxley, Barbara","Langford, William, 1920-1955","Carroll, Madeleine, 1906-1987","Bolger, Ray","Cornell, Katherine, 1972-","Wiseman, Joseph","Gilbert, Lou, 1909-1978","Westerfield, James, 1913-1971","Martin, Mary, 1913-1990","Pinza, Ezio","Duncan, Todd","Banks, Leslie, 1890-1952","Gregory, James, 1911-2002","Keefer, Don, 1916-2014","Cushing, Winifred, 1907-1990","Jerome, Edwin, 1884-1959","Lorring, Joan","Lishner, Leon, 1913-1995","Blakely, Don, -2004","Lane, Gloria","Alda, Robert","Blaine, Vivian, 1921-1995","Levene, Sam, 1905-1980","Bigley, Isabel","Rooney, Pat, 1880-1962","Kaye, Stubby","Pedi, Tom, 1913-1996","Harrison, Rex","Palmer, Lilli, 1914-1986","McKay, Scott, 1915-1987","Gates, Larry, 1915-1996","Howard, Michael, 1923-","Hagen, Uta, 1919-2004","Dann, Roger","Kasznar, Kurt, 1913-1979","Dana, Leora","Burr, Donald","Stehli, Edgar, 1884-1973","Gabor, Eva, 1921-1995","Hugo, Laurence, 1917-1994","Maxwell, Frank","Ericson, John, 1927-","Henderson, Douglas, 1919-1978","Aherne, Brian, 1902-1986","George, Grace, 1879-1961","Sullivan, Liam, 1923-1998","Harris, Julie, 1925-2013","Prince, William, 1913-1996","Fabian, Olga, 1885-1983","Brooks, Martin E., 1925-2015","Jeffreys, Anne","Raitt, John E., 1912-","Wheeler, Bert, 1895-1968","Halliday, Robert, 1891-1975","Keen, Malcolm, 1887-1970","Morrow, Jeff, 1907-1993","Morgan, Ralph, 1883-1956","Cobb, Lee J., 1911-1976","Smith, Art, 1899-1973","Hansen, William, 1911-1975","De Santis, Joe, 1909-1989","Hodiak, John","McCarthy, Lin","Bel Geddes, Barbara","Nelson, Barry, 1920-2007","Dunn, Ralph, 1900-1968","Elliott, Stephen, 1918-2005","Donehue, Vincent J., 1915-1966","Segal, Vivienne","Lang, Harold, -1985","Hanley, James, 1918-1970","Berghof, Herbert","Sinclair, Betty","Merivale, John, 1917-1990","Ritchard, Cyril, 1897-1977","Mitchell-Cotts, Campbell, 1902-1964","Dyneley, Peter, 1921-1977","Douglas, Melvyn","Rowles, Polly, 1914-2001","Pierpont, Laura, 1881-1972","Di Luca, Dino, 1903-1991","Brooks, Geraldine, 1925-1977","St. Clair, Lydia, 1898-1970","Murphy, Donald, 1918-","Coote, Robert, 1909-1982","Skulnik, Menasha, 1892-1970","Whorf, Richard, 1906-1966","Rose, Norman, 1917-2004","Huber, Gusti, 1914-1993","Derr, Richard, 1917-1992","Bethencourt, Francis, 1923-2001","O'Malley, J. Pat (James Pat)","Brown, Vanessa, 1928-1999","Emhardt, Robert, 1914-1994","Allbritton, Louise, 1920-1979","Ewell, Tom, 1909-1994","Wayne, David, 1914-1995","Forsythe, John, 1918-2010","Ford, Paul, 1901-1976","Niki, Mariko","Gazzara, Ben, 1930-2012","Storch, Arthur, 1925-2013","Kellin, Mike, 1922-1983","Hingle, Pat","Franciosa, Anthony, 1928-2006","Nesbitt, Cathleen, 1888-1982","Gear, Luella, 1897-1980","Cromwell, John, 1886-1979","Brynner, Yul","Von Furstenberg, Betsy, 1931-2015","Tone, Franchot","Jackson, Anne, 1925-2016","Blyden, Larry, 1925-1975","Young, Gig, 1913-1978","Gillette, Priscilla","Douglass, Stephen, 1921-2011","Ballard, Kaye","Whiting, Jack, 1901-1961","Miller, Betty, 1925-","Penn, Leo, 1921-1998","Greene, James, 1926-","D'Annunzio, Lola, 1930-1956","Hepburn, Audrey, 1929-1993","Ferrer, Mel","Alexander, John, 1897-1982","King, Edith, 1896-1963","Hewitt, Alan, 1915-1986","Preston, Robert, 1918-1987","Graham, Ronny","McCormick, Parker","Faye, Joey","Leachman, Cloris","Thompson, Rex, 1942-","Cooper, Jackie, 1922-2011","Nolan, Lloyd","Sullivan, Barry, 1912-1994","Carey, Macdonald","Lord, Marjorie","Myers, Pauline, 1913-1996","Walken, Ken","Povah, Phyllis","Kelly, Nancy, 1921-1995","McCormack, Patty, 1945-","O'Hare, John","Varden, Evelyn, 1893-1958","Heckart, Eileen, 1919-2001","Coleman, Nancy, 1912-2000","Newman, Paul, 1925-2008","Pratt, Judson, 1916-2002","Blakely, Gene","Hackett, Buddy, 1924-2003","Bond, Sheila","Cowan, Jerome, 1897-1972","Knef, Hildegard, 1925-2002","Ameche, Don","Sullivan, Francis L.","Jessel, Patricia, 1920-1968","Lyons, Gene, 1921-1974","Randall, Anthony L.","Leslie, Bethel","Bagley, Ed","Schildkraut, Joseph, 1895-1964","Strasberg, Susan","Moore, Dennie, 1907-1978","Gilford, Jack","Winters, Shelley","Silvera, Frank, 1914-1970","Robinson, Edward G., 1893-1973","Rowlands, Gena","Russell, Rosalind","Blackburn, Dorothy","Klavun, Walter, 1906-1984","Chaplin, Sydney","Stapleton, Jean, 1923-2013","Lawrence, Eddie, 1919-2014","Clark, Dort, 1917-1989","Lamas, Fernando","Gibson, Virginia","Polk, Gordon","Merman, Ethel","Olson, Nancy, 1928-","McGavin, Darren, 1922-2006","Frey, Nathaniel","Lawrence, Carol, 1932-","Kert, Larry","Rivera, Chita","Callan, Michael, 1935-","Leroy, Ken","Verdon, Gwen","Ritter, Thelma","Wallace, George, 1917-2005","Prud'homme, Cameron, 1892-1967","Hayes, Helen, 1900-1993","Burton, Richard, 1925-1984","Cook, Barbara","Burns, David, 1902-1971","Kelton, Pert","Macready, George, 1899-1973","Darvas, Lilli, 1902-1974","Burstyn, Ellen, 1932-","Webber, Robert, 1924-1989","Ballard, Shirley, 1925-","Millay, Diana","Reilly, Hugh, 1915-1998","Horne, Lena","Montalbán, Ricardo","Premice, Josephine","Adams, Joe, 1922-","Hall, Adelaide","Davis, Ossie","Desmond, Johnny","Seymour, Anne, 1909-1988","Andrews, Dana, 1909-1992","Bancroft, Anne, 1931-2005","Nuyen, France, 1939-","Shatner, William","Randell, Ron, 1918-2005","Marshall, Sarah, 1933-2014","Cheng, Stephen Chun-Tao","Leslie, Noel","Colbert, Claudette","Boyer, Charles, 1899-1978","Newmar, Julie, 1933-","Ryan, Edmon","Skinner, Cornelia Otis, 1901-1979","Ruggles, Charlie, 1886-1970","Peppard, George","Hart, Dolores, 1938-","Umeki, Miyoshi, 1929-2007","Hall, Juanita, 1901-1968","Kenney, Ed","Luke, Keye, 1904-1991","Hong Young, Arabella","Suzuki, Pat","Bloom, Claire, 1931-","Steiger, Rod, 1925-2002","Tamiroff, Akim, 1899-1972","Willman, Noel, 1918-1988","Hardwicke, Cedric, 1893-1964","Balin, Ina, 1937-1990","Questel, Mae, 1910-1998","Tolan, Michael, 1925-2011","Klugman, Jack","Church, Sandra","Griffith, Andy, 1926-2012","Gray, Dolores","Lund, Art","Prince, Jack, 1920-1994","McNeil, Claudia","Dee, Ruby","Gossett, Louis, Jr., 1936-","Marshall, E. 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