{"links":{"self":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64376","prev":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64375","next":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=64377","last":"https://flvc.lyrasistechnology.org/catalog.json?facet.sort=count\u0026page=65767"},"meta":{"pages":{"current_page":64376,"next_page":64377,"prev_page":64375,"total_pages":65767,"limit_value":10,"offset_value":643750,"total_count":657669,"first_page?":false,"last_page?":false}},"data":[{"id":"7cebb39144b2c94f6c91b418_aspace_62220","type":"File","attributes":{"title":"Who, n.d.","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/7cebb39144b2c94f6c91b418_aspace_62220#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eManuscript\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/7cebb39144b2c94f6c91b418_aspace_62220#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_62220","ref_ssm":["aspace_62220","aspace_62220"],"id":"7cebb39144b2c94f6c91b418_aspace_62220","title_filing_ssi":"Who","title_ssm":["Who"],"title_tesim":["Who"],"unitdate_other_ssim":["n.d."],"normalized_date_ssm":["n.d."],"normalized_title_ssm":["Who, n.d."],"text":["Who, n.d.","Dance Band Combo, 1925-1962, bulk 1946-1953","Folder 6","/repositories/2/archival_objects/34647","box 5","folder 6","King Brand","Broadway, NY","Manuscript","Trpt, Trbn, Reed (clarinet), Piano, Bass"],"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 6","/repositories/2/archival_objects/34647"],"repository_ssim":["Florida Atlantic University Libraries"],"collection_ssim":["Dance Band Combo, 1925-1962, bulk 1946-1953"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":151,"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."],"containers_ssim":["box 5","folder 6"],"odd_html_tesm":["\u003cp\u003eKing Brand\u003c/p\u003e","\u003cp\u003eBroadway, NY\u003c/p\u003e"],"odd_heading_ssm":["Publisher","Place"],"odd_tesim":["King Brand","Broadway, NY"],"scopecontent_html_tesm":["\u003cp\u003eManuscript\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Manuscript"],"materialspec_html_tesm":["\u003cmaterialspec id=\"aspace_07e5af7ca853794eb2ad7db7cd4f421d\"\u003eTrpt, Trbn, Reed (clarinet), Piano, Bass\u003c/materialspec\u003e"],"materialspec_tesim":["Trpt, Trbn, Reed (clarinet), Piano, Bass"],"_nest_path_":"/components#150","_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. 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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). 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Milton Goldman Shows Students Business Side of Lights Fantastic, 06/07/1981","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/cd47e6ad97695fdc678be0a9_aspace_15377#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eExtent: 2 p.\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/cd47e6ad97695fdc678be0a9_aspace_15377#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_15377","ref_ssm":["aspace_15377","aspace_15377"],"id":"cd47e6ad97695fdc678be0a9_aspace_15377","title_filing_ssi":"Who Needs Agents? Milton Goldman Shows Students Business Side of Lights Fantastic","title_ssm":["Who Needs Agents? Milton Goldman Shows Students Business Side of Lights Fantastic"],"title_tesim":["Who Needs Agents? Milton Goldman Shows Students Business Side of Lights Fantastic"],"unitdate_other_ssim":["06/07/1981"],"normalized_date_ssm":["06/07/1981"],"normalized_title_ssm":["Who Needs Agents? Milton Goldman Shows Students Business Side of Lights Fantastic, 06/07/1981"],"text":["Who Needs Agents? Milton Goldman Shows Students Business Side of Lights Fantastic, 06/07/1981","Florida State University Media Relations Files, 1969-1995","School of Theatre, 1970-1990","School of Theatre, 1980-1983","Item 41","/repositories/10/archival_objects/159321","Extent: 2 p."],"component_level_isim":[3],"parent_ids_ssim":["cd47e6ad97695fdc678be0a9","cd47e6ad97695fdc678be0a9_aspace_4677","cd47e6ad97695fdc678be0a9_aspace_4682"],"parent_unittitles_ssm":["Florida State University Media Relations Files, 1969-1995","School of Theatre, 1970-1990","School of Theatre, 1980-1983"],"parent_unittitles_tesim":["Florida State University Media Relations Files, 1969-1995","School of Theatre, 1970-1990","School of Theatre, 1980-1983"],"parent_levels_ssm":["collection","Series","File"],"unitid_ssm":["Item 41","/repositories/10/archival_objects/159321"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["Florida State University Media Relations Files, 1969-1995"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":2697,"parent_access_restrict_tesm":["Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"parent_access_terms_tesm":["To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright."],"scopecontent_html_tesm":["\u003cp\u003eExtent: 2 p.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Extent: 2 p."],"_nest_path_":"/components#6/components#3/components#40","_nest_parent_":"cd47e6ad97695fdc678be0a9_aspace_4682","_root_":"cd47e6ad97695fdc678be0a9","_version_":1873846371912515584,"timestamp":"2026-08-18T07:45:57.747Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"cd47e6ad97695fdc678be0a9","title_ssm":["Florida State University Media Relations Files"],"title_tesim":["Florida State University Media Relations Files"],"ead_ssi":"cd47e6ad97695fdc678be0a9","unitdate_ssm":["1969-1995"],"unitdate_inclusive_ssm":["1969-1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2003-019","/repositories/10/resources/1253"],"text":["MSS 2003-019","/repositories/10/resources/1253","Florida State University Media Relations Files, 1969-1995","Commencement Ceremony","Homecoming.","Media relations","Florida State University. Commencement","Florida State University. Homecoming","Florida State University. Media Relations","Florida State University. School of Theatre","Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.","The Florida State University (FSU) Media Relations Office is the official news, information and public affairs office of Florida State University.  Media Relations produces and distributes news about FSU to the campus community, the state, the nation and the world.  It is staffed by professional journalists and public relations experts who promote the university.\n APPLETON MUSEUM OF ART\n The Appleton Museum of Art in Ocala, Florida was originally built to display and preserve the collection of Arthur I. Appleton, retired president of Appleton Electric Company of Chicago, avid art collector, and owner of Bridlewood Farm, a Marion County (Florida) thoroughbred operation. Appleton, together with a group of community leaders, persuaded the City of Ocala to donate land for the museum. Arthur, his wife, Martha and his sister, Edith-Marie Appleton donated funds to build the museum structure\n Considered one of the South's premier art repositories and education centers, the Appleton is the focal point of the Appleton Cultural Center, a 44-acre complex which also includes the Ocala Civic Theatre and the Pioneer Garden Club. The museum opened to the public in December 1987. Since July 1, 1990, the Appleton Museum of Art has been jointly owned by Florida State University and Central Florida Community College.\n ASOLO THEATRE COMPANY\n The Asolo Theatre was originally built in 1798 in the town of Asolo, Italy.  In 1930, the old wooden theater was taken down and its components were stored in Venice.  In 1949, the State of Florida purchased the 300-seat theater for the Ringling Museums, and in 1957, it was transferred to its own building on the Museum's grounds in Sarasota. The theatre was restored with its lamps, horseshoe plan, tiers of boxes, and gold decorations as it was in 18th century Italy.  Florida State University founded the Asolo Theater Company in 1960 in conjunction with the Ringling Museums.\n Recognized nationally and internationally as one of the outstanding professional theater groups now playing, Asolo, the official State Theater Company of Florida, operates year-round on both entertainment and education levels.  Beginning in mid-February, the Company plays seven months of rotating repertory in the Ringling Museums' Asolo Theater in Sarasota, where it also conducts college and graduate level programs for the University System of Florida.  During the fall and early winter months, the Equity troupe tours Florida high schools with a unique theater-education program.  The Company also conducts a continually expanding Children's Theater program, and is one of the few groups in North America that alternates as many as ten shows in repertory each season including some Shakespeare, a Restoration piece, an American classic, contemporary works, and new plays.  This varied program attracts audiences, critics, and the finest of theatrical talent to the Company year after year.\n THE COLLEGE OF BUSINESS\n The School of Business was established in 1950, three years after Florida State College for Women became Florida State University and began admitting men to accommodate the large number of World War II veterans seeking an education. In 1974, the school of Business became the College of Business. The school, then college, expanded rapidly during the administrations of former Deans Charles A. Rovetta and E. Ray Solomon, moving into new facilities, adding programs and increasing enrollment.\n Among Rovetta's earliest priorities were accreditation of the School of Business, which he accomplished in 1962, and setting up the first health insurance program for faculty members at FSU. Under Rovetta's prodding, the 1955 Legislature appropriated $1 million to build a new home for the School of Business, which opened in 1958. The building, which underwent a $9 million expansion and renovation starting in 1982, today bears Rovetta's name. During Rovetta's 20-year tenure as dean, the school added master's and doctoral programs in business administration and set up an off-campus program at Cape Kennedy to train space scientists in management.\n When Rovetta retired as dean in 1973, Solomon was named his successor. Solomon served as dean until June of 1991. During his tenure, Solomon established an alumni association and set up the college's first fund-raising program, created endowed chairs, raised salaries and increased research funding. Another highlight of his 17-year tenure as dean was the decision in 1982 to raise academic standards. Over a period of time, he increased the grade point average required for admission to the college to 2.6.  Solomon also established the Small Business Institute, offering the expertise of the college's faculty and students to small businesses.\n Following his retirement, Melvin Stith, chairman of the marketing department, was promoted to dean. He will retire at the end of the Fall 2004 semester. Stith' accomplishments included a 12,000-square-foot technology center offering students access to the latest high-tech equipment, the opening of the Jim Moran Institute for Global Entrepreneurship, the Executive Management Program to train mid-level managers, and the Distinguished Speaker Series, which brings business leaders to campus to interact with students.\n THE FSU FLYING HIGH CIRCUS\n The Florida State University Flying High Circus is the country's only collegiate circus.  It was organized in 1947 by Jack Haskin.  The first circus show on campus  was held in 1948 with 45 performers in an old Army gymnasium. During the 1950s, circus performances were held outdoors at night, without a tent, in the campus football stadium.  The first performance under a tent came in 1960 when the circus rented a tent from Sarasota High School for the annual May campus homeshows. The following year, the Circus obtained its own three-ring tent with a seating capacity of 3,000. Since 1962, the circus has had hours of nation-wide television coverage by participating in the CBS \"Sports Spectacular\" series.  Under the direction of Ad Gilbert, the Circus spent four weeks touring major cities of Europe in the Spring of 1964.\n The Flying High Circus is a self-supporting activity. No student activity fees, tuition payments, university or state funds go towards circus activities. Unlike many other athletic endeavors, the students receive no tuition waivers or university scholarships for their long hours of practice or the nationally famous shows that bring credit to FSU. The acts in the Flying High Circus have evolved from \"circus activity\" to \"circus professionalism\". Performances are often of so high a caliber that professional contracts are sometimes offered to student performers, especially on the flying trapeze.  Examples include the triple somersault on the flying trapeze (accomplished by two performers at FSU), the seven-man pyramid on the high wire (which has only been performed by two other groups), double back somersaults on the skypole and many more. Some acts are unique to the FSU Circus or are only done rarely elsewhere such as triple aerial high casting and the three-lane breakaway. Other acts are traditional circus classics. There are no animal acts in the Circus.\n HOMECOMING\n Homecoming is an alumni program.  Spanning a three-day period, it includes a pep rally, parade, alumni class reunions, a banquet, a free faculty concert, the Pow Wow, a student entertainment attraction, alumni breakfast, the ODK \"Grads Made Good\" presentations, awards presented by Garnet and Gold Key honoraries, a baseball game, the alumni barbecue, the naming of the Homecoming Seminole Chief and Process, and entertainment after the Saturday football game.  During the Homecoming parade, the Florida State Marching Chiefs lead the area high school bands, floats and campus organizations through the streets of downtown Tallahassee.  The University Homecoming Pow Wow, a large outdoor student entertainment attraction, is open to students, townspeople, alumni and their families.\n THE FSU SCHOOL OF THEATRE\n The Florida State University School of Theatre is consistently recognized as one of the finest theatre programs in the nation.  Alumni of the School are working in theatre and other related fields throughout the United States and in many foreign countries. Its distinguished national reputation has been recognized in the gifts of two million-dollar Eminent Scholar Chairs.  The Burt Reynolds Chair for Professional and Regional Theatre serves to develop and enhance the School's professional programs throughout the State.  The Marion O. Hoffman Chair enables the School to bring to the campus internationally-respected theatre artists and teachers for short-term residences to work with students and to practice their creative art.\n Three theatres --- the Mainstage, the Studio Theatre, and the Lab Theatre, a \"black box\" theatre --- enable students to participate in the widest possible range of productions.  Productions of masterpieces of dramatic literature and musical theatre regularly highlight the offerings of the School of Theatre in the three theatres.  The Mainstage Season consists of 4 major productions, while 10 shows annually are produced in the Studio Theatre or in the Lab. Internships are available through the School's ongoing cooperative relationship with professional theatres around the nation.  The School has a successful cooperative program with the School of Music and the Department of Dance at FSU.","The MSS 2003-019 accession was processed in September 2003 by Delia Tam.","The Florida State University (FSU) Media Relations files contain press releases, photos, programs, brochures, newspapers, newsletters and letters documenting the activities of the Appleton Museum of Art, Asolo Theatre, the College of Business, the FSU Circus, Graduation, Homecoming, and the School of Theatre.\n Appleton Museum of Art materials include articles about gifts to the Museum, the Florida Arts Recognition Award to the Appletons, funding for the Appleton Eminent Scholar's Chair, and the 1990 merger of the Appleton Museum of Art with Central Florida Community College and Florida State University.\n The Asolo Theatre files includes articles, playbills, play reviews, and press releases. Topics include the dedication of the Asolo Center in 1990, gifts received, the Burt Reynolds Institute and Theater Project, and the Hoffman Eminent Scholar's Chair.\n The College of Business files highlight its projects, programs, proposed courses, classes taught by closed-circuit television, grants, scholarships, lectures, conferences, seminars, workshops, lectures and services to the community, e.g. free help sessions in preparing tax returns.  Several of these activities include Credit Institute Courses for government employees, Review Seminars for CPA examinations, the Judicial Management Program, and the \"Jobs for Older Americans\" project.  The press releases publicize the successes and achievements of the Business students.  Interface, the newsletter of the College of Business and another newsletter, Feedback, are also featured. In these files, there is a gap in 1984.\n The FSU Flying High Circus materials include programs, articles about the Circus, other Circus publications, and press releases documenting its history and activities. Subjects include the 25th anniversary of the Circus in 1972 and other anniversaries, stories about its performers, animal acts, highwire acts, circus ballets, and the history of the Flying High Circus.\n The Graduation files include press releases about Florida State University's graduation ceremonies in daily and weekly newspapers, radio and television stations and the Capitol Press Corps.  Topics include the College of Law graduation, College of Nursing pinning ceremony, undergraduate and graduate ceremonies, the Joint Army, Navy and Air Force ROTC commissioning ceremony, the first graduation held in the Tallahassee-Leon County Civic Center in 1982, the presentation of the Robert O. Lawton Distinguished Professor award, the highest faculty award given by FSU, and Virgil Conner, the oldest graduate at 92 to ever receive a doctorate from a major college.\n The Homecoming files contain press releases, programs, brochures, flyers, post cards, newspapers, magazines, homecoming ticket information and order forms, lists of events, and parade lists.  Subjects include the pep rally, parade, alumni class reunions,  banquet, faculty concert, alumni breakfast, Grads Made Good  presentations, the Ross Oglesby Man of the Year Award with special coverage on these honorees, baseball games, alumni barbecues, festivals and entertainment after the Saturday football game, and the homecoming \"Pow Wow.\" From 1983-84, there is a gap in the collection.\n The School of Theatre files contain press releases, announcements, newspapers, brochures, playbills, programs, and several photographs. Individuals cited in these materials include Burt Reynolds, Robert Ulrich, Fay Dunaway, Joseph Papp, Helen Hayes, Lee Strasberg, and Susan Strasberg.  These papers also describe the Schubert Fellowship in playwriting which is awarded annually to a student, the Charles MacArthur national playwriting competition, top honors gained by students in theater festival competitions, grants received, the Florida State Fine Arts Festival, \"Adventures in Theater\", the School's new touring company, \"The Countryside Theater\", a unique program to bring live theater to rural communities, and plans to establish an American Theatre Library-Museum on campus in 1970, the first and only one of its concept in the country.","To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright.","FSU Special Collections \u0026 Archives","Florida State University Media Relations Department","Asolo Theater (Sarasota, Fla.)","Appleton Museum of Art (Ocala, Fla.)","Florida State University. College of Business","Florida State University. Flying High Circus","Reynolds, Burt","Urich, Robert","Dunaway, Faye","Papp, Joseph","Hayes, Helen","Rovetta, Charles A.","Solomon, E. Ray","Stith, Melvin","Strasberg, Lee","Strasberg, Susan","Lazier, Gilbert N.","English"],"unitid_tesim":["MSS 2003-019","/repositories/10/resources/1253"],"normalized_date_ssm":["1969-1995"],"normalized_title_ssm":["Florida State University Media Relations Files, 1969-1995"],"collection_title_tesim":["Florida State University Media Relations Files, 1969-1995"],"collection_ssim":["Florida State University Media Relations Files, 1969-1995"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"creator_ssm":["Florida State University Media Relations Department"],"creator_ssim":["Florida State University Media Relations Department"],"creator_corpname_ssim":["Florida State University Media Relations Department"],"creators_ssim":["Florida State University Media Relations Department"],"access_terms_ssm":["To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright."],"acqinfo_ssim":["The MSS 2003-019 accession of the FSU Media Relations Files was given to the Special Collections Department by the FSU Media Relations Office in 1999."],"access_subjects_ssim":["Commencement Ceremony","Homecoming.","Media relations","Florida State University. Commencement","Florida State University. Homecoming","Florida State University. Media Relations","Florida State University. School of Theatre"],"access_subjects_ssm":["Commencement Ceremony","Homecoming.","Media relations","Florida State University. Commencement","Florida State University. Homecoming","Florida State University. Media Relations","Florida State University. School of Theatre"],"has_online_content_ssim":["false"],"extent_ssm":["4.80 Linear Feet"],"extent_tesim":["4.80 Linear Feet"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. \u003c/p\u003e\n","\u003cp\u003eThis collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. ","This collection is in an offsite storage location. Please contact lib-specialcollections@fsu.edu with requests for access or for more information."],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Florida State University (FSU) Media Relations Office is the official news, information and public affairs office of Florida State University.  Media Relations produces and distributes news about FSU to the campus community, the state, the nation and the world.  It is staffed by professional journalists and public relations experts who promote the university.\n APPLETON MUSEUM OF ART\n The Appleton Museum of Art in Ocala, Florida was originally built to display and preserve the collection of Arthur I. Appleton, retired president of Appleton Electric Company of Chicago, avid art collector, and owner of Bridlewood Farm, a Marion County (Florida) thoroughbred operation. Appleton, together with a group of community leaders, persuaded the City of Ocala to donate land for the museum. Arthur, his wife, Martha and his sister, Edith-Marie Appleton donated funds to build the museum structure\n Considered one of the South's premier art repositories and education centers, the Appleton is the focal point of the Appleton Cultural Center, a 44-acre complex which also includes the Ocala Civic Theatre and the Pioneer Garden Club. The museum opened to the public in December 1987. Since July 1, 1990, the Appleton Museum of Art has been jointly owned by Florida State University and Central Florida Community College.\n ASOLO THEATRE COMPANY\n The Asolo Theatre was originally built in 1798 in the town of Asolo, Italy.  In 1930, the old wooden theater was taken down and its components were stored in Venice.  In 1949, the State of Florida purchased the 300-seat theater for the Ringling Museums, and in 1957, it was transferred to its own building on the Museum's grounds in Sarasota. The theatre was restored with its lamps, horseshoe plan, tiers of boxes, and gold decorations as it was in 18th century Italy.  Florida State University founded the Asolo Theater Company in 1960 in conjunction with the Ringling Museums.\n Recognized nationally and internationally as one of the outstanding professional theater groups now playing, Asolo, the official State Theater Company of Florida, operates year-round on both entertainment and education levels.  Beginning in mid-February, the Company plays seven months of rotating repertory in the Ringling Museums' Asolo Theater in Sarasota, where it also conducts college and graduate level programs for the University System of Florida.  During the fall and early winter months, the Equity troupe tours Florida high schools with a unique theater-education program.  The Company also conducts a continually expanding Children's Theater program, and is one of the few groups in North America that alternates as many as ten shows in repertory each season including some Shakespeare, a Restoration piece, an American classic, contemporary works, and new plays.  This varied program attracts audiences, critics, and the finest of theatrical talent to the Company year after year.\n THE COLLEGE OF BUSINESS\n The School of Business was established in 1950, three years after Florida State College for Women became Florida State University and began admitting men to accommodate the large number of World War II veterans seeking an education. In 1974, the school of Business became the College of Business. The school, then college, expanded rapidly during the administrations of former Deans Charles A. Rovetta and E. Ray Solomon, moving into new facilities, adding programs and increasing enrollment.\n Among Rovetta's earliest priorities were accreditation of the School of Business, which he accomplished in 1962, and setting up the first health insurance program for faculty members at FSU. Under Rovetta's prodding, the 1955 Legislature appropriated $1 million to build a new home for the School of Business, which opened in 1958. The building, which underwent a $9 million expansion and renovation starting in 1982, today bears Rovetta's name. During Rovetta's 20-year tenure as dean, the school added master's and doctoral programs in business administration and set up an off-campus program at Cape Kennedy to train space scientists in management.\n When Rovetta retired as dean in 1973, Solomon was named his successor. Solomon served as dean until June of 1991. During his tenure, Solomon established an alumni association and set up the college's first fund-raising program, created endowed chairs, raised salaries and increased research funding. Another highlight of his 17-year tenure as dean was the decision in 1982 to raise academic standards. Over a period of time, he increased the grade point average required for admission to the college to 2.6.  Solomon also established the Small Business Institute, offering the expertise of the college's faculty and students to small businesses.\n Following his retirement, Melvin Stith, chairman of the marketing department, was promoted to dean. He will retire at the end of the Fall 2004 semester. Stith' accomplishments included a 12,000-square-foot technology center offering students access to the latest high-tech equipment, the opening of the Jim Moran Institute for Global Entrepreneurship, the Executive Management Program to train mid-level managers, and the Distinguished Speaker Series, which brings business leaders to campus to interact with students.\n THE FSU FLYING HIGH CIRCUS\n The Florida State University Flying High Circus is the country's only collegiate circus.  It was organized in 1947 by Jack Haskin.  The first circus show on campus  was held in 1948 with 45 performers in an old Army gymnasium. During the 1950s, circus performances were held outdoors at night, without a tent, in the campus football stadium.  The first performance under a tent came in 1960 when the circus rented a tent from Sarasota High School for the annual May campus homeshows. The following year, the Circus obtained its own three-ring tent with a seating capacity of 3,000. Since 1962, the circus has had hours of nation-wide television coverage by participating in the CBS \"Sports Spectacular\" series.  Under the direction of Ad Gilbert, the Circus spent four weeks touring major cities of Europe in the Spring of 1964.\n The Flying High Circus is a self-supporting activity. No student activity fees, tuition payments, university or state funds go towards circus activities. Unlike many other athletic endeavors, the students receive no tuition waivers or university scholarships for their long hours of practice or the nationally famous shows that bring credit to FSU. The acts in the Flying High Circus have evolved from \"circus activity\" to \"circus professionalism\". Performances are often of so high a caliber that professional contracts are sometimes offered to student performers, especially on the flying trapeze.  Examples include the triple somersault on the flying trapeze (accomplished by two performers at FSU), the seven-man pyramid on the high wire (which has only been performed by two other groups), double back somersaults on the skypole and many more. Some acts are unique to the FSU Circus or are only done rarely elsewhere such as triple aerial high casting and the three-lane breakaway. Other acts are traditional circus classics. There are no animal acts in the Circus.\n HOMECOMING\n Homecoming is an alumni program.  Spanning a three-day period, it includes a pep rally, parade, alumni class reunions, a banquet, a free faculty concert, the Pow Wow, a student entertainment attraction, alumni breakfast, the ODK \"Grads Made Good\" presentations, awards presented by Garnet and Gold Key honoraries, a baseball game, the alumni barbecue, the naming of the Homecoming Seminole Chief and Process, and entertainment after the Saturday football game.  During the Homecoming parade, the Florida State Marching Chiefs lead the area high school bands, floats and campus organizations through the streets of downtown Tallahassee.  The University Homecoming Pow Wow, a large outdoor student entertainment attraction, is open to students, townspeople, alumni and their families.\n THE FSU SCHOOL OF THEATRE\n The Florida State University School of Theatre is consistently recognized as one of the finest theatre programs in the nation.  Alumni of the School are working in theatre and other related fields throughout the United States and in many foreign countries. Its distinguished national reputation has been recognized in the gifts of two million-dollar Eminent Scholar Chairs.  The Burt Reynolds Chair for Professional and Regional Theatre serves to develop and enhance the School's professional programs throughout the State.  The Marion O. Hoffman Chair enables the School to bring to the campus internationally-respected theatre artists and teachers for short-term residences to work with students and to practice their creative art.\n Three theatres --- the Mainstage, the Studio Theatre, and the Lab Theatre, a \"black box\" theatre --- enable students to participate in the widest possible range of productions.  Productions of masterpieces of dramatic literature and musical theatre regularly highlight the offerings of the School of Theatre in the three theatres.  The Mainstage Season consists of 4 major productions, while 10 shows annually are produced in the Studio Theatre or in the Lab. Internships are available through the School's ongoing cooperative relationship with professional theatres around the nation.  The School has a successful cooperative program with the School of Music and the Department of Dance at FSU."],"prefercite_html_tesm":["\u003cp\u003e[Name of Item], [Date of Item], Florida State University Media Relations Files, Heritage \u0026amp; University Archives, Florida State University Libraries, Tallahassee, Florida. https://purl.lib.fsu.edu/fa/MSS-2003-019\u003c/p\u003e"],"prefercite_tesim":["[Name of Item], [Date of Item], Florida State University Media Relations Files, Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. https://purl.lib.fsu.edu/fa/MSS-2003-019"],"processinfo_html_tesm":["\u003cp\u003eThe MSS 2003-019 accession was processed in September 2003 by Delia Tam.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The MSS 2003-019 accession was processed in September 2003 by Delia Tam."],"scopecontent_html_tesm":["\u003cp\u003eThe Florida State University (FSU) Media Relations files contain press releases, photos, programs, brochures, newspapers, newsletters and letters documenting the activities of the Appleton Museum of Art, Asolo Theatre, the College of Business, the FSU Circus, Graduation, Homecoming, and the School of Theatre.\n\u003cbr\u003e\u003cbr\u003eAppleton Museum of Art materials include articles about gifts to the Museum, the Florida Arts Recognition Award to the Appletons, funding for the Appleton Eminent Scholar's Chair, and the 1990 merger of the Appleton Museum of Art with Central Florida Community College and Florida State University.\n\u003cbr\u003e\u003cbr\u003eThe Asolo Theatre files includes articles, playbills, play reviews, and press releases. Topics include the dedication of the Asolo Center in 1990, gifts received, the Burt Reynolds Institute and Theater Project, and the Hoffman Eminent Scholar's Chair.\n\u003cbr\u003e\u003cbr\u003eThe College of Business files highlight its projects, programs, proposed courses, classes taught by closed-circuit television, grants, scholarships, lectures, conferences, seminars, workshops, lectures and services to the community, e.g. free help sessions in preparing tax returns.\u0026#xA0; Several of these activities include Credit Institute Courses for government employees, Review Seminars for CPA examinations, the Judicial Management Program, and the \"Jobs for Older Americans\" project.\u0026#xA0; The press releases publicize the successes and achievements of the Business students.\u0026#xA0; Interface, the newsletter of the College of Business and another newsletter, Feedback, are also featured. In these files, there is a gap in 1984.\n\u003cbr\u003e\u003cbr\u003eThe FSU Flying High Circus materials include programs, articles about the Circus, other Circus publications, and press releases documenting its history and activities. Subjects include the 25th anniversary of the Circus in 1972 and other anniversaries, stories about its performers, animal acts, highwire acts, circus ballets, and the history of the Flying High Circus.\n\u003cbr\u003e\u003cbr\u003eThe Graduation files include press releases about Florida State University's graduation ceremonies in daily and weekly newspapers, radio and television stations and the Capitol Press Corps.\u0026#xA0; Topics include the College of Law graduation, College of Nursing pinning ceremony, undergraduate and graduate ceremonies, the Joint Army, Navy and Air Force ROTC commissioning ceremony, the first graduation held in the Tallahassee-Leon County Civic Center in 1982, the presentation of the Robert O. Lawton Distinguished Professor award, the highest faculty award given by FSU, and Virgil Conner, the oldest graduate at 92 to ever receive a doctorate from a major college.\n\u003cbr\u003e\u003cbr\u003eThe Homecoming files contain press releases, programs, brochures, flyers, post cards, newspapers, magazines, homecoming ticket information and order forms, lists of events, and parade lists.\u0026#xA0; Subjects include the pep rally, parade, alumni class reunions,\u0026#xA0; banquet, faculty concert, alumni breakfast, Grads Made Good\u0026#xA0; presentations, the Ross Oglesby Man of the Year Award with special coverage on these honorees, baseball games, alumni barbecues, festivals and entertainment after the Saturday football game, and the homecoming \"Pow Wow.\" From 1983-84, there is a gap in the collection.\n\u003cbr\u003e\u003cbr\u003eThe School of Theatre files contain press releases, announcements, newspapers, brochures, playbills, programs, and several photographs. Individuals cited in these materials include Burt Reynolds, Robert Ulrich, Fay Dunaway, Joseph Papp, Helen Hayes, Lee Strasberg, and Susan Strasberg.\u0026#xA0; These papers also describe the Schubert Fellowship in playwriting which is awarded annually to a student, the Charles MacArthur national playwriting competition, top honors gained by students in theater festival competitions, grants received, the Florida State Fine Arts Festival, \"Adventures in Theater\", the School's new touring company, \"The Countryside Theater\", a unique program to bring live theater to rural communities, and plans to establish an American Theatre Library-Museum on campus in 1970, the first and only one of its concept in the country.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Florida State University (FSU) Media Relations files contain press releases, photos, programs, brochures, newspapers, newsletters and letters documenting the activities of the Appleton Museum of Art, Asolo Theatre, the College of Business, the FSU Circus, Graduation, Homecoming, and the School of Theatre.\n Appleton Museum of Art materials include articles about gifts to the Museum, the Florida Arts Recognition Award to the Appletons, funding for the Appleton Eminent Scholar's Chair, and the 1990 merger of the Appleton Museum of Art with Central Florida Community College and Florida State University.\n The Asolo Theatre files includes articles, playbills, play reviews, and press releases. Topics include the dedication of the Asolo Center in 1990, gifts received, the Burt Reynolds Institute and Theater Project, and the Hoffman Eminent Scholar's Chair.\n The College of Business files highlight its projects, programs, proposed courses, classes taught by closed-circuit television, grants, scholarships, lectures, conferences, seminars, workshops, lectures and services to the community, e.g. free help sessions in preparing tax returns.  Several of these activities include Credit Institute Courses for government employees, Review Seminars for CPA examinations, the Judicial Management Program, and the \"Jobs for Older Americans\" project.  The press releases publicize the successes and achievements of the Business students.  Interface, the newsletter of the College of Business and another newsletter, Feedback, are also featured. In these files, there is a gap in 1984.\n The FSU Flying High Circus materials include programs, articles about the Circus, other Circus publications, and press releases documenting its history and activities. Subjects include the 25th anniversary of the Circus in 1972 and other anniversaries, stories about its performers, animal acts, highwire acts, circus ballets, and the history of the Flying High Circus.\n The Graduation files include press releases about Florida State University's graduation ceremonies in daily and weekly newspapers, radio and television stations and the Capitol Press Corps.  Topics include the College of Law graduation, College of Nursing pinning ceremony, undergraduate and graduate ceremonies, the Joint Army, Navy and Air Force ROTC commissioning ceremony, the first graduation held in the Tallahassee-Leon County Civic Center in 1982, the presentation of the Robert O. Lawton Distinguished Professor award, the highest faculty award given by FSU, and Virgil Conner, the oldest graduate at 92 to ever receive a doctorate from a major college.\n The Homecoming files contain press releases, programs, brochures, flyers, post cards, newspapers, magazines, homecoming ticket information and order forms, lists of events, and parade lists.  Subjects include the pep rally, parade, alumni class reunions,  banquet, faculty concert, alumni breakfast, Grads Made Good  presentations, the Ross Oglesby Man of the Year Award with special coverage on these honorees, baseball games, alumni barbecues, festivals and entertainment after the Saturday football game, and the homecoming \"Pow Wow.\" From 1983-84, there is a gap in the collection.\n The School of Theatre files contain press releases, announcements, newspapers, brochures, playbills, programs, and several photographs. Individuals cited in these materials include Burt Reynolds, Robert Ulrich, Fay Dunaway, Joseph Papp, Helen Hayes, Lee Strasberg, and Susan Strasberg.  These papers also describe the Schubert Fellowship in playwriting which is awarded annually to a student, the Charles MacArthur national playwriting competition, top honors gained by students in theater festival competitions, grants received, the Florida State Fine Arts Festival, \"Adventures in Theater\", the School's new touring company, \"The Countryside Theater\", a unique program to bring live theater to rural communities, and plans to establish an American Theatre Library-Museum on campus in 1970, the first and only one of its concept in the country."],"userestrict_html_tesm":["\u003cp\u003eTo request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026amp; University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["To request permission to quote, publish, broadcast or otherwise reproduce from the archives, please contact Heritage \u0026 University Archives, Florida State University Libraries, Tallahassee, Florida. Researchers must obtain separate permission from the copyright holders of material held within University Archives collections for which the institution does not hold copyright."],"names_coll_ssim":["Asolo Theater (Sarasota, Fla.)","Appleton Museum of Art (Ocala, Fla.)","Florida State University. College of Business","Florida State University. Flying High Circus","Reynolds, Burt","Urich, Robert","Dunaway, Faye","Papp, Joseph","Hayes, Helen","Rovetta, Charles A.","Solomon, E. Ray","Stith, Melvin","Strasberg, Lee","Strasberg, Susan","Lazier, Gilbert N."],"names_ssim":["FSU Special Collections \u0026 Archives","Florida State University Media Relations Department","Asolo Theater (Sarasota, Fla.)","Appleton Museum of Art (Ocala, Fla.)","Florida State University. College of Business","Florida State University. Flying High Circus","Reynolds, Burt","Urich, Robert","Dunaway, Faye","Papp, Joseph","Hayes, Helen","Rovetta, Charles A.","Solomon, E. Ray","Stith, Melvin","Strasberg, Lee","Strasberg, Susan","Lazier, Gilbert N."],"corpname_ssim":["FSU Special Collections \u0026 Archives","Florida State University Media Relations Department","Asolo Theater (Sarasota, Fla.)","Appleton Museum of Art (Ocala, Fla.)","Florida State University. College of Business","Florida State University. Flying High Circus"],"persname_ssim":["Reynolds, Burt","Urich, Robert","Dunaway, Faye","Papp, Joseph","Hayes, Helen","Rovetta, Charles A.","Solomon, E. Ray","Stith, Melvin","Strasberg, Lee","Strasberg, Susan","Lazier, Gilbert N."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3222,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1873846371912515584,"_root_":"cd47e6ad97695fdc678be0a9","timestamp":"2026-08-18T07:45:57.747Z","bioghist_html_tesm":["\u003cp\u003eThe Florida State University (FSU) Media Relations Office is the official news, information and public affairs office of Florida State University.\u0026#xA0; Media Relations produces and distributes news about FSU to the campus community, the state, the nation and the world.\u0026#xA0; It is staffed by professional journalists and public relations experts who promote the university.\n\u003cbr\u003e\u003cbr\u003eAPPLETON MUSEUM OF ART\n\u003cbr\u003e\u003cbr\u003eThe Appleton Museum of Art in Ocala, Florida was originally built to display and preserve the collection of Arthur I. Appleton, retired president of Appleton Electric Company of Chicago, avid art collector, and owner of Bridlewood Farm, a Marion County (Florida) thoroughbred operation. Appleton, together with a group of community leaders, persuaded the City of Ocala to donate land for the museum. Arthur, his wife, Martha and his sister, Edith-Marie Appleton donated funds to build the museum structure\n\u003cbr\u003e\u003cbr\u003eConsidered one of the South's premier art repositories and education centers, the Appleton is the focal point of the Appleton Cultural Center, a 44-acre complex which also includes the Ocala Civic Theatre and the Pioneer Garden Club. The museum opened to the public in December 1987. Since July 1, 1990, the Appleton Museum of Art has been jointly owned by Florida State University and Central Florida Community College.\n\u003cbr\u003e\u003cbr\u003eASOLO THEATRE COMPANY\n\u003cbr\u003e\u003cbr\u003eThe Asolo Theatre was originally built in 1798 in the town of Asolo, Italy.\u0026#xA0; In 1930, the old wooden theater was taken down and its components were stored in Venice.\u0026#xA0; In 1949, the State of Florida purchased the 300-seat theater for the Ringling Museums, and in 1957, it was transferred to its own building on the Museum's grounds in Sarasota. The theatre was restored with its lamps, horseshoe plan, tiers of boxes, and gold decorations as it was in 18th century Italy.\u0026#xA0; Florida State University founded the Asolo Theater Company in 1960 in conjunction with the Ringling Museums.\n\u003cbr\u003e\u003cbr\u003eRecognized nationally and internationally as one of the outstanding professional theater groups now playing, Asolo, the official State Theater Company of Florida, operates year-round on both entertainment and education levels.\u0026#xA0; Beginning in mid-February, the Company plays seven months of rotating repertory in the Ringling Museums' Asolo Theater in Sarasota, where it also conducts college and graduate level programs for the University System of Florida.\u0026#xA0; During the fall and early winter months, the Equity troupe tours Florida high schools with a unique theater-education program.\u0026#xA0; The Company also conducts a continually expanding Children's Theater program, and is one of the few groups in North America that alternates as many as ten shows in repertory each season including some Shakespeare, a Restoration piece, an American classic, contemporary works, and new plays.\u0026#xA0; This varied program attracts audiences, critics, and the finest of theatrical talent to the Company year after year.\n\u003cbr\u003e\u003cbr\u003eTHE COLLEGE OF BUSINESS\n\u003cbr\u003e\u003cbr\u003eThe School of Business was established in 1950, three years after Florida State College for Women became Florida State University and began admitting men to accommodate the large number of World War II veterans seeking an education. In 1974, the school of Business became the College of Business. The school, then college, expanded rapidly during the administrations of former Deans Charles A. Rovetta and E. Ray Solomon, moving into new facilities, adding programs and increasing enrollment.\n\u003cbr\u003e\u003cbr\u003eAmong Rovetta's earliest priorities were accreditation of the School of Business, which he accomplished in 1962, and setting up the first health insurance program for faculty members at FSU. Under Rovetta's prodding, the 1955 Legislature appropriated $1 million to build a new home for the School of Business, which opened in 1958. The building, which underwent a $9 million expansion and renovation starting in 1982, today bears Rovetta's name. During Rovetta's 20-year tenure as dean, the school added master's and doctoral programs in business administration and set up an off-campus program at Cape Kennedy to train space scientists in management.\n\u003cbr\u003e\u003cbr\u003eWhen Rovetta retired as dean in 1973, Solomon was named his successor. Solomon served as dean until June of 1991. During his tenure, Solomon established an alumni association and set up the college's first fund-raising program, created endowed chairs, raised salaries and increased research funding. Another highlight of his 17-year tenure as dean was the decision in 1982 to raise academic standards. Over a period of time, he increased the grade point average required for admission to the college to 2.6.\u0026#xA0; Solomon also established the Small Business Institute, offering the expertise of the college's faculty and students to small businesses.\n\u003cbr\u003e\u003cbr\u003eFollowing his retirement, Melvin Stith, chairman of the marketing department, was promoted to dean. He will retire at the end of the Fall 2004 semester. Stith' accomplishments included a 12,000-square-foot technology center offering students access to the latest high-tech equipment, the opening of the Jim Moran Institute for Global Entrepreneurship, the Executive Management Program to train mid-level managers, and the Distinguished Speaker Series, which brings business leaders to campus to interact with students.\n\u003cbr\u003e\u003cbr\u003eTHE FSU FLYING HIGH CIRCUS\n\u003cbr\u003e\u003cbr\u003eThe Florida State University Flying High Circus is the country's only collegiate circus.\u0026#xA0; It was organized in 1947 by Jack Haskin.\u0026#xA0; The first circus show on campus\u0026#xA0; was held in 1948 with 45 performers in an old Army gymnasium. During the 1950s, circus performances were held outdoors at night, without a tent, in the campus football stadium.\u0026#xA0; The first performance under a tent came in 1960 when the circus rented a tent from Sarasota High School for the annual May campus homeshows. The following year, the Circus obtained its own three-ring tent with a seating capacity of 3,000. Since 1962, the circus has had hours of nation-wide television coverage by participating in the CBS \"Sports Spectacular\" series.\u0026#xA0; Under the direction of Ad Gilbert, the Circus spent four weeks touring major cities of Europe in the Spring of 1964.\n\u003cbr\u003e\u003cbr\u003eThe Flying High Circus is a self-supporting activity. No student activity fees, tuition payments, university or state funds go towards circus activities. Unlike many other athletic endeavors, the students receive no tuition waivers or university scholarships for their long hours of practice or the nationally famous shows that bring credit to FSU. The acts in the Flying High Circus have evolved from \"circus activity\" to \"circus professionalism\". Performances are often of so high a caliber that professional contracts are sometimes offered to student performers, especially on the flying trapeze.\u0026#xA0; Examples include the triple somersault on the flying trapeze (accomplished by two performers at FSU), the seven-man pyramid on the high wire (which has only been performed by two other groups), double back somersaults on the skypole and many more. Some acts are unique to the FSU Circus or are only done rarely elsewhere such as triple aerial high casting and the three-lane breakaway. Other acts are traditional circus classics. There are no animal acts in the Circus.\n\u003cbr\u003e\u003cbr\u003eHOMECOMING\n\u003cbr\u003e\u003cbr\u003eHomecoming is an alumni program.\u0026#xA0; Spanning a three-day period, it includes a pep rally, parade, alumni class reunions, a banquet, a free faculty concert, the Pow Wow, a student entertainment attraction, alumni breakfast, the ODK \"Grads Made Good\" presentations, awards presented by Garnet and Gold Key honoraries, a baseball game, the alumni barbecue, the naming of the Homecoming Seminole Chief and Process, and entertainment after the Saturday football game.\u0026#xA0; During the Homecoming parade, the Florida State Marching Chiefs lead the area high school bands, floats and campus organizations through the streets of downtown Tallahassee.\u0026#xA0; The University Homecoming Pow Wow, a large outdoor student entertainment attraction, is open to students, townspeople, alumni and their families.\n\u003cbr\u003e\u003cbr\u003eTHE FSU SCHOOL OF THEATRE\n\u003cbr\u003e\u003cbr\u003eThe Florida State University School of Theatre is consistently recognized as one of the finest theatre programs in the nation.\u0026#xA0; Alumni of the School are working in theatre and other related fields throughout the United States and in many foreign countries. Its distinguished national reputation has been recognized in the gifts of two million-dollar Eminent Scholar Chairs.\u0026#xA0; The Burt Reynolds Chair for Professional and Regional Theatre serves to develop and enhance the School's professional programs throughout the State.\u0026#xA0; The Marion O. Hoffman Chair enables the School to bring to the campus internationally-respected theatre artists and teachers for short-term residences to work with students and to practice their creative art.\n\u003cbr\u003e\u003cbr\u003eThree theatres --- the Mainstage, the Studio Theatre, and the Lab Theatre, a \"black box\" theatre --- enable students to participate in the widest possible range of productions.\u0026#xA0; Productions of masterpieces of dramatic literature and musical theatre regularly highlight the offerings of the School of Theatre in the three theatres.\u0026#xA0; The Mainstage Season consists of 4 major productions, while 10 shows annually are produced in the Studio Theatre or in the Lab. Internships are available through the School's ongoing cooperative relationship with professional theatres around the nation.\u0026#xA0; The School has a successful cooperative program with the School of Music and the Department of Dance at FSU.\u003c/p\u003e"]}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/cd47e6ad97695fdc678be0a9_aspace_15377"}},{"id":"2868ee54af3563fe2f0377c1_aspace_123522","type":"Item","attributes":{"title":"Who Needs (India)(Pakistan)(America) Anyway?, 1999","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/2868ee54af3563fe2f0377c1_aspace_123522#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003ePhotocopy, discusses various conflicts within countries\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/2868ee54af3563fe2f0377c1_aspace_123522#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_123522","ref_ssm":["aspace_123522","aspace_123522"],"id":"2868ee54af3563fe2f0377c1_aspace_123522","title_filing_ssi":"Who Needs (India)(Pakistan)(America) Anyway?","title_ssm":["Who Needs (India)(Pakistan)(America) Anyway?"],"title_tesim":["Who Needs (India)(Pakistan)(America) Anyway?"],"unitdate_other_ssim":["1999"],"normalized_date_ssm":["1999"],"normalized_title_ssm":["Who Needs (India)(Pakistan)(America) Anyway?, 1999"],"text":["Who Needs (India)(Pakistan)(America) Anyway?, 1999","Dr. Heather T. 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It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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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.","Topical","Heather T. Frazer (1940 – 2016) was a professor of history at Florida Atlantic University. After graduating from Connecticut College for her undergraduate studies, she attained a M.A. and Ph.D. from Duke University in South Asian History. In 1971, she became the first female faculty member in the FAU history department where she taught for 35 years before retiring in 2006. During her tenure she served as Department Chair and Director of Graduate Studies. She also pioneered the study of women's history at FAU, helping establish the Women's Studies program, which is now the Center for Women, Gender and Sexuality Studies. Dr. Frazer taught courses in women's history, modern Britain and British Empire, Indian history, and oral history. She researched and published in the fields of India and women's history, and co-authored with her colleague, Dr. John O'Sullivan,  We Have Just Begun to Not  Fight: An Oral History of Conscientious Objectors in Civilian Public Service during World War II  (1996). In 1988, she received a Fulbright Fellowship and spent part of the year in India. In 1990, she was selected FAU's Distinguished Teacher of the Year, the highest teaching award conferred by the university, and one selected exclusively by the students. Upon her retirement she was named Professor Emerita of History.","Materials in the collections are to be used for private study, scholarship, or research in accord with the copyright law of the United States (Title 17, United States Code). FAU Libraries adhere to all conditions specified in the law when providing reproductions of copyrighted material. Any subsequent use of a reproduction in excess of \" fair use,\" may result in the user's liability for copyright infringement.","When using electronic copies or images, please keep in mind that copyright law applies. It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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It is the responsibility of the researcher to obtain copyright permission from the rights holder when copying material in excess of fair use. Restriction in the copying of materials may be imposed if the researcher does not have written permission from the rights holder.","Should the researcher use or reproduce special collections material when submitting or publishing his or her own writing or research, the author should credit Florida Atlantic University Libraries Special Collections. If research at FAU Special Collections results in publication, we would appreciate citation information that would allow us to reference that work to future researchers. 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In addition, selected materials are digitized and available electronically through the Digital Library."],"arrangement_html_tesm":["\u003cp\u003eTopical\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["Topical"],"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."],"scopecontent_html_tesm":["\u003cp\u003eHeather T. Frazer (1940 \u0026#x2013; 2016) was a professor of history at Florida Atlantic University. After graduating from Connecticut College for her undergraduate studies, she attained a M.A. and Ph.D. from Duke University in South Asian History. In 1971, she became the first female faculty member in the FAU history department where she taught for 35 years before retiring in 2006. During her tenure she served as Department Chair and Director of Graduate Studies. She also pioneered the study of women's history at FAU, helping establish the Women's Studies program, which is now the Center for Women, Gender and Sexuality Studies. Dr. Frazer taught courses in women's history, modern Britain and British Empire, Indian history, and oral history. She researched and published in the fields of India and women's history, and co-authored with her colleague, Dr. John O'Sullivan, \u003cemph render=\"italic\"\u003eWe Have Just Begun to Not  Fight: An Oral History of Conscientious Objectors in Civilian Public Service during World War II\u003c/emph\u003e (1996). In 1988, she received a Fulbright Fellowship and spent part of the year in India. In 1990, she was selected FAU's Distinguished Teacher of the Year, the highest teaching award conferred by the university, and one selected exclusively by the students. Upon her retirement she was named Professor Emerita of History.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Heather T. Frazer (1940 – 2016) was a professor of history at Florida Atlantic University. After graduating from Connecticut College for her undergraduate studies, she attained a M.A. and Ph.D. from Duke University in South Asian History. In 1971, she became the first female faculty member in the FAU history department where she taught for 35 years before retiring in 2006. During her tenure she served as Department Chair and Director of Graduate Studies. She also pioneered the study of women's history at FAU, helping establish the Women's Studies program, which is now the Center for Women, Gender and Sexuality Studies. Dr. Frazer taught courses in women's history, modern Britain and British Empire, Indian history, and oral history. She researched and published in the fields of India and women's history, and co-authored with her colleague, Dr. John O'Sullivan,  We Have Just Begun to Not  Fight: An Oral History of Conscientious Objectors in Civilian Public Service during World War II  (1996). In 1988, she received a Fulbright Fellowship and spent part of the year in India. In 1990, she was selected FAU's Distinguished Teacher of the Year, the highest teaching award conferred by the university, and one selected exclusively by the students. Upon her retirement she was named Professor Emerita of History."],"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). 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(1/2), 1970","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_4040ca136f8598931a172f1e6bc11aab#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eBook with the same title as the folder by Sidney W. Willhelm\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_4040ca136f8598931a172f1e6bc11aab#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_4040ca136f8598931a172f1e6bc11aab","ref_ssm":["aspace_4040ca136f8598931a172f1e6bc11aab","aspace_4040ca136f8598931a172f1e6bc11aab"],"id":"017ffe6dc656d61d4bc03ca6_aspace_4040ca136f8598931a172f1e6bc11aab","title_filing_ssi":"Who Needs the Negro? (1/2)","title_ssm":["Who Needs the Negro? (1/2)"],"title_tesim":["Who Needs the Negro? (1/2)"],"unitdate_other_ssim":["1970"],"normalized_date_ssm":["1970"],"normalized_title_ssm":["Who Needs the Negro? (1/2), 1970"],"text":["Who Needs the Negro? (1/2), 1970","William R. Jones Papers, 1953-2009","Paper Documents","29","/repositories/10/archival_objects/249472","box 21","Book with the same title as the folder by Sidney W. Willhelm"],"component_level_isim":[2],"parent_ids_ssim":["017ffe6dc656d61d4bc03ca6","017ffe6dc656d61d4bc03ca6_aspace_05cf3a28b46cb82e48729516abfd3a15"],"parent_unittitles_ssm":["William R. Jones Papers, 1953-2009","Paper Documents"],"parent_unittitles_tesim":["William R. Jones Papers, 1953-2009","Paper Documents"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["29","/repositories/10/archival_objects/249472"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"collection_ssim":["William R. Jones Papers, 1953-2009"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":382,"parent_access_restrict_tesm":["Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library."],"parent_access_terms_tesm":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"containers_ssim":["box 21"],"scopecontent_html_tesm":["\u003cp\u003eBook with the same title as the folder by Sidney W. Willhelm\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Book with the same title as the folder by Sidney W. Willhelm"],"_nest_path_":"/components#0/components#380","_nest_parent_":"017ffe6dc656d61d4bc03ca6_aspace_05cf3a28b46cb82e48729516abfd3a15","_root_":"017ffe6dc656d61d4bc03ca6","timestamp":"2026-07-10T05:18:33.704Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"017ffe6dc656d61d4bc03ca6","title_filing_ssi":"Jones, William R. Papers","title_ssm":["William R. Jones Papers"],"title_tesim":["William R. Jones Papers"],"ead_ssi":"017ffe6dc656d61d4bc03ca6","unitdate_ssm":["1953-2009"],"unitdate_inclusive_ssm":["1953-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2020-001","/repositories/10/resources/1781"],"text":["MSS 2020-001","/repositories/10/resources/1781","William R. Jones Papers, 1953-2009","Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library.","unarranged","Rev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph  Is God A White Racist? , as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).","Jones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.","Jones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.","Jones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.","He was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. ","He became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.","Jones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece,  Is God A White Racist? A Preamble to Black Theology , and in 1978, he co-edited and contributed to the monograph  Black Theology II .","Jones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.","Jones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983–84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. ","\nSources:","American Philosophical Association. (Spring 2013).  APA Newsletters .  https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf","Harper, Daniel. \"William R. Jones: a brief appreciation.\"  https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/","Unitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\"  https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012","Moved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020.","Content of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Jones, William R. (1998).  Is God a white racist? : a preamble to Black theology . Beacon Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588","Jones, William R. (1978).  Black theology II: essays on the formation and outreach of contemporary Black theology . Bucknell University Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090","\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126350a1.sid","\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126348a1.sid","American Humanist Association Records, Library \u0026 Archives, Meadville Lombard Theological Seminary, Chicago, Illinois.  https://www.meadville.edu/library-and-archives","Correspondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.","Select born-digital materials from this collection are available through  PASS .","Select materials from the William R. Jones Papers have been digitized and are available through the  FSU Digital Library .","William R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum.","Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 2020-001","/repositories/10/resources/1781"],"normalized_date_ssm":["1953-2009"],"normalized_title_ssm":["William R. Jones Papers, 1953-2009"],"collection_title_tesim":["William R. Jones Papers, 1953-2009"],"collection_ssim":["William R. Jones Papers, 1953-2009"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"has_online_content_ssim":["false"],"extent_ssm":["138 Linear Feet 136 boxes, 2 items","69 Linear Feet 69 boxes","918 Cassettes 23 boxes","5 Cassettes","920 Cassettes 20 boxes","5 Reels","1188 items 13 boxes, 1 item","3.5 Linear Feet 3 boxes, 1 item","3 Linear Feet 2 boxes"],"extent_tesim":["138 Linear Feet 136 boxes, 2 items","69 Linear Feet 69 boxes","918 Cassettes 23 boxes","5 Cassettes","920 Cassettes 20 boxes","5 Reels","1188 items 13 boxes, 1 item","3.5 Linear Feet 3 boxes, 1 item","3 Linear Feet 2 boxes"],"physfacet_tesim":["Total collection extent","Paper documents","VHS videocassettes. 420 cassettes are unlabeled.","VHS-C videocassettes","Compact audiocassettes. 297 cassettes are unlabeled.","1/4-inch audiotape","Computer media: 3.5 inch disks, 5.25 inch disks, Zip disks, external drives, WinBook laptop computer, iomega jaz disk, Colorado DT-250 minicassette, DVD-R, DC-2120 mini cartridge, adapters","plaques, framed items, keepsakes","Books"],"dimensions_tesim":["7-inch reels"],"date_range_isim":[1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eMost paper files are still arranged as-received and difficult to handle routinely.\u003c/p\u003e\n","\u003cp\u003eSee also Technical Access note below.\u003c/p\u003e\n","\u003cp\u003eContact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. \u003c/p\u003e\n","\u003cp\u003eUsers may access this collection at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eunarranged\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["unarranged"],"bioghist_html_tesm":["\u003cp\u003eRev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph \u003cemph render=\"italic\"\u003eIs God A White Racist?\u003c/emph\u003e, as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).\u003c/p\u003e\n","\u003cp\u003eJones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.\u003c/p\u003e\n","\u003cp\u003eJones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.\u003c/p\u003e\n","\u003cp\u003eJones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.\u003c/p\u003e\n","\u003cp\u003eHe was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. \u003c/p\u003e\n","\u003cp\u003eHe became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.\u003c/p\u003e\n","\u003cp\u003eJones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece, \u003cemph render=\"italic\"\u003eIs God A White Racist? A Preamble to Black Theology\u003c/emph\u003e, and in 1978, he co-edited and contributed to the monograph \u003cemph render=\"italic\"\u003eBlack Theology II\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eJones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.\u003c/p\u003e\n","\u003cp\u003eJones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983\u0026#x2013;84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. \u003c/p\u003e\n","\u003cp\u003e\nSources:\u003c/p\u003e\n","\u003cp\u003eAmerican Philosophical Association. (Spring 2013). \u003cemph render=\"italic\"\u003eAPA Newsletters\u003c/emph\u003e. \u003cextref href=\"https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf\"\u003ehttps://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eHarper, Daniel. \"William R. Jones: a brief appreciation.\" \u003cextref href=\"https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/\"\u003ehttps://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eUnitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\" \u003cextref href=\"https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012\"\u003ehttps://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Rev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph  Is God A White Racist? , as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).","Jones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.","Jones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.","Jones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.","He was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. ","He became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.","Jones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece,  Is God A White Racist? A Preamble to Black Theology , and in 1978, he co-edited and contributed to the monograph  Black Theology II .","Jones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.","Jones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983–84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. ","\nSources:","American Philosophical Association. (Spring 2013).  APA Newsletters .  https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf","Harper, Daniel. \"William R. Jones: a brief appreciation.\"  https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/","Unitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\"  https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012"],"custodhist_html_tesm":["\u003cp\u003eMoved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Moved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020."],"phystech_html_tesm":["\u003cp\u003eContent of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Access"],"phystech_tesim":["Content of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder Number], William R. Jones Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"https://purl.lib.fsu.edu/fa/MSS_2020-001\"\u003ehttps://purl.lib.fsu.edu/fa/MSS_2020-001\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder Number], William R. Jones Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  https://purl.lib.fsu.edu/fa/MSS_2020-001"],"relatedmaterial_html_tesm":["\u003cp\u003eJones, William R. (1998). \u003cemph render=\"italic\"\u003eIs God a white racist? : a preamble to Black theology\u003c/emph\u003e. Beacon Press. \u003cextref href=\"https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588\"\u003ehttps://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eJones, William R. (1978). \u003cemph render=\"italic\"\u003eBlack theology II: essays on the formation and outreach of contemporary Black theology\u003c/emph\u003e. Bucknell University Press. \u003cextref href=\"https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090\"\u003ehttps://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003e\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026amp; University Archives. \u003cextref href=\"http://purl.flvc.org/fcla/herb/126350a1.sid\"\u003ehttp://purl.flvc.org/fcla/herb/126350a1.sid\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026amp; University Archives. \u003cextref href=\"http://purl.flvc.org/fcla/herb/126348a1.sid\"\u003ehttp://purl.flvc.org/fcla/herb/126348a1.sid\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eAmerican Humanist Association Records, Library \u0026amp; Archives, Meadville Lombard Theological Seminary, Chicago, Illinois. \u003cextref href=\"https://www.meadville.edu/library-and-archives/\"\u003ehttps://www.meadville.edu/library-and-archives\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Works By William R. Jones At FSU Libraries","Related Materials - FSU Special Collections \u0026 Archives","Related Materials - Beyond FSU Libraries"],"relatedmaterial_tesim":["Jones, William R. (1998).  Is God a white racist? : a preamble to Black theology . Beacon Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588","Jones, William R. (1978).  Black theology II: essays on the formation and outreach of contemporary Black theology . Bucknell University Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090","\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126350a1.sid","\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126348a1.sid","American Humanist Association Records, Library \u0026 Archives, Meadville Lombard Theological Seminary, Chicago, Illinois.  https://www.meadville.edu/library-and-archives"],"scopecontent_html_tesm":["\u003cp\u003eCorrespondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.\u003c/p\u003e","\u003cp\u003eSelect born-digital materials from this collection are available through \u003cextref href=\"http://pass.lib.fsu.edu/#Jones-MSS_2020-001/\"\u003ePASS\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eSelect materials from the William R. Jones Papers have been digitized and are available through the \u003cextref href=\"https://repository.lib.fsu.edu/islandora/object/fsu:williamrjonespapers\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available","Online Copies Available"],"scopecontent_tesim":["Correspondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.","Select born-digital materials from this collection are available through  PASS .","Select materials from the William R. Jones Papers have been digitized and are available through the  FSU Digital Library ."],"separatedmaterial_html_tesm":["\u003cp\u003eWilliam R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["William R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum."],"userestrict_html_tesm":["\u003cp\u003eCopyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e\n","\u003cp\u003eCopyright terms for unpublished works by William R. Jones will expire on January 1, 2083.\u003c/p\u003e\n","\u003cp\u003eCopyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2768,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"017ffe6dc656d61d4bc03ca6","timestamp":"2026-07-10T05:18:33.704Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_4040ca136f8598931a172f1e6bc11aab"}},{"id":"017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969","type":"File","attributes":{"title":"Who Needs the Negro? (2/2), 1970","abstract_or_scope":{"id":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969#abstract_or_scope","type":"document_value","attributes":{"value":["\u003cp\u003eThe rest of Sidney W. Willhelm's book\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_e6a3f68143556eccd5dadf5c5c1a7969","ref_ssm":["aspace_e6a3f68143556eccd5dadf5c5c1a7969","aspace_e6a3f68143556eccd5dadf5c5c1a7969"],"id":"017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969","title_filing_ssi":"Who Needs the Negro? (2/2)","title_ssm":["Who Needs the Negro? (2/2)"],"title_tesim":["Who Needs the Negro? (2/2)"],"unitdate_other_ssim":["1970"],"normalized_date_ssm":["1970"],"normalized_title_ssm":["Who Needs the Negro? (2/2), 1970"],"text":["Who Needs the Negro? (2/2), 1970","William R. Jones Papers, 1953-2009","Paper Documents","30","/repositories/10/archival_objects/249473","box 21","The rest of Sidney W. 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","Users may access this collection at the Claude Pepper Library."],"parent_access_terms_tesm":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"containers_ssim":["box 21"],"scopecontent_html_tesm":["\u003cp\u003eThe rest of Sidney W. Willhelm's book\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The rest of Sidney W. Willhelm's book"],"_nest_path_":"/components#0/components#381","_nest_parent_":"017ffe6dc656d61d4bc03ca6_aspace_05cf3a28b46cb82e48729516abfd3a15","_root_":"017ffe6dc656d61d4bc03ca6","timestamp":"2026-07-10T05:18:33.704Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"017ffe6dc656d61d4bc03ca6","title_filing_ssi":"Jones, William R. Papers","title_ssm":["William R. Jones Papers"],"title_tesim":["William R. Jones Papers"],"ead_ssi":"017ffe6dc656d61d4bc03ca6","unitdate_ssm":["1953-2009"],"unitdate_inclusive_ssm":["1953-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 2020-001","/repositories/10/resources/1781"],"text":["MSS 2020-001","/repositories/10/resources/1781","William R. Jones Papers, 1953-2009","Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library.","unarranged","Rev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph  Is God A White Racist? , as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).","Jones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.","Jones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.","Jones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.","He was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. ","He became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.","Jones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece,  Is God A White Racist? A Preamble to Black Theology , and in 1978, he co-edited and contributed to the monograph  Black Theology II .","Jones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.","Jones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983–84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. ","\nSources:","American Philosophical Association. (Spring 2013).  APA Newsletters .  https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf","Harper, Daniel. \"William R. Jones: a brief appreciation.\"  https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/","Unitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\"  https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012","Moved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020.","Content of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Jones, William R. (1998).  Is God a white racist? : a preamble to Black theology . Beacon Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588","Jones, William R. (1978).  Black theology II: essays on the formation and outreach of contemporary Black theology . Bucknell University Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090","\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126350a1.sid","\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126348a1.sid","American Humanist Association Records, Library \u0026 Archives, Meadville Lombard Theological Seminary, Chicago, Illinois.  https://www.meadville.edu/library-and-archives","Correspondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.","Select born-digital materials from this collection are available through  PASS .","Select materials from the William R. Jones Papers have been digitized and are available through the  FSU Digital Library .","William R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum.","Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.","FSU Special Collections \u0026 Archives","English"],"unitid_tesim":["MSS 2020-001","/repositories/10/resources/1781"],"normalized_date_ssm":["1953-2009"],"normalized_title_ssm":["William R. Jones Papers, 1953-2009"],"collection_title_tesim":["William R. Jones Papers, 1953-2009"],"collection_ssim":["William R. Jones Papers, 1953-2009"],"repository_ssm":["FSU Special Collections \u0026 Archives"],"repository_ssim":["FSU Special Collections \u0026 Archives"],"access_terms_ssm":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"has_online_content_ssim":["false"],"extent_ssm":["138 Linear Feet 136 boxes, 2 items","69 Linear Feet 69 boxes","918 Cassettes 23 boxes","5 Cassettes","920 Cassettes 20 boxes","5 Reels","1188 items 13 boxes, 1 item","3.5 Linear Feet 3 boxes, 1 item","3 Linear Feet 2 boxes"],"extent_tesim":["138 Linear Feet 136 boxes, 2 items","69 Linear Feet 69 boxes","918 Cassettes 23 boxes","5 Cassettes","920 Cassettes 20 boxes","5 Reels","1188 items 13 boxes, 1 item","3.5 Linear Feet 3 boxes, 1 item","3 Linear Feet 2 boxes"],"physfacet_tesim":["Total collection extent","Paper documents","VHS videocassettes. 420 cassettes are unlabeled.","VHS-C videocassettes","Compact audiocassettes. 297 cassettes are unlabeled.","1/4-inch audiotape","Computer media: 3.5 inch disks, 5.25 inch disks, Zip disks, external drives, WinBook laptop computer, iomega jaz disk, Colorado DT-250 minicassette, DVD-R, DC-2120 mini cartridge, adapters","plaques, framed items, keepsakes","Books"],"dimensions_tesim":["7-inch reels"],"date_range_isim":[1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eMost paper files are still arranged as-received and difficult to handle routinely.\u003c/p\u003e\n","\u003cp\u003eSee also Technical Access note below.\u003c/p\u003e\n","\u003cp\u003eContact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. \u003c/p\u003e\n","\u003cp\u003eUsers may access this collection at the Claude Pepper Library.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most paper files are still arranged as-received and difficult to handle routinely.","See also Technical Access note below.","Contact SCA staff at lib-specialcollections@fsu.edu for more information about access to this collection. ","Users may access this collection at the Claude Pepper Library."],"arrangement_html_tesm":["\u003cp\u003eunarranged\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["unarranged"],"bioghist_html_tesm":["\u003cp\u003eRev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph \u003cemph render=\"italic\"\u003eIs God A White Racist?\u003c/emph\u003e, as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).\u003c/p\u003e\n","\u003cp\u003eJones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.\u003c/p\u003e\n","\u003cp\u003eJones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.\u003c/p\u003e\n","\u003cp\u003eJones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.\u003c/p\u003e\n","\u003cp\u003eHe was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. \u003c/p\u003e\n","\u003cp\u003eHe became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.\u003c/p\u003e\n","\u003cp\u003eJones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece, \u003cemph render=\"italic\"\u003eIs God A White Racist? A Preamble to Black Theology\u003c/emph\u003e, and in 1978, he co-edited and contributed to the monograph \u003cemph render=\"italic\"\u003eBlack Theology II\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eJones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.\u003c/p\u003e\n","\u003cp\u003eJones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983\u0026#x2013;84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. \u003c/p\u003e\n","\u003cp\u003e\nSources:\u003c/p\u003e\n","\u003cp\u003eAmerican Philosophical Association. (Spring 2013). \u003cemph render=\"italic\"\u003eAPA Newsletters\u003c/emph\u003e. \u003cextref href=\"https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf\"\u003ehttps://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eHarper, Daniel. \"William R. Jones: a brief appreciation.\" \u003cextref href=\"https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/\"\u003ehttps://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eUnitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\" \u003cextref href=\"https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012\"\u003ehttps://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012\u003c/extref\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Rev. Dr. William Ronald \"Bill\" Jones (1933-2012) was an African American philosopher, scholar, and professor. His scholarly interests included philosophy, Blacks in the field of philosophy, racism, theodicy and Christian theism, Black theology, and especially the operation of oppressive structures in American society. Jones is well-known for his 1973 monograph  Is God A White Racist? , as well as the oppression investigation tools the Jones Analytic Model (JAM) and Jones Oppression Grid (JOG).","Jones was born July 17, 1933 in Louisville, Kentucky. He was one of six children born to to Henry W. Jones and Lannie (Brogsdale) Jones.","Jones attended Howard University, where he initially majored in engineering before transferring to philosophy. He recieved a BA in philosophy, magna cum laude, from Howard in 1955. Jones earned a Masters of Divinity from Harvard University in 1958.","Jones was ordained by the Unitarian Society of Wellesley Hills, MA on June 15, 1958, and served from 1958-1960 as Assistant Minister and Director of Religious Education at the all-white First Unitarian Church in Providence, Rhode Island.","He was a visiting professor at Howard from 1964-1969 while concurrently working on a PhD in Religious Studies at Brown University, completed in 1969. Jones taught at Yale Divinity School from 1969-1977, and was coordinator of Black Studies there from 1974-1976. ","He became Professor of Religion and the founding director of Black Studies at Florida State University (FSU) in 1977. He served as a community minister at FSU as well.","Jones authored articles regarding oppression and the church's role in social change. In 1973, Beacon Press published Jones's controversial piece,  Is God A White Racist? A Preamble to Black Theology , and in 1978, he co-edited and contributed to the monograph  Black Theology II .","Jones retired from Florida State University in 1999 as Professor Emeritus. He died in Tallahassee, Florida on Friday, July 13, 2012.","Jones was recipient of many awards, including: the African American Studies and Research Center Award for Outstanding Contribution to Philosophy and the African American Community from Purdue University; Distinguished Visiting Professor in Afro-American Studies at Lafayette College in 1983–84; first recipient of the William R. Jones Most Valuable Mentor Award, established by the Florida Endowment Fund for Higher Education to recognize the contribution of faculty members in the state of Florida university system to McKnight Black doctoral students; Florida State University Faculty Teaching Award in 1989 and 1994; state of Florida Ida S. Baker Black Distinguished Educator Recognition Award; Richard Allen Award from Yale Divinity School; Bragg Humanist of the Year; American Humanist Association Humanist Pioneer of the Year; and the first recipient of the Martin Luther King Jr. Distinguished Scholar Award. In 2008, at the Fifteenth Annual Philosophy Born of Struggle Conference, Jones received its first William R. Jones Award, established in his honor for a lifetime of achievement. ","\nSources:","American Philosophical Association. (Spring 2013).  APA Newsletters .  https://cdn.ymaws.com/www.apaonline.org/resource/collection/950518C1-3421-484C-8153-CDA6ED737182/V12n2Black.pdf","Harper, Daniel. \"William R. Jones: a brief appreciation.\"  https://www.danielharper.org/yauu/2012/08/william-r-jones-a-brief-appreciation/","Unitarian Universalist Ministers Association. \"In Memory of . . . William R. Jones (1933-2012).\"  https://www.uuma.org/blogpost/569858/147952/In-Memory-of----William-R-Jones-1933-2012"],"custodhist_html_tesm":["\u003cp\u003eMoved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Moved by FSU Libraries and Meek-Eaton Black Archives from Jones home in Tallahassee to Meek-Eaton Black Archives Research Center and Museum November 29, 2013.\nMoved from Meek-Eaton to Strozier Library in October and November 2020."],"phystech_html_tesm":["\u003cp\u003eContent of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Access"],"phystech_tesim":["Content of sound recordings, videocassettes, and computer media may not be immediately accessible to researchers. For more information, please contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu."],"prefercite_html_tesm":["\u003cp\u003e[Title of Item], [Date of Item], [Box and Folder Number], William R. Jones Papers, Special Collections \u0026amp; Archives, Florida State University Libraries, Tallahassee, Florida. \u003cextref href=\"https://purl.lib.fsu.edu/fa/MSS_2020-001\"\u003ehttps://purl.lib.fsu.edu/fa/MSS_2020-001\u003c/extref\u003e\u003c/p\u003e"],"prefercite_tesim":["[Title of Item], [Date of Item], [Box and Folder Number], William R. Jones Papers, Special Collections \u0026 Archives, Florida State University Libraries, Tallahassee, Florida.  https://purl.lib.fsu.edu/fa/MSS_2020-001"],"relatedmaterial_html_tesm":["\u003cp\u003eJones, William R. (1998). \u003cemph render=\"italic\"\u003eIs God a white racist? : a preamble to Black theology\u003c/emph\u003e. Beacon Press. \u003cextref href=\"https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588\"\u003ehttps://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003eJones, William R. (1978). \u003cemph render=\"italic\"\u003eBlack theology II: essays on the formation and outreach of contemporary Black theology\u003c/emph\u003e. Bucknell University Press. \u003cextref href=\"https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090\"\u003ehttps://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003e\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026amp; University Archives. \u003cextref href=\"http://purl.flvc.org/fcla/herb/126350a1.sid\"\u003ehttp://purl.flvc.org/fcla/herb/126350a1.sid\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026amp; University Archives. \u003cextref href=\"http://purl.flvc.org/fcla/herb/126348a1.sid\"\u003ehttp://purl.flvc.org/fcla/herb/126348a1.sid\u003c/extref\u003e\u003c/p\u003e","\u003cp\u003eAmerican Humanist Association Records, Library \u0026amp; Archives, Meadville Lombard Theological Seminary, Chicago, Illinois. \u003cextref href=\"https://www.meadville.edu/library-and-archives/\"\u003ehttps://www.meadville.edu/library-and-archives\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Works By William R. Jones At FSU Libraries","Related Materials - FSU Special Collections \u0026 Archives","Related Materials - Beyond FSU Libraries"],"relatedmaterial_tesim":["Jones, William R. (1998).  Is God a white racist? : a preamble to Black theology . Beacon Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS022184588","Jones, William R. (1978).  Black theology II: essays on the formation and outreach of contemporary Black theology . Bucknell University Press.  https://fsu.catalog.fcla.edu/permalink.jsp?23FS024391090","\"Jones, Williams - Black Studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126350a1.sid","\"Jones, William Dr. - Black studies\" [Photograph]. Florida State University Historical Photograph Collection, Heritage \u0026 University Archives.  http://purl.flvc.org/fcla/herb/126348a1.sid","American Humanist Association Records, Library \u0026 Archives, Meadville Lombard Theological Seminary, Chicago, Illinois.  https://www.meadville.edu/library-and-archives"],"scopecontent_html_tesm":["\u003cp\u003eCorrespondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.\u003c/p\u003e","\u003cp\u003eSelect born-digital materials from this collection are available through \u003cextref href=\"http://pass.lib.fsu.edu/#Jones-MSS_2020-001/\"\u003ePASS\u003c/extref\u003e.\u003c/p\u003e","\u003cp\u003eSelect materials from the William R. Jones Papers have been digitized and are available through the \u003cextref href=\"https://repository.lib.fsu.edu/islandora/object/fsu:williamrjonespapers\"\u003eFSU Digital Library\u003c/extref\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Online Copies Available","Online Copies Available"],"scopecontent_tesim":["Correspondence, subject files, publications, course materials, sound recordings, videocassettes, and digital media documenting the scholarship, instruction, and faculty service of Rev. Dr. William R. Jones. Major subjects include racism and oppression in the United States, Black liberation theology, and Florida State University units including the Department of Religion and the African American Studies program.","Select born-digital materials from this collection are available through  PASS .","Select materials from the William R. Jones Papers have been digitized and are available through the  FSU Digital Library ."],"separatedmaterial_html_tesm":["\u003cp\u003eWilliam R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["William R. Jones Book Collection, Meek-Eaton Black Archives Research Center and Museum."],"userestrict_html_tesm":["\u003cp\u003eCopyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026amp; Archives staff at lib-specialcollections@fsu.edu.\u003c/p\u003e\n","\u003cp\u003eCopyright terms for unpublished works by William R. Jones will expire on January 1, 2083.\u003c/p\u003e\n","\u003cp\u003eCopyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyrights in works by William R. Jones in this collection are held by Florida State University. For permission to re-use content beyond Fair Use, contact Special Collections \u0026 Archives staff at lib-specialcollections@fsu.edu.","Copyright terms for unpublished works by William R. Jones will expire on January 1, 2083.","Copyright restrictions may apply to other works in this collection. Re-use or copying beyond Fair Use may require permission from the rights-holder. Please contact lib-specialcollections@fsu.edu for more information."],"names_ssim":["FSU Special Collections \u0026 Archives"],"corpname_ssim":["FSU Special Collections \u0026 Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2768,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"017ffe6dc656d61d4bc03ca6","timestamp":"2026-07-10T05:18:33.704Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/017ffe6dc656d61d4bc03ca6_aspace_e6a3f68143556eccd5dadf5c5c1a7969"}},{"id":"1ac4ca82cbf9f71c689e9408_aspace_156990","type":"File","attributes":{"title":"Who Needs To Love Forever?","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/1ac4ca82cbf9f71c689e9408_aspace_156990#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_156990","ref_ssm":["aspace_156990","aspace_156990"],"id":"1ac4ca82cbf9f71c689e9408_aspace_156990","title_filing_ssi":"Who Needs To Love Forever?","title_ssm":["Who Needs To Love Forever?"],"title_tesim":["Who Needs To Love Forever?"],"normalized_title_ssm":["Who Needs To Love Forever?"],"text":["Who Needs To Love Forever?","Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Poetry","Some Poems for My Friends, 2014-2017","Folder 52","/repositories/2/archival_objects/8665","box 1","folder 52"],"component_level_isim":[4],"parent_ids_ssim":["1ac4ca82cbf9f71c689e9408","1ac4ca82cbf9f71c689e9408_aspace_156854","1ac4ca82cbf9f71c689e9408_aspace_156856","1ac4ca82cbf9f71c689e9408_aspace_157010"],"parent_unittitles_ssm":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Poetry","Some Poems for My Friends, 2014-2017"],"parent_unittitles_tesim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Digital Dreams","Digital Dreams: Poetry","Some Poems for My Friends, 2014-2017"],"parent_levels_ssm":["collection","Box","Item","Series"],"unitid_ssm":["Folder 52","/repositories/2/archival_objects/8665"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"collection_ssim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":139,"parent_access_terms_tesm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information."],"containers_ssim":["box 1","folder 52"],"_nest_path_":"/components#0/components#1/components#4/components#37","_nest_parent_":"1ac4ca82cbf9f71c689e9408_aspace_157010","_root_":"1ac4ca82cbf9f71c689e9408","timestamp":"2026-07-10T04:34:20.107Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"1ac4ca82cbf9f71c689e9408","title_ssm":["Randy Jones Digital Dreams"],"title_tesim":["Randy Jones Digital Dreams"],"ead_ssi":"1ac4ca82cbf9f71c689e9408","unitdate_ssm":["2013-2017","2017","Date acquired: 00/00/2017"],"unitdate_bulk_ssim":["2017"],"unitdate_inclusive_ssm":["2013-2017"],"unitdate_other_ssim":["Date acquired: 00/00/2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-2017-03","/repositories/2/resources/46"],"text":["MS-2017-03","/repositories/2/resources/46","Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017","Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists","These items are bound collections maintained in the original arrangment.","Randy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026 Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.","Note written by Randy Jones","published","processed","This collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid.","None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information.","This collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\"","USF Libraries - Tampa Special Collections","Jones, Randy","English"],"unitid_tesim":["MS-2017-03","/repositories/2/resources/46"],"normalized_date_ssm":["2013-2017, Date acquired: 00/00/2017, bulk 2017"],"normalized_title_ssm":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"collection_title_tesim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"collection_ssim":["Randy Jones Digital Dreams, 2013-2017, Date acquired: 00/00/2017, bulk 2017"],"repository_ssm":["USF Libraries - Tampa Special Collections"],"repository_ssim":["USF Libraries - Tampa Special Collections"],"creator_ssm":["Jones, Randy"],"creator_ssim":["Jones, Randy"],"creator_persname_ssim":["Jones, Randy"],"creators_ssim":["Jones, Randy"],"access_terms_ssm":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"acqinfo_ssim":["Randy Jones","Donation."],"access_subjects_ssim":["Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists"],"access_subjects_ssm":["Photography -- Digital techniques","Poetry","Gay culture","Gay men's writings, American","Artists"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet","1 boxes"],"extent_tesim":["0.21 Linear Feet","1 boxes"],"date_range_isim":[2013,2014,2015,2016,2017],"arrangement_html_tesm":["\u003cp\u003eThese items are bound collections maintained in the original arrangment.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["These items are bound collections maintained in the original arrangment."],"bioghist_html_tesm":["\u003cp\u003eRandy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026amp; Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.\u003c/p\u003e\n","\u003cp\u003eNote written by Randy Jones\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Randy Jones was born and grew up in Columbus, Ohio, and has been making art all of his life. After receiving a B.F.A. from the Columbus College of Art \u0026 Design, Jones worked for a number of years as an advertising artist. As a fine artist, he chaired and organized \"A Digital Salon\" in Columbus, participated in the Collectors Gallery at the Columbus Museum of Art, NewCAT in Cleveland, an art auction, several private galleries, a card shop, and four solo exhibits in a library. He participated in several galleries locally in Ohio, and his work was shown by Eovia Inc at the Apple Computer Expo in Paris, France. After many years developing his own digital art style on a Macintosh computer and coming up with a name for himself (Digital Dream Studios), Jones is currently seeking the best market for his work--whether through continued gallery representation or publishing. He has been a digital artist for twenty three years.","Note written by Randy Jones"],"odd_html_tesm":["\u003cp\u003epublished\u003c/p\u003e"],"odd_heading_ssm":["Other Descriptive Information"],"odd_tesim":["published"],"processinfo_html_tesm":["\u003cp\u003eprocessed\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["processed"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of a digital art portfolio and poetry collection by Randy Jones. Additional artist information can be found in the abstract and artist's statement portions of this finding aid."],"userestrict_html_tesm":["\u003cp\u003eNone.\u0026#xA0;The contents of the collection may be subject to copyright.\u0026#xA0; Visit the United States Copyright Office's website at \u003cextref href=\"http://www.copyright.gov/\"\u003ehttp://www.copyright.gov/\u003c/extref\u003e for more information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["None. The contents of the collection may be subject to copyright.  Visit the United States Copyright Office's website at  http://www.copyright.gov/  for more information."],"abstract_html_tesm":["\u003cabstract id=\"aspace_afb433d2040bf3f2d68e9fd799b1a54f\" label=\"Abstract\"\u003eThis collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\"\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of digital artwork and poetry from artist Randy Jones, who provides the following statement about the work featured in the Digital Dreams collection:\n\t\"My digital paintings reflect what I respond to. There is joy in the arrangement and design elements and colors within a composition. And there is beauty of varied shape and form. Familiar, comfortable objects like fruit or books express the fragility of the moment, but also becomes something eternal and timeless frozen forever in the picture. \"Durability,\" \"immortality.\" And symbolism. Things I respond to--all objects have significance. Personal and profound symbols. The more we look, the more we see. Most importantly we see that transient beauty can become transformed consciously and subconsciously. It is awareness of response: what do objects on a shelf become for us? Symbols, memories, expressions, feelings. Together with the highest level of my ability the still-life objects in my paintings make my work meaningful. Most of all, my work is therapy for me and an essential part of my recovery.\n\tWhoever you may be reading my poems and viewing my pictures I want to thank you, and I hope you will be pleased and find something worth learning and considering. Much of this new art was created when my life partner, Wilbur T., was diagnosed with lung cancer, ultimately passing away in February of this year after a lengthy nursing center stay. My work covers a range of topics: love, loss, art, memories and finally, hope. Perhaps, you too may find a bit of yourself here.\""],"names_ssim":["USF Libraries - Tampa Special Collections","Jones, Randy"],"corpname_ssim":["USF Libraries - Tampa Special Collections"],"persname_ssim":["Jones, Randy"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":157,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"1ac4ca82cbf9f71c689e9408","timestamp":"2026-07-10T04:34:20.107Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/1ac4ca82cbf9f71c689e9408_aspace_156990"}},{"id":"b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc","type":"File","attributes":{"title":"Whoop-Dee-Doo!, 1994","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_b5f782044e7aff9a064a2287688ba4bc","ref_ssm":["aspace_b5f782044e7aff9a064a2287688ba4bc","aspace_b5f782044e7aff9a064a2287688ba4bc"],"id":"b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc","title_filing_ssi":"Whoop-Dee-Doo!","title_ssm":["Whoop-Dee-Doo!"],"title_tesim":["Whoop-Dee-Doo!"],"unitdate_other_ssim":["1994"],"normalized_date_ssm":["1994"],"normalized_title_ssm":["Whoop-Dee-Doo!, 1994"],"text":["Whoop-Dee-Doo!, 1994","Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN","/repositories/2/archival_objects/78922","box 7","folder 4","object 10"],"component_level_isim":[3],"parent_ids_ssim":["b8bf361dc0d2b04552d16184","b8bf361dc0d2b04552d16184_aspace_c1bdf43498b0305134f7b9c84b63bf0f","b8bf361dc0d2b04552d16184_aspace_a57adee4e5fd4941f31b0aa141a87252"],"parent_unittitles_ssm":["Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN"],"parent_unittitles_tesim":["Louis Miano Theater Collection, 1896-2017","Box 7","Series XLIX: WEI - WIN"],"parent_levels_ssm":["collection","Other level","Series"],"unitid_ssm":["/repositories/2/archival_objects/78922"],"repository_ssim":["FIU Special Collections"],"collection_ssim":["Louis Miano Theater Collection, 1896-2017"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1000,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"date_range_isim":[1994],"containers_ssim":["box 7","folder 4","object 10"],"_nest_path_":"/components#6/components#3/components#9","_nest_parent_":"b8bf361dc0d2b04552d16184_aspace_a57adee4e5fd4941f31b0aa141a87252","_root_":"b8bf361dc0d2b04552d16184","_version_":1870844485139693568,"timestamp":"2026-07-16T04:32:15.452Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"b8bf361dc0d2b04552d16184","title_ssm":["Louis Miano Theater Collection"],"title_tesim":["Louis Miano Theater Collection"],"ead_ssi":"b8bf361dc0d2b04552d16184","unitdate_ssm":["1896-2017"],"unitdate_inclusive_ssm":["1896-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SPC9020","/repositories/2/resources/113"],"text":["SPC9020","/repositories/2/resources/113","Louis Miano Theater Collection, 1896-2017","Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater","Advertising","This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.","The materials are arranged into the following series alphabetically based on the title of the performance:","1.\tAB – AL\n2.\tAM – AN\n3.\tAR – AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR","There are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio","LANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","personal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present.","The materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe.","The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general","FIU Special Collections","English Russian French"],"unitid_tesim":["SPC9020","/repositories/2/resources/113"],"normalized_date_ssm":["1896-2017"],"normalized_title_ssm":["Louis Miano Theater Collection, 1896-2017"],"collection_title_tesim":["Louis Miano Theater Collection, 1896-2017"],"collection_ssim":["Louis Miano Theater Collection, 1896-2017"],"repository_ssm":["FIU Special Collections"],"repository_ssim":["FIU Special Collections"],"geogname_ssm":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"geogname_ssim":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"places_ssim":["Theater","Performing Arts","Performing Arts--Public Relations","Theaters - New York (State)","Theaters -- California","Theaters - South Florida","Theaters -- United Kingdom","Musical Theater"],"access_terms_ssm":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"acqinfo_ssim":["Materials were donated by Louis Miano and others."],"access_subjects_ssim":["Advertising"],"access_subjects_ssm":["Advertising"],"has_online_content_ssim":["false"],"extent_ssm":["8.93 Linear Feet 7 Boxes\n1 Oversize Flat Box"],"extent_tesim":["8.93 Linear Feet 7 Boxes\n1 Oversize Flat Box"],"date_range_isim":[1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact Special Collections \u0026amp; University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact Special Collections \u0026 University Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the SPCUA's ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eThe materials are arranged into the following series alphabetically based on the title of the performance:\u003c/p\u003e\n","\u003cp\u003e1.\tAB \u0026#x2013; AL\n2.\tAM \u0026#x2013; AN\n3.\tAR \u0026#x2013; AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR\u003c/p\u003e\n","\u003cp\u003eThere are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The materials are arranged into the following series alphabetically based on the title of the performance:","1.\tAB – AL\n2.\tAM – AN\n3.\tAR – AU\n4.\tBA - BI\n5.\tBL - BO\n6.\tBR - BU\n7.\tCA\n8.\tCL - CI\n9.\tCO - CU\n10.\tDA - DE\n11.\tDI - DR\n12.\tEA - FA\n13.\tFE - FU\n14.\tGA - GO\n15.\tGR - GY\n16.\tHA - HE\n17.\tHI - HU\n18.\tI\n19.\tJ - K\n20.\tLA\n21.\tLE - LI\n22.\tLL - LU\n23.\tMAC - MAN\n24.\tMAR - MER\n25.\tMIC - MOO\n26.\tMOR - MYS\n27.\tN\n28.\tO\n29.\tPA - PI\n30.\tPL - PY\n31.\tRA - RI\n32.\tRO - RU\n33.\tSAC - SEX\n34.\tSHA - SLE\n35.\tSMA - STU\n36.\tSUB - SWE\n37.\tTAL - THO\n38.\tTHR - TOG\n39.\tTOM - TWE\n40.\tULY - WAL\n41.\tWEI - WIN\n42.\tWIT - ZOR","There are four more series arranged by type of material:\n1. Brochures\n2. Magazines\n3. Ephemera\n4. Audio"],"odd_html_tesm":["\u003cp\u003eLANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.\u003c/p\u003e\n","\u003cp\u003epersonal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present.\u003c/p\u003e"],"odd_heading_ssm":["Harmful Language Statement"],"odd_tesim":["LANGUAGE WARNING: Some titles of plays, advertisements, and articles within the materials contain language that was common in the United States during the 20th century. Outdated language, slurs, and other terms that may be considered harmful or offensive are present.","personal correspondence and newspaper articles contain language that was common in the United States during the late-20th century. Outdated language and other terms that may be considered harmful or offensive are present."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection primarily consist of playbills, showbills, and programs that range from the mid-to-late 20th century and are primarily from the personal collection of Louis Miano. However, the contents are compiled from multiple collections of the same scope. There is a large collection of playbills, showbills, and programs from theater and opera in Miami and South Florida, as well as from across the United States and Europe. The collection also contains magazines, ephemera, and other materials related to musical theater in the United States and Europe."],"userestrict_html_tesm":["\u003cp\u003eThe Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e\n","\u003cp\u003eFor more information please visit: https://library.fiu.edu/find/copyright/general\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Louis Miano Theater Collection is owned by Florida International University. This collection is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","For more information please visit: https://library.fiu.edu/find/copyright/general"],"names_ssim":["FIU Special Collections"],"corpname_ssim":["FIU Special Collections"],"language_ssim":["English Russian French"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1032,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_version_":1870844485139693568,"_root_":"b8bf361dc0d2b04552d16184","timestamp":"2026-07-16T04:32:15.452Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/b8bf361dc0d2b04552d16184_aspace_b5f782044e7aff9a064a2287688ba4bc"}},{"id":"456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9","type":"File","attributes":{"title":"Whoopee","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_5d759df858f32cf703ca8d8689eebda9","ref_ssm":["aspace_5d759df858f32cf703ca8d8689eebda9","aspace_5d759df858f32cf703ca8d8689eebda9"],"id":"456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9","title_filing_ssi":"Whoopee","title_ssm":["Whoopee"],"title_tesim":["Whoopee"],"normalized_title_ssm":["Whoopee"],"text":["Whoopee","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida","/repositories/3/archival_objects/45459","box 9","folder 63"],"component_level_isim":[2],"parent_ids_ssim":["456875eab9536e3707a4b04f","456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540"],"parent_unittitles_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_unittitles_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Florida"],"parent_levels_ssm":["collection","Series"],"unitid_ssm":["/repositories/3/archival_objects/45459"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":847,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 9","folder 63"],"_nest_path_":"/components#3/components#662","_nest_parent_":"456875eab9536e3707a4b04f_aspace_31dfdb7b037db2a1939ecf601f7ef540","_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"456875eab9536e3707a4b04f","title_ssm":["Tom Mack Citrus and Vegetable Label Collection"],"title_tesim":["Tom Mack Citrus and Vegetable Label Collection"],"ead_ssi":"456875eab9536e3707a4b04f","unitdate_ssm":["1900-1970"],"unitdate_inclusive_ssm":["1900-1970"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT1000-1","/repositories/3/resources/145"],"text":["CIT1000-1","/repositories/3/resources/145","Tom Mack Citrus and Vegetable Label Collection, 1900-1970","Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia","Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.","In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.","The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. ","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT1000-1","/repositories/3/resources/145"],"normalized_date_ssm":["1900-1970"],"normalized_title_ssm":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"collection_title_tesim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"collection_ssim":["Tom Mack Citrus and Vegetable Label Collection, 1900-1970"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"geogname_ssm":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"geogname_ssim":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"places_ssim":["Citrus fruit industry - California","Citrus fruit industry — Texas","Citrus fruit industry — Arizona","Citrus fruit industry — Australia"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was created by Professor Tom Mack as part of his efforts to document the history of the citrus industry. It was transferred to the archives via the library upon his retirement."],"access_subjects_ssim":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"access_subjects_ssm":["Fruit Crate Labels","Citrus fruit industry","Vegetable trade","Commercial art","Advertising, Industrial","Lithography--20th century","Citrus fruit industry--Florida--History--20th century"],"has_online_content_ssim":["false"],"extent_ssm":["2.3 Linear Feet"],"extent_tesim":["2.3 Linear Feet"],"date_range_isim":[1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"arrangement_html_tesm":["\u003cp\u003eCitrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Citrus labels are arranged by alphabetical series that reflect their state of origin. Within the series, labels are also arraqnged alphabetical. Vegetable labels reflect multiple states of origin and are arranged alphabetically by brand name."],"bioghist_html_tesm":["\u003cp\u003eIn the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.\u003c/p\u003e\n","\u003cp\u003eTo ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.\u003c/p\u003e\n","\u003cp\u003eWhile all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.\u003c/p\u003e\n","\u003cp\u003eCalifornia was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.\u003c/p\u003e\n","\u003cp\u003eBecause the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.\u003c/p\u003e\n","\u003cp\u003eFlorida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.\u003c/p\u003e\n","\u003cp\u003eCommon motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de Le\u0026#xF3;n and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.\u003c/p\u003e\n","\u003cp\u003eThe Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.\u003c/p\u003e\n","\u003cp\u003eTexas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything\u0026#x2014;including the marketing\u0026#x2014;was bigger and bolder in Texas.\u003c/p\u003e\n","\u003cp\u003erizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.\u003c/p\u003e\n","\u003cp\u003eArizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.\u003c/p\u003e\n","\u003cp\u003eBy the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In the late 19th and early 20th centuries, America's agricultural landscape underwent a massive transformation. The expansion of railroads and the invention of the refrigerated boxcar (reefer) suddenly allowed fresh produce to travel thousands of miles from sun-drenched fields to chilly northern cities.","To ship these delicate goods, growers packed them into sturdy wooden crates. However, once those crates arrived at wholesale markets, they all looked identical. To stand out in crowded wholesale terminals, agricultural cooperatives and independent packers began pasting vibrant, lithographed paper labels onto the ends of their wooden crates. This gave rise to a golden era of graphic art that lasted from the late 1880s until the 1950s, when cheap, pre-printed cardboard boxes rendered the wooden crates and paper labels obsolete.","While all labels served as early forms of brand identity, the imagery varied dramatically by state, reflecting each region's unique geography, culture, and marketing strategy.","California was the undisputed pioneer of the crate label. Driven by the massive success of the Southern California Fruit Exchange (later renamed Sunkist in 1908), California labels set the industry standard for artistic quality.","Because the state was trying to attract tourists and settlers alongside selling fruit, its labels heavily romanticized the West. Artists depicted idyllic, sun-kissed groves nestled directly against snow-capped mountains, Spanish missions, beautiful women, and historical themes like the Gold Rush. The message was clear: purchasing California citrus was a bite of the healthy, prosperous, Mediterranean lifestyle.","Florida entered the game shortly after California, heavily influenced by the Florida Citrus Exchange (founded in 1909). Rather than focusing on majestic landscapes, Florida labels leaned into the state's lush, exotic, and sub-tropical climate.","Common motifs included flamingos, herons, alligators, palm trees, and pristine beaches. Florida growers also loved using historical themes centered on early explorers like Juan Ponce de León and the search for the Fountain of Youth, positioning their oranges and grapefruits as natural elixirs of life and vitality.","The Texas citrus and vegetable industry blossomed much later, finding its footing in the 1920s and 1930s in the fertile Rio Grande Valley. Because Texas entered a mature market dominated by California and Florida, state growers leaned aggressively into their most recognizable asset: Texas identity.","Texas labels are famous for cowboy imagery, longhorn cattle, oil derricks, Alamo imagery, and bold, patriotic colors. Brands like \"Texas Moon\" or \"Tex-Maid\" relied on regional pride and a rugged, western aesthetic to carve out shelf space, proving that everything—including the marketing—was bigger and bolder in Texas.","rizona's commercial citrus production emerged alongside massive irrigation projects in the Salt River Valley and Yuma Mesa during the early 1900s. Because its growing regions bordered California, Arizona labels often mirrored California's high-quality lithographic style but with distinct desert iconography.","Arizona labels leaned heavily into its striking desert geology, featuring Saguaro cacti, sweeping desert mesas, blazing sunsets, and romanticized depictions of Native American cultures. These labels framed Arizona as a miraculous agricultural oasis, emphasizing that their grapefruit and oranges were grown under intense desert sun, which heightened sweetness.","By the mid-1950s, the art form abruptly vanished. Flat-packed corrugated cardboard boxes with simple, cheap ink stamps took over because they were lighter to ship and far less labor-intensive than assembling wooden crates."],"scopecontent_html_tesm":["\u003cp\u003eThe materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. \u003c/p\u003e\n","\u003cp\u003eThis collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.\u003c/p\u003e\n","\u003cp\u003eAlso notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.\u003c/p\u003e\n","\u003cp\u003eMost labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The materials in this collection reflect the history of citrus and vegetable crate labels through the early to mid-twentieth century. Most of the citrus labels were produced through the 1940s, with vegetable labels continuing through the early 1970s. ","This collection is notable in that it contains labels from the four major players in the U.S. citrus market: California, Florida, Arizona, and Texas. This allows one to compare the approaches each state took in the creation of their labels (size, layout, etc.) as well as shared themes and themes unique to each state.","Also notable is the handful of labels from Australia, which are the only known overseas citrus crate labels in our collections.","Most labels are authentic, although there are a few reproductions present within the collection. As an educator, Professor Mack's surmised intent was to demonstrate the historical design of the labels rather than collecting them for profit or hobby. "],"userestrict_html_tesm":["\u003cp\u003eThis collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"names_ssim":["Thomas B. Mack Florida Citrus Archives"],"corpname_ssim":["Thomas B. Mack Florida Citrus Archives"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":949,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"456875eab9536e3707a4b04f","timestamp":"2026-06-30T02:21:32.973Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://flvc.lyrasistechnology.org/catalog/456875eab9536e3707a4b04f_aspace_5d759df858f32cf703ca8d8689eebda9"}},{"id":"9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330","type":"File","attributes":{"title":"Whoopee (JE.0722)","breadcrumbs":{"id":"https://flvc.lyrasistechnology.org/catalog/9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330#breadcrumbs","type":"document_value","attributes":{"value":[{"ref_ssi":"aspace_c987dd269176df49da68a46a6d516330","ref_ssm":["aspace_c987dd269176df49da68a46a6d516330","aspace_c987dd269176df49da68a46a6d516330"],"id":"9b83f60114f461d46ead1fe9_aspace_c987dd269176df49da68a46a6d516330","title_filing_ssi":"Whoopee (JE.0722)","title_ssm":["Whoopee (JE.0722)"],"title_tesim":["Whoopee (JE.0722)"],"normalized_title_ssm":["Whoopee (JE.0722)"],"text":["Whoopee (JE.0722)","Jim Ellis Citrus Crate Label Collection, n/a","/repositories/3/archival_objects/35080","box 8","folder 24"],"component_level_isim":[1],"parent_ids_ssim":["9b83f60114f461d46ead1fe9"],"parent_unittitles_ssm":["Jim Ellis Citrus Crate Label Collection, n/a"],"parent_unittitles_tesim":["Jim Ellis Citrus Crate Label Collection, n/a"],"parent_levels_ssm":["collection"],"unitid_ssm":["/repositories/3/archival_objects/35080"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"collection_ssim":["Jim Ellis Citrus Crate Label Collection, n/a"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":725,"parent_access_restrict_tesm":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"parent_access_terms_tesm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"containers_ssim":["box 8","folder 24"],"_nest_path_":"/components#724","_nest_parent_":"9b83f60114f461d46ead1fe9","_root_":"9b83f60114f461d46ead1fe9","_version_":1870852077888995328,"timestamp":"2026-07-16T06:32:56.465Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"9b83f60114f461d46ead1fe9","title_ssm":["Jim Ellis Citrus Crate Label Collection"],"title_tesim":["Jim Ellis Citrus Crate Label Collection"],"ead_ssi":"9b83f60114f461d46ead1fe9","unitdate_ssm":["n/a"],"unitdate_other_ssim":["n/a"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["CIT6085","/repositories/3/resources/136"],"text":["CIT6085","/repositories/3/resources/136","Jim Ellis Citrus Crate Label Collection, n/a","Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing","This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.","James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain – his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.","Labels are scanned and added to the Mckay Archives digital collection up to Box 8 Folder 49 (JE.0747).","The contents of this collection are made up of various citrus crate labels from different companies.","This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).","Thomas B. Mack Florida Citrus Archives","English"],"unitid_tesim":["CIT6085","/repositories/3/resources/136"],"normalized_date_ssm":["n/a"],"normalized_title_ssm":["Jim Ellis Citrus Crate Label Collection, n/a"],"collection_title_tesim":["Jim Ellis Citrus Crate Label Collection, n/a"],"collection_ssim":["Jim Ellis Citrus Crate Label Collection, n/a"],"repository_ssm":["Thomas B. Mack Florida Citrus Archives"],"repository_ssim":["Thomas B. Mack Florida Citrus Archives"],"access_terms_ssm":["This collection is owned by Florida Southern College and is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."],"acqinfo_ssim":["This collection was donated by Jim Ellis 2014-current."],"access_subjects_ssim":["Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing"],"access_subjects_ssm":["Fruit Crate Labels","Fruit--Labels--Florida","Antiques--Florida--Collectors and collecting","Citrus fruits--Packing"],"has_online_content_ssim":["false"],"extent_ssm":["5.4 Linear Feet"],"extent_tesim":["5.4 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research. Researchers must contact McKay Archives in advance for access to unprocessed born digital materials in this collection. Collection restrictions, copyright limitations, or technical complications may hinder the archives' ability to provide access to unprocessed born digital materials."],"bioghist_html_tesm":["\u003cp\u003eJames Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees \u0026#x2013; whatever needed to be done \u0026#x2013; a trait he would carry with him throughout his life.\u003c/p\u003e\n","\u003cp\u003eHe attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute \u0026#x2013; where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.\u003c/p\u003e\n","\u003cp\u003eHe finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.\u003c/p\u003e\n","\u003cp\u003eShortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM\u0026#x2013; hosting steak dinners and signing up growers as members of the organization.\u003c/p\u003e\n","\u003cp\u003eIn 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.\u003c/p\u003e\n","\u003cp\u003eAs general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but \u0026#x2013; more importantly \u0026#x2013; sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.\u003c/p\u003e\n","\u003cp\u003eWhen the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026amp; Bonds, Division of Fruits \u0026amp; Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.\u003c/p\u003e\n","\u003cp\u003eJim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.\u003c/p\u003e\n","\u003cp\u003eHis main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and \u0026#x2013; if you don't \u0026#x2013; you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections \u0026#x2013; along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.\u003c/p\u003e\n","\u003cp\u003eHowever, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the d\u0026#xE9;cor of a restaurant recently opened in Sarasota!\u003c/p\u003e\n","\u003cp\u003eHowever, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.\u003c/p\u003e\n","\u003cp\u003eHe has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.\u003c/p\u003e\n","\u003cp\u003eJim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  Dr. Calvin Arnold summed it up nicely: \"Jim really gives to the industry from his heart, with no expectation of personal gain \u0026#x2013; his passion IS the citrus industry.\"\nBiographical Information found via Florida Citrus Hall of Fame website.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["James Howard Ellis was born on April 2, 1935 to Percy and Fannie Ellis in their wooden frame home in the middle of an Alturas orange grove, by our current Florida Commissioner of Agriculture, Adam Putnam's great-grandfather, Dr. Hughes.  His father had a small grove, but also worked at Lake Garfield Citrus Cooperative as a night watchman and repaired their wooden field crates before moving up the ladder to become the General Manager.  Jim grew up with his younger brother Charles, working in his family's groves hoeing, feeding livestock, pruning trees – whatever needed to be done – a trait he would carry with him throughout his life.","He attended a wooden three-room schoolhouse in Alturas through six grades, moving on to Bartow High School for two years before going to the Summerlin Institute – where he graduated in 1953. He was a Sentinel in the FFA, as well as a member of the Parliamentarian and Judging Teams, and participated in the first Polk County Youth Fair, where he placed with a dairy animal. After graduation, he attended a National Guard summer camp, which prompted him to join the army in September of that year. He served in the United States Army with the 7th Infantry Division from 1953-56 in Korea, replacing those who were on the front lines and preparing their remains for shipment back to the United States.","He finished his tour of duty and returned home in 1956, where he met and married his wife of almost 60 years, Shirley, who he met through her father, a Baptist preacher in Alturas.  He worked for a year with the Plant Board on the burrowing nematode project, digging up roots and putting them in a jar for testing.  His crew leader was a graduate of Florida Southern College and it didn't take Jim long to realize that an education meant better wages, so he signed up for Florida Southern College on the GI Bill majoring in citrus. While there, he was president of the Citrus Club and received the Florida Citrus Mutual Award for Outstanding Achievement in the field of citrus studies, graduating in 1960 with a degree in citrus.  While attending school, Jim worked part-time in groves for whoever would hire him, earning a reputation as a personable hard worker who knew his way around a grove.","Shortly before Jim's graduation, Bob Rutledge, the general manager of Florida Citrus Mutual, was driving through town, saw Jim, and yelled out the car window for Jim to stop by and see him.  Jim did, and Rutledge hired him on the spot as the Florida Citrus Mutual field man for Polk County under Dale Carlton. He worked there for five years during the early stages of FCM– hosting steak dinners and signing up growers as members of the organization.","In 1965, his father and Uncle Joe needed him as a shipping clerk for Lake Garfield Citrus Cooperative and, after a brief stint selling chemicals to growers, he moved up the ladder to General Manager, making him the third Ellis man to work in that position for Lake Garfield Citrus Cooperative.","As general manager, Jim learned to \"think outside the box,\" always experimenting with ways to do things better but – more importantly – sharing his successes with other industry members.  In 1979, he gave a presentation to the Florida State Horticultural Society which was printed in the February 1980 issue of Citrus Industry Magazine titled \"Innovations for Citrus Packinghouses.\"  The article showcased a number of unique ideas including: mechanical gathering of leaves and other trash in pallet boxes that are dumped with a homemade forklift attachment; controlled recycling of hot air to reduce dryer fuel costs; a \"magnetic broom\" on forklift trucks in the receiving yard to gather nails and junk metal that otherwise ruin tires; and electric photocells that detected a fruit pile-up in the cannery bins and shut off the necessary equipment. He introduced the first electronic sorter to the state of Florida and experimented with cutting and scoring grapefruit, applying a sweetener and shrink wrapping them to market as a breakfast item. In addition, he was among the early experimenters using different forms of automated fruit harvesting equipment such as cherry pickers to shake seedling trees and abscission chemicals, which were only good when conditions were ideal.","When the freezes shut down the packinghouse in the late '80s, Jim went to work at Orange-Co as the production manager for Polk County, going back to chemical sales when they shut down.  However, his broad knowledge of the growers and the industry made him an ideal candidate for running the Citrus License \u0026 Bonds, Division of Fruits \u0026 Vegetables, for the Florida Department of Agriculture and Consumer Services.  His attention to detail and love for the industry helped him watch out for the growers' interest in numerous fruit-buying situations.","Jim has served on numerous boards, including stints as president for the Polk County Farm Bureau, Florida Citrus Showcase and the Interior Seald-Sweet Shippers, Inc. He was a member of the Citrus Research and Education Foundation, the Polk County Extension Overall Advisory Council, the Florida Farm Bureau and a 25-year member of the Kiwanis Club.","His main love, however, is history and talking about history.  Jim always has a story to tell if you have the time to listen, and – if you don't – you should make time, because he's a great storyteller!!!  His recollections of the early days of the industry are an invaluable asset to the Florida Citrus Hall of Fame's Oral History Project, and he is constantly finding old artifacts to add to the archival collections – along with the information on how they were utilized. He continues to run the \"No Names\" Club, which is strictly for \"old-timers,\" and sets up the meetings and programs each month.","However, Jim is probably best known for not only his passion for the citrus industry and its history, but his citrus crate label collection.  He has one of the largest collections of Florida citrus crate labels in the world, which is the nucleus for the Florida Citrus Label Digital Collection at Florida Southern College.  He and fellow label collector, Jerry Chicone, brought label-collecting to the forefront in the early '60s and '70s, when people were throwing out and burning old labels to make room in the packinghouses for the cardboard fruit boxes which had taken the place of the wooden shipping crates.  His collection, along with that of Chicone's, has been used in three books on citrus labels, and has even been featured in the décor of a restaurant recently opened in Sarasota!","However, the newest development based on Jim's collection is the Polk County Citrus Label Driving Tour, which is a collaboration between the Florida Citrus Hall of Fame, Visit Central Florida and The Polk County History and Heritage Trail to stimulate interest in the history and citrus legacy of all the communities throughout Polk County. This flagship program currently includes almost 20 installations with enlarged reproductions of the vintage labels located on various buildings and sites throughout the county. The accompanying map provides background information on each label displayed, presenting the connection between that community and the citrus industry and the long-term goal is to eventually take the concept statewide and help showcase the importance of the citrus industry to the state of Florida.","He has been an avid speaker about both citrus labels and the industry in general, helping educate everyone from school children to senior citizens on the Florida citrus industry.  He was also a key component in creating the partnership in 2008 between the Florida Citrus Hall of Fame and his beloved alma mater, Florida Southern College.  He attended the initial meetings between Dr. Anne Kerr, Rob Tate and the Hall of Fame, helping to smooth the way for the move to FSC and raise the necessary funding.  Funding that not only led to a physical presence on campus, but a website and fellowship endowments that have led to an engaged learning program with FSC students focused on preserving the heritage of the Florida citrus industry.  Current digital collections include over 1,500 Florida citrus labels, 350 industry postcards and 500 photographs, as well as oral history interviews and Hall of Fame member biographies.","Jim has led a distinguished career for decades in the Florida citrus industry as a grower, packer, industry representative and historian. His love of the industry and his willingness to share his knowledge has made him an invaluable resource to whoever asks him for help or information.  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