Join us for a curated celebration of American Archives Month, behind-the-scenes tours, zine-making, giveaways, refreshments, and more!
Free and open to the public. All are welcome.
American Archives Month gives archives around the nation the opportunity to highlight the importance of records of enduring value. At UConn Archives we believe that archives reveal by enabling people to examine and better understand the past, that archives inspire by being useful for many purposes, and that archives are for everyone!
This is also the closing event for the exhibition Days and Nights of Prints and Punk in the Schimmelpfeng Gallery, providing your last chance to see the evolution of the punk rock scene over 4 decades.
October 12 is also #AskAnArchivist Day.
Archivists around the country will take to Twitter to answer your questions about any and all things archives. This day-long event, sponsored by the Society of American Archivists, will give you the opportunity to connect directly with archivists in your community—and around the country—to ask questions, get information, or just satisfy your curiosity. No question is too silly . . .
#AskAnArchivist Day is open to everyone—all you need is a Twitter account. To participate, just tweet a question and include the hashtag #AskAnArchivist in your tweet. Your question will be seen instantly by archivists around the country who are standing by to respond directly to you. Have a question for a specific archives or archivist? Include their Twitter handle with your question.
The process of conducting archival research can be daunting and seem confusing, especially for those who are new to working in an archive. UConn Archives & Special Collections wants to help demystify the research process by providing you with our top 10 tips for doing archival research, which should help with increasing research efficiency and productivity during your visit.
Here are some strategies and suggestions for working in the archives from our experienced team of staff and student workers. From planning your visit, to navigating the archive, to processing your research when you are home, we hope that this information will help guide you on your research journey, wherever you may be.
Closing Event & Archives Open House October 12th, 4 – 6 pm.
The UConn Archives & Special Collections presents Days and Nights of Print and Punk, showcasing the roughly four decades of punk rock aesthetic documented through the Alternative Press Collection. From the 1970s punk rock of bad attitudes and discontent in England and the U.S., seeds were sown to propagate a unified front of thumbed noses to the status quo. Those same attitudes of youth rebellion were reinterpreted from problems into solutions by each successive generation drawing from positive mental attitude, feminism, DIY socioeconomics, animal rights, and anti-racism. Through show flyers, riot grrrl and skate zines, t-shirts, stickers, vinyl, cassettes, and posters, the evolution of the scene has demonstrated its adaptability for youth movements from the late 1970s to the present day. This exhibition also features selections of performance photographs from the traveling exhibition Live at The Anthrax from the Joe Snow Punk Rock Collection. Joe photographed the thriving Connecticut Hardcore Punk (CTHC) scene in the late 1980s during the final years of The Anthrax club in Norwalk, CT (’86-’90). Shot on 35mm black and white Kodak film, these images represent historical documents that bring the viewer as close to the action as possible, providing an intimacy into this subcultural space from 35 years ago. The photographs were selected and reprinted with the intent to highlight the primacy of analog at that time as well as the aesthetics of the not-so-distant past illuminated by a sweat tinted flash bulb.
This exhibition is drawn from the following archival collections:
Andrews Punk Rock Collection, Fly Zine Collection, Kauffman Zine Collection, King Alternative Press Collection, Noelke-Olson Button Collection, and Snow Punk Rock Collection.
D-I-Y Zine Basics September 29, 12:30-1:30pm via Zoom Zines are DIY publications that have served as modes of expression as well as communication for underrepresented subcultures and social movements, including punk. They are analog and use a collage aesthetic to combine image and text in visually engaging ways. In this virtual workshop, learn about DIY publications with Archivist Graham Stinnett and Metadata Librarian Rhonda Kauffman to get started making your own zines. Held in conjunction with the exhibitions, Days and Nights of Print and Punk at UConn Archives’ Schimmelpfeng Gallery and Wild Youth: Punk and New Wave from the 1970s and 1980s at the William Benton Museum of Art.
Suggested materials list: • 1 sheet of letter sized paper • Magazines, newspapers, stickers to collage with, preferably images with high contrast. • Glue stick or tape • Sharpie fine and ultra fine permanent markers • 1-inch and ¾ inch alphabet stickers in various colors • Patterned Washi tape
Level Up materials list: • Label maker • Plastic bone folder • Alphabet stamps w/ink pad • Long arm stapler • Typewriter • Photocopier
A project by Nicole Catarino, UConn English Department Writing Intern, Spring 2022. Background by Melissa Watterworth Batt, Archivist
Cover of Summer 1979 edition of Maledicta, Vol. 3, no. 1. with essay called “Yoruba Terms Denoting Individual and Social Shortcomings” and translation dictionary for Yoruba insults.Cover of Autumn 1979 edition of Paintbrush: A Journal of Poetry, Translations, and Letters, no. 12. next poem “Fever Tune,” translated from the Dutch.Cover of January 1971 edition of Hyperion, vol. 4 and poem titled “There Goes the Barren Woman’s Son with a Chaplet of Sky Flowers on His Head…” translated from the Sanskrit.Cover of the 1984 edition of River Styx, no. 15. and poem titled “And We Remain,” translated from Russian, along with a description and call-to-action for poet Irina Ratushinskaya.
Project Background
Literary periodicals of the 1900s exerted a strong influence on the poetics and shifting literary trends of the twentieth century. Many of these periodicals were edited by writers themselves and deliberately circulated outside, or on the margins, of popular media.
With the introduction of the personal computer and new offset printing technology in the 1970s, independent presses, often short-lived and with small budgets, thrived. Non-profit publishing organizations of the period assisted with distribution, providing grants to establish presses and distribution networks internationally.
Ironically, small print runs, while less profitable, enabled independent presses to stay afloat during the economic turmoil of the 1980s when many corporate, commercial publishing companies cancelled or suspended operations in the literary marketplace. By the mid-1980s, a diversifying publishing industry offered new writers, including non-English language writers, expanded opportunities for publication.
Bibliography
My name is Nicole Catarino, an English major and literary translations minor here at the University of Connecticut, graduating with the Class of 2022, and for the length of the Spring 2022 semester, I have been an intern at UConn’s Archives and Special Collections Department working with Archivist Melissa Watterworth Batt. My internship project revolved around the Archive’s collection of little magazines and the published translations one can find in these literary journals.
“Little magazines” are defined as periodicals produced with small budgets and a limited team, and experienced small print runs and limited distribution. These publications were often short-lived. Today, the Little Magazine collection here at UConn is comprised of over 700 titles from the 1920s to the 2000s, representing a wide array of writers and writing styles, experimental works, graphic novels, zines, and artists books.
However, despite the Little Magazine Collection’s diverse grouping of literary journals and other periodicals, Archivist Watterworth Batt and I realized that very little research had been conducted for the genre of literary translations. That’s when we arrived at the initial idea for my internship project. My goal was to create a cohesive bibliography of little magazines in the collection that published translated works in their journals.
We decided to set our focus on the little magazines that were founded or running in the 1980s because that was the era in which publication started to become cheaper and more accessible. As a result, independent writers and editors began to create journals that stepped away from the themes and content of mainstream publications and instead focused on experimental styles, forms, and genres while also providing a space for new and emerging writers. Archivist Watterworth Batt and I agreed that if there was ever a time for translations to become more popular in the world of little magazines, it would be the 1980’s.
Ultimately, the reason why I chose to focus on literary translations, of all genres, was for two purposes. One was because as a student minoring in literary translations, I knew that a detailed bibliography about where to find translation-focused literary journals would be a fantastic resource for both students and professors alike. My second reason, however, stemmed from my own love for translations and my frustration that this genre of literature is frequently not given the same credit and valor as other literary genres. Translations are complicated and elegant facets of literature that allow us to share cultural stories, folklore, and perspectives on the human experience that otherwise would go unnoticed or unheard due to the language barrier. For this reason, I wanted to highlight these kinds of creative works and find how many resources there are for this genre of literature here at UConn.
The bibliography I created for this project contains six main categories in the spreadsheet: the title of the little magazine that published the translation, the original language the piece was written in, the writer who wrote the original piece, the translator who wrote the translation, the volume and number of the corresponding issue and when it was published, and then any other interesting writers of note or extra information about the journal that I may have discovered. The purpose of this last section was to emphasize just how important little magazines are for writers by listing many famous authors and poets who got their start by publishing in little magazines—like Margaret Atwood, Joyce Carol Oates, and Adrienne Rich, among others.
My hope is that, aside from providing a useful resource to translators and researchers, this bibliography will help stir more interest in the Archives’ magnificent collection of little magazines, so if you have the chance to browse the collection, I highly encourage you to do so!
Archives & Special Collections of the UConn Library has recently acquired the papers of Lottie B. Scott, UConn alumna (‘86), author, civic organizer, and civil rights advocate from Norwich, Connecticut. Ms. Scott’s papers [1969-present] include records from her work with the National Association for the Advancement of Colored People (NAACP), Norwich chapter, from the 1960s-2010. A founding member of the chapter, Ms. Scott held multiple positions including arts liaison, first vice president, and president.
Ms. Scott’s civic involvement is documented through her service in various positions (often as the first woman of color) with the Norwich Arts Council and the Rotary Club, as a board member of Backus Hospital, and in her work for the Commission for Human Rights and Opportunities over 22 years. Her ongoing contributions to her community are also documented through the various awards and recognition she has received from local and national organizations and individuals of distinction. Ms. Scott’s 2018 memoir Deep South – Deep North: A Family’s Journey is included in the collection, chronicling her family history during the Great Migration from Longtown, South Carolina to Norwich.
For more information on accessing the Lottie B. Scott Papers, contact the UConn Archives: archives@uconn.edu
This guest blog post is written by Aidan Brueckner, a graduating honors student majoring in Digital Media and Design, and minoring in Human Rights which he completed an internship for at the Archives & Special Collections in the Spring Semester of 2021. Aidan’s descriptive work can be found in the Alternative Press Collection online.
It is no secret that youth activism is on the rise. Across the world, demonstrations occur for myriad reasons related to racial justice, climate change, drug control, and countless more key issues. Not only are these matters far-reaching across all aspects of society, touching on numerous disparate sectors, but the apparent frequency of social justice events is increasing quickly as well. The push for recognition and change from a world that has proven unforgiving and unfair is picking up steam. Naturally, college-age students tend to be a large portion of the ones driving these agendas, as the nature of college itself encourages collaboration and a drive to excel, as well as an increased emphasis on critical thinking. Most importantly, however, college allows students to collect as a group of like-minded individuals, and presents them with an opportunity to make their voices heard. UConn is no exception, having had a well-documented history of activism on campus from its inception. Much of this activism is contained within the Archives, and this semester I had an opportunity to explore and evaluate some of it.
In the Spring semester of 2020, an exciting use of historical photographs by UConn Digital Media and Design students brought to life the images of student protest in the 1960s and 1970s held by the University of Connecticut Archives. In collaboration with Assistant Professor Anna Lindemann and MFA graduate Instructor Jasmine Rajavadee of the Digital Media and Design Department, the Motion Graphics 1 class (DMD 2200) spent a portion of their semester in the archives to understand the context of photographic collections and practice their skills on digital collection items. This exploration led to the creation of new uses for the recorded past. The class assignment drew on digitized 35mm negatives, Kodachrome color slides, and black&white photographic prints to demonstrate a 4D animation process of still images to bring static subjects to life. Collections utilized for this project ranged from the Cal Robertson Collection of anti-nuclear demonstrations in New London, Howard S. Goldbaum’s Photography for the Daily Campus newspaper documenting anti-Vietnam War demonstrations in Storrs, New York, and Washington D.C., and University of Connecticut Photography Collection images of the 1974 Black Student sit-in at Wilbur Cross Library. To view a selection of the Student Unrest Photography in 4D project, follow this link to our Youtube page.
This project was a timely and innovative use of a subject matter that was re-energized through Storrs campus demonstrations around racism, global climate change and mental health advocacy throughout the 2019-2020 academic year. In addition, UConn Archives exhibitions Day-Glo & Napalm: UConn from 1967-1971 on student life and activism of the Vietnam War Era and UConn Through the Viewfinder: Connecticut Daily Campus Photographs from the Howard Goldbaum Collection at the William Benton Museum of Art reminded the community of it’s involvement during times of national change.
This is the second time that the UConn Archives has worked with Prof. Lindemann and the DMD department to utilize photographic collections for class projects, the first drew on child labor images from the U. Roberto Romano Collection which can be viewed here.
The following essay is an extended closing remark to the exhibition Day-Glo and Napalm: UConn from 1967-1971, by guest curator and contributor, George Jacobi (’71).The exhibition runs until Friday, October 25th, 2019.
Thanks to the GI Bill, the Fifties are a favorable time for most Americans home from the war to build a career and raise a family. Powered by Unions as well, the rise of the largest middle class in history finally includes some Black and Latino citizens. Suburbia is invented. The 1964 World’s Fair in New York promises we’ll all be working far fewer hours and getting there in a flying car, asserting that technology only benefits mankind. Robots will do the tough jobs. The future seems so far away that this is almost believable. Are white kids in New England spoiled? Compared with previous generations, sure we are, and so has each generation since. Growing up then is generally benign, and the result is a chance to examine ourselves and America with less national responsibility than our parents. Our patriotism thus leans toward social betterment, not defense or personal economic progress.
Under the veneer of white middle-class American life rumblings of unrest have begun. Academics are suggesting that modern society is unfulfilling. Rachel Carson has shown America that it is in the process of killing nature with chemicals. Kerouac has been “On the Road” and Jackson Pollock has blown up the art world. Jazz has turned from big band dance music into individual expression. Ginsburg writes “Howl” and thus comes out as a gay man; the book is immediately banned. Yet in Greenwich Village people are “suddenly free of the shackles, the baggage of tradition”: Liam Clancy. Nevertheless, beatniks are portrayed as a joke on TV. The political and cultural events that took place at UConn during the years 1967 to 1971 of course reflect wider American historical forces. For simplicity, label these Politics, Spirituality, Culture, and the Arts. In reality, they are jumbled together; breaking them down in order to clarify each is a rare side benefit of the passage of time.
The following account lists this history, phenomena that took place or began prior to 1967. By that year, society is increasingly seen by an influential youth minority as hypocritical or empty of value. It has become apparent that the norms are mythological and serve only the powerful. Alienation results with what is initially a quiet insurrection against uncritical acceptance of the status quo. While most of the country isn’t paying attention, there is a cultural shift; all of a sudden something changes. Several small groups at first, an anti-establishment minority slowly appears. Most folks in America and at UConn in the mid-1960s go about their own lives whether they are sympathetic to this rebellion or not. A majority of UConn students, including us, will spend most of our hours being students.
The following guest posts by alumni Ken Sachs (’71), Michael Pagliaro (’72), Lori Wallach (’70), and Janet Rogers (’72) are in conjunction with the current UConn Archives exhibition Day-Glo & Napalm: UConn 1967-1971 guest curated by George Jacobi (’71). The exhibition is on display until October 25th in the Thomas J. Dodd Research Center.
Guest Post by Anonymous:
In 1969 I had a IIs deferment at UCONN that would run out in January 1970 when I completed my B.A. My roommate had served in Vietnam where he survived the battle that has been called “Hamburger Hill.” When I received my physical notice, he informed me that I needn’t worry about the draft as he would “kill me” before I was drafted rather than let me participate in that ill-advised war. Fortunately, T_____had access to some black beauties (little black capsules containing an amphetamine commonly referred to in those days as “speed”).
On the morning of my physical in the fall of 1969, I popped one of the “beauties” into my mouth and headed off to our local draft board. At age 22, I was the oldest on the bus, surrounded by a lot of naïve 18-year-olds, many just out of high school. Before the bus left, the middle-aged clerk at the draft board got on the bus waving a little U.S. flag and telling us all “how proud” she was of us all. Frankly, I wanted to strangle her for her “patriotism.” Before the bus arrived in New Haven I popped my last black beauty.
Chris Malis and Ken Sachs lead the way at a March 20, 1969 “Finger-In” demonstration at Gulley Hall organized by SDS.
The following guest posts by alumni Chris Malis (’72) and Ellie Goldstein/Erickson (’70) are in conjunction with the current UConn Archives exhibition Day-Glo & Napalm: UConn 1967-1971 guest curated by George Jacobi (’71). The exhibition is on display until October 25th in the Thomas J. Dodd Research Center. The Gallery is open Mon-Fri 9-4pm, with a Saturday viewing on October 12th, 9-5pm.
Guest Post by Chris Malis (’72):
We Are Stardust
Coming of age in the Sixties (c.1965-c.1972) was a gift; it
made me who I am now. Contrary to the changes of many as they age, I have not
grown more conservative over the years. Am I the same person I was then? Of
course not. Would my 20-year-old self like my 70-year-old self? Perhaps not so
much. Would I do (or not do) certain things differently if I could go back in
time? Sure. But on the whole, I feel grateful to have come of age in that time
and space. It was the most magical, earth-shaking decade of the 20th
Century. I won’t say earth-changing, because … look around. Who would have
thought that, 50 years later, we’d still be fighting racism, poverty, war,
women’s reproductive rights, income inequality, sexual violence, and impending
environmental collapse?
In the words of Lincoln’s first inaugural address on March
4, 1861: “We
are not enemies, but friends. We must not be enemies. Though passion may have
strained, it must not break our bonds of affection. The mystic chords of memory
will swell … when again touched, as surely they will be, by the better angels
of our nature.”
The Sixties, for me, was a time of better angels coming to
the fore. I desperately hope they return in force… and soon!
The following guest posts by Asst. Prof. Charlie Brover and Alumnus John Palmquist (’71) are in conjunction with the current UConn Archives exhibition Day-Glo & Napalm: UConn 1967-1971 guest curated by George Jacobi (’71). The exhibition is on display until October 25th with an evening reception on September 19th, from 6-8pm in the Thomas J. Dodd Research Center.
Guest Post by Asst. Prof. Charles Brover:
My Lear year reflection: Was it pissing in the wind?
I will be 80 in September. I’m King Lear’s age. (“Fourscore and upward, not an hour more nor less”). Some 50 years ago in my course on Shakespeare’s tragedies, we talked about how much easier it was to identify with Hamlet, that flashy student on spring break from Wittenberg, than the benighted old man who hath ever but slenderly known himself. Lear began his education at 80, and one hell of an education it was—a fierce warning against the unreflected life. So now in the fifth act of my own education I am grateful to my old comrade Larry Smyle for reaching out to me and to George Jacobi and Graham Stinnett for the opportunity to reflect on those superheated days at UConn 50 years ago. Were they formative in my life? Were they just an episode of frothy anti-authoritarian rebellion?
The next installation of the traveling exhibition, Live at The Anthrax, is currently hosted at Counter Weight Brewing Co. in Hamden, CT and will run from September 5th-December 15th, 2019. This exhibition features 20 black & white photographs from the Joe Snow Punk Rock Collection, taken by Joe in the late 1980s during the final years of The Anthrax club in Norwalk, CT. Bands featured in the selection include local CTHC staples such as Wide Awake and NY Hardcore bands Up Front and Absolution to seminal acts such as Fugazi. This curated exhibition highlights the dedication, energy and lived values of those who formed the hardcore scene and turned it into a community. This exhibit seeks to expose the public to archival collections outside of a traditional archives setting in order to promote access to rich cultural materials like those of the Joe Snow Punk Rock Collection in everyday spaces like record stores, breweries and community spaces. This exhibition is free and open to the public.
