Manuscripts
Brochures -- McGroarty Cultural Art Center (Tujunga, Calif.)
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Programs -- McGroarty Cultural Art Center (Tujunga, Calif.)
Manuscripts
This collection contains brochures, clippings, local histories, newspapers, photographs, and programs related to local events in San Gabriel, California and nearby cities. There are many clippings and photographs of Rosita and Vincent Lugo, who were featured dancers in the "Valse Romantico" fiesta scene in The Mission Play by John S. McGroarty. Also included are photographs of La Casa del Rancho San Antonio showcasing rodeos, ranch life, and men posing on horses wearing cowboy-like outfits in the early 1900s. There are also numerous photographs and ephemera related to Lugo's military service during World War II, where he served in the United States Army Infantry Regiment 115th, Company N ("Timberwolves").
mssLugo
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Tujunga and Sunland, California, photograph collection
Visual Materials
A collection of photographs depicting the early development of Tujunga, Tujunga Canyon, and Sunland, in Los Angeles County, California. The photographs were made by Tujunga photographer Joseph Lamson and date from approximately 1920 to 1945. Photographs show Tujunga's main business street, with a few storefronts, as well as parks, streams, houses and housing developments, the Little Landers community, and Bolton Hall. There are many bird's-eye-views showing the progressive development of the town, and several landscapes of Tujunga Canyon and Mount McGroarty, including crowds visiting the Cross of San Ysidro. Views of Sunland are mostly focused on Monte Vista Park and Sunland Park. The prints are later contact prints made from glass or film negatives, and many have handwritten identifications and are signed "Lamson."
photCL 380
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People and culture
Visual Materials
The People and culture subseries comprises sheet music published between 1900 and 1962, and focuses on scores with images of, or are about, children, death and mourning, holidays, immigrants, marriage, men, organizations, people of color, politics, religion, and women. A portion of the scores is benign in nature; however, there is a heavy concentration of derogatory images and language showcased throughout a range of Coon songs, jazz, minstrel scores, plantation melodies, pop, and ragtime tunes. Following a similar pattern, other scores focus on the experiences of immigrants, women, and other marginalized groups of people. This includes people of African, Asian, Hispanic, Irish, Italian, and Middle Eastern descent, as well as people of Hawaiian, Fijian, Jewish, and Native American origin. A few examples include Happy Little Coons, by J.W. Ladd, Hasta Mañana Until Tomorrow, by Egbert Van Alstyne, I'm A Yiddish Cowboy (Tough Guy Levi) by Al Pantadosi and Halsey K. Mohr, Who'll Take Care of the Harem When the Sultan Goes To War? by William J. Lewis, Chong He Come From Hong Kong by Harold Weeks, Good-Bye Red-Man Good-Bye by Ted Snyder, and Honest Injun by Harry Von Tilzer. To note is Apache Chief Gernimo's Own Medicine Song by Carlos Troyer. The latter was representative of the Indianist movement during the late 19th-century, which was part of a broader interest in Native American music. There are also scores dedicated to significant fraternal orders and nonprofit organizations, including the Pullman porters, the Grand Aerie Fraternal Order of Eagles, the Kiwanis Club of Atlanta, and the Ku Klux Klan.
priJLC_SMUS
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I. Manuscripts
Manuscripts
The manuscripts consist both of works by others about or to Wallace Stevens, and manuscripts of Stevens' poems, essays, and speeches. The manuscripts by others include dedicatory poems to Stevens, essays about Stevens (e.g. by Robert M. Pack and Mary Bernetta Quinn), and adaptations and translations of Stevens' poems (e.g. by Renato Poggioli). This series also includes an academic notebook kept by Stevens' grandfather Benjamin Stevens (born 1808) in 1822 (WAS 3965, loose volume). Notable pieces include: Hermann Hesse, Zwölf Gedichte (12 autograph poems in German, presented by Hesse to Stevens, each with a watercolor drawing). (WAS 223, loose volume) [Hywel David Lewis], On Poetic Truth (an essay first published in Philosophy (July 1946), in Stevens' hand). (WAS 4093, in Box 66) The manuscripts by Stevens are both autograph and typewritten. When Stevens' secretary/stenographer prepared his typescripts, she made 3 copies: an original and 2 carbons. When a carbon copy exists along with the original typescript, it has been catalogued with the original unless it contains annotations or corrections by Stevens. Most of the manuscripts have been published in one of three places: 1) a published work of Stevens, 2) Opus Posthumous, ed. Samuel French Morse, 1957 or 3) Robert Buttel, Wallace Stevens: The Making of Harmonium, 1967. When assigning dates to manuscripts, evidence given by Morse, Buttel, J.M. Edelstein, Wallace Stevens: A Descriptive Bibliography, 1973, and the correspondence have all been weighed. Notable pieces include: Adagia: 2 notebooks of aphorisms. 33p. [1930?-1955]. (WAS 70, in Box 1) A Book of Verses: notebook of 20 early poems. 21p. June 1908. (WAS 24, in Box 2) Esthétique du Mal: early draft. 16p. [1944]. (WAS 4140, in Box 2) The Figure of the Youth as Virile Poet: early draft. 33p. [1943]. (WAS 4143, in Box 66: Oversize) Gloire du Long Disir, Idies: early draft. 23p. [1955]. (WAS 4151, in Box 3) Journals 1898-1899. 1 vol. (WAS 7, in Box 4) 1899-1900. 1 vol. (WAS 8, in Box 4) 1902-1904. 1 vol. (WAS 9, in Box 4) 1905-1912. 1 vol. (WAS 10, in Box 4) The Little June Book: notebook of 20 early poems. 21p. June 5, 1909. (WAS 25, in Box 6) Poetic Exercises of 1948: 2 commonplace notebooks. 4p. [1948]. (WAS 72, in Box 6) The typescript for Selected Poems, a book submitted to Alfred A. Knopf Inc. but never published. 200p. [1950]. (WAS 2997, in Box 7) Sur Plusieurs Beaux Sujects: 2 commonplace notebooks. 44p. 1932-1953. (WAS 73, in Box 8)
mssWAS 1-4262