A(nother) Morton mystery solved

Today’s A View to Hugh post takes a look behind the scenes, as Morton volunteer/contributor Jack Hilliard solves a Morton Mystery—this one centering around college football’s Sugar Bowl, which will be played in New Orleans on January 2nd.

Lilly Christine, "The Cat Girl"

Lilly Christine, “The Cat Girl,” performing at Prima’s 500 Club in New Orleans, Louisiana. (Image cropped by the editor.)

It’s always fun when researching a post for A View to Hugh that I run across information that answers a question about a previous post.  Here’s the story behind one of those posts.

In early December 2008 I suggested to Elizabeth Hull that since UNC’s football team was going to a bowl, it might be nice to look back at Carolina’s first bowl game in 1947.  AT THE TIME, I believed that Hugh Morton had traveled to New Orleans for the 1947 Sugar Bowl game, because I had seen Morton photographs of “The Cat Girl,” and based on the following two sources I believed that “The Cat Girl” photographs were taken during the ’47 Sugar Bowl trip:

  1. Starting on page 21 of the Bob Quincy and Julian Scheer 1958 book, Choo Choo: The Charlie Justice Story, there is an entire chapter devoted to the ’47 Sugar Bowl game, and there is this quote:  “(New Orleans) had never been confronted . . . with such rowdy partisans as the visiting forces from Georgia and North Carolina those few days before the Sugar Bowl game of 1947. . . . A number of Tar Heels became students of architecture during this sojourn, chiefly that of the Cat Girl, a lady of unusual structure who was on exhibit each night in the French Quarter.
  2. On page 53 of Bob Quincy’s 1973 book, They Made the Bell Tower Chime, there is a one-page profile of UNC fullback Walt Pupa and the ’47 Sugar Bowl with this quote: “Dinner at Antoine’s.  A march down Canal Street.  The Cat Girl and her exotic dance of soft, graceful muscle power.  A disturbing loss to Georgia.”

Both books had “The Cat Girl” at the ’47 Sugar Bowl on January 1st, 1947 and since Pupa graduated in June of 1947, he was not on the team at the 1949 Sugar Bowl.
I was really surprised when Elizabeth told me she could not find any Morton photographs from that ’47 game.

“What about the ‘Cat Girl’ shots,” I asked?

Elizabeth said they were in an envelope just labeled “Cat Girl” with no date.  What happened to Morton’s shots of the game?  He was there . . . we have the “Cat Girl” shots . . . .

Well, we did the post and worked around the missing photos and included as part of the post the Sugar Bowl 50th anniversary trip for which we did have Morton photos.  Morton’s ’47 Sugar Bowl pictures were just missing.  We made several guesses, but there were no definitive answers.

Fast forward to April, 2010, when I’m researching another V2H post and run across an article by Chuck Houser called, “The Cat Girl” in the Mid-Winter, 1950 issue of Tarnation magazine with this:

A lot of different people will remember a lot of different things about New Orleans and the ill-fated Sugar Bowl trip of (December) 1948.  But one thing all of them will remember is a diminutive French Quarter night club dancer who goes by the name of Miss Lilly Christine—‘The Cat Girl.’  Two years ago (December, 1946), when loyal Tar Heels first invaded the wrought-iron balcony-lined streets of the fabulous city of New Orleans to see another ill-fated Sugar Bowl game, they all came back with one name on the tips of their tongues—‘Stormy,’ a sultry stripper whose real handle was Stacie Laurence.

When those same football fans returned to New Orleans last month, they headed for the French Quarter to take another look at ‘Stormy’ divesting herself of her costume.

But ‘Stormy’ didn’t live there anymore.  ‘Stormy’ was married to an ex-newspaper columnist from the Crescent City and was very busily pregnant over the New Year holidays.  As a substitute, all good Tar Heels soon discovered Lilly Christine, ‘The Cat Girl,’ who didn’t take any of her clothes off, since she wasn’t wearing enough to put in your hip flask to begin with.”

So . . . “The Cat Girl” was not seen during the 1947 Sugar Bowl trip after all.  It was the 1949 Sugar Bowl trip and there are dozens of Morton photos from that game.
I still thought that Morton went to the ’47 Sugar Bowl, but now the photos that I was sure were from ’47 were really from ’49.

Fast forward once again.  I was researching a post about Morris Mason and was looking through some game programs from 1992, the year he passed away.  During the ‘92 season, the UNC athletic department invited a guest columnist to write an essay in each of the home football game programs.  On October 17, 1992, for the UNC–UVA game, the guest was Hugh Morton.  His essay looked back on his career shooting UNC football photographs and about half way through the piece Morton wrote:

Carl Snavely and his distinguished crew took Carolina to the Sugar Bowl in 1947 and 1949 and to the Cotton Bowl in 1950.  I missed the 1947 Sugar Bowl against Georgia because bad flying weather diverted some other Tar Heel rooters and me to St. Petersburg instead of New Orleans.  The Sugar Bowl that I covered was New Year’s Day 1949 against Oklahoma.

Mystery solved!  Not only was Lily Christine not at the 1947 Sugar Bowl, Hugh Morton wasn’t either.

[Editor’s question: Is there a new mystery now posed? Can anyone imagine Hugh Morton not photographing in St. Petersburg? The finding aid lists no images!]

So I then diverted my research to the ’47 Sugar Bowl weather.  I checked the Greensboro papers and there are several stories about the weather and people being stranded at airports.  There is a photograph of Greensboro Tar Heel fans holding their tickets while listening to the game on the radio.  A January 1st Greensboro Daily News headline reads:
“Bowl Tickets Plentiful—Weather Keeps Fans Home.”  There is also a magazine story in the January 11, 1947 issue of The State (pages 3-6, and continued on 18-20) written by Carl Goerch, titled “A Trip to the Sugar Bowl.”  The story tells how Goerch and a group of six Tar Heel fans started out for New Orleans, but due to bad weather wound up in Jacksonville at the Gator Bowl.

Looking back, there were two red flags that should have questioned Morton’s being at the ’47 game:

  • The 1947 pregame photos that appeared in the Greensboro papers were credited to Orville Campbell.
  • A Morton slide show during graduation/reunion weekend on May 13, 1989 put his “Cat Girl” photos in with the ’49 Sugar Bowl shots.

I didn’t catch either one at the time.  I was so sure that Morton was at the ’47 game that two V2H comments that I made (4/10/08  &  2/18/09) were based on what I thought I knew.

So that’s the story of Hugh Morton at the 1947 Sugar Bowl game—a game that he didn’t attend.

A follow-up to a previous post: Back on August 16th, Jack offered the following UNC football / Charlie Justice trivia question in his post on Morris Mason: What year did Charlie Justice complete his final pass to Art Weiner on the field at Kenan Stadium?  As you might imagine, it was a trick question.  We had no takers, so here’s the answer: November 17, 1973.  For a photograph of the event, see The University Report (second picture down on page 9 at http://www.carolinaalumnireview.com/carolinaalumnireview/ur197312#pg8).

Hugh Morton’s first daily newspaper assignment

The previous post on A View to Hugh features a Hugh Morton photograph of Grandfather Mountain, published without credit on the cover of the 8 March 1941 issue of The State.  As the blog post revealed, I suspect the photograph dates from 1940 or earlier, which is relatively early in Morton’s career as a photographer.  January of that year saw Morton beginning his second semester as a freshman at UNC.  His camera had been stolen shortly after arriving on campus in the autumn of 1939, and it was not until sometime around January or February 1940 that he bought his next camera.  So, I wondered, “How early in his career would that have been?”  Today’s exploration unravels an uncertainty and mystery that I didn’t even have until two days ago.

This is an important photograph in Morton’s career.  At the time he made it, Morton was a UNC student with a summertime job as the photography counselor at Camp Yonahnoka.  Here’s one of his accounts about the photograph, quoted from the preface of his 2003 book Hugh Morton’s North Carolina:

In 1940, at nearby Linville, a fourteen-year-old kid from Tarboro named Harvie Ward embarrassed a lot of adults by winning the prestigious Linville Men’s Golf Tournament.  Burke Davis, sports editor of the Charlotte News, contacted the Linville Club for a photograph of Harvie Ward, and I was called to come up from camp to carry out what was my first photo assignment for a daily newspaper.  Davis liked my Harvie Ward pictures, and this led to many photo assignments for the Charlotte News during my college years at the University of North Carolina at Chapel Hill.

Because this assignment helped launch Hugh Morton’s career as a news photographer, and the early view of Grandfather Mountain was also likely made in 1940, I wanted to know when the Charlotte News published the Ward photograph(s) (two negatives are extant in the Morton collection) relative to publication of the early Grandfather Mountain view in The State.  I searched the Web for information on the Linville golf tournament and Harvie Ward for 1940, but only found a few bits and pieces—and nothing that said when they played the tournament.  So . . . off to the microfilm room.

I scanned through issues of the Charlotte News, Tarboro’s Daily Southerner, and Rocky Mount’s Evening Telegram published during the “golf-able” summer months through mid September, by which time Morton would have returned to Chapel Hill from Camp Yonahnoka and Ward would have already returned to Tarboro in time for their classes.  Nothing . . . at least not that mentioned Harvie Ward winning the tournament in 1940.

I turned next to Morton’s booklet, Sixty Years with a Camera published in 1996, which I recalled also included the portrait of Ward.  As The Jetsons cartoon dog Astro would say, “Ruh Roh . . . .”

The first picture I took on assignment for a newspaper (the Charlotte News) was of Harvie Ward when he won the 1941 Linville Men’s Golf Tournament.  This was a very competitive event, and it was a surprise to everybody that a 15-year-old kid from Tarboro would win it.

Two different statements of fact.  What to do?  Well, I turned to a different newspaper, the Charlotte Observer and here’s what I found: Harvie Ward didn’t win the Linville Men’s Invitational Tournament in 1939, 1940, 1941, nor 1942.  (I didn’t go further, because Morton was in the army in 1943).  A detailed listing of the entrants in the Charlotte Observer revealed that Ward didn’t enter the 1940 tournament; he did, however, defeat Ed Gravell of Roaring Gap to win the “second flight” of the 1941 tournament.  I also found a congratulatory paragraph in the Daily Southerner on August 4, 1941 “for taking first place in second flight in Linville invitational golf tournament.  Harvie is having great time knocking off the little fellows.”  [For golf historians, Sam Perry emerged victorious in 1939, Charles Dudley won the championship flight in 1940, Hub Covington won the 1941 tournament, and Billy Ireland won the event in 1942.]

To be thorough, I searched for both years (1940 and 1941) through mid September.   There are no photographs of Ward in the Charlotte News.  I now even wonder if the newspaper ever published one of these portraits of Ward by Morton.

So in all likelihood, Hugh Morton had it right the first time in the 1996 booklet: the Harvie Ward, Jr. photographs probably date from 1941.  And here’s some supporting evidence: photographs began appearing in the Charlotte News sports section’s “Pigskin Review” articles with the credit line “News Photos by Hugh Morton” in mid September 1941, which is in agreement with Morton’s statement that the Ward pictures “led to many assignments.”  Morton photographed members of the 1941 football teams of UNC (published September 12th), Duke, (September 13th), NC State (September 15th), and Wake Forest (September 24th), plus two photographs made during and after UNC’s season opener on September 20th against Lenor-Rhyne that featured UNC’s standout running back Hugh Cox.  By comparison, there are no photographs in the newspaper credited to Morton in late summer or early autumn of 1940.

My conclusion? So far, the earliest Morton photograph that I’ve discovered to be published in a non-UNC publication is the early view of Grandfather Mountain.  Now, please tell me why I believe the story probably doesn’t end there?!

Timelines

Back on Veteran’s Day, I hinted that I would be writing more about timelines in a future post.  That time has arrived with today’s post.

Morton UNC years timeline

Clicking on this image will take you to the Timelines page.

During the past year or so, I’ve been using a software product called Timeline 3D to construct visual representations for various phases of Hugh Morton’s photographic career.  I found myself going back frequently to those timelines during the past few weeks, and their usefulness reminded me that I should make good on the idea of making the timelines available on the blog.

The thing about the timelines, though, is that I revise them as I discover something new.  If simply presented as blog posts, the timelines would get lost as the weeks and months passed by.  So, similar to the essays, the timelines will be available on a separate page with links to a PDF document for each timeline.  Clicking on the Timeline tab in the menu bar above will take you to the page where the timelines will be listed.

The first timeline to be published is “The UNC Years”; I hope to have a “World War II” timeline up soon. After I have “enough” new entries for a specific timeline, I’ll update the online version.  My goal with the timelines isn’t to capture each and every detail, but certainly the highlights and enough variety to paint a representative picture of the period.

A you look, you will see that not everything in a timeline is totally resolved.  They are meant to be works in progress, a tool to help resolve uncertainties as well as sequence the known events.  Do you know of an event that should be included?  Do you see a mistake or a discrepancy?  Please send it along via a comment and I’ll build it into the appropriate timeline.

All is not quiet on the Morton front

Printing fiftieth anniversary issue of the Daily Tar Heel

Printing fiftieth anniversary issue of the Daily Tar Heel, February 26 or 27, 1942.

“Nothing New in the West” is the more literal translation of the title Im Westen nichts Neues, the 1930 classic novel by Erich Maria Remarque that we who speak English know as All Quiet on the Western Front. Over time the title’s English translation has come to describe inactivity of any kind.  I know it has been quiet on the blog front, but believe me, all is not quiet behind the scenes with Morton collection!

The “unidentified” project a few weeks ago generated identifications or partial identifications for more than forty photographs—thank you!—the records for which have now been updated.  Building on the work of summer assistants, who started locating Morton images in yearbooks and other student publications, I’ve immersed myself into the early 1940s at UNC.  At various times, Hugh Morton was on the staffs of the UNC yearbook Yackety Yack, the student newspaper The Daily Tar Heel, and the humor publications Tar an’ Feathers, and the (new) Carolina Magazine.  Culling through their pages, I’ve been able to add partial or complete identifications and descriptions for more than fifty photographs.

A great example is the above photograph, which previous had the identification:

Unidentified UNC-Chapel Hill students working in printing room (possibly at DAILY TAR HEEL), circa 1940s. A similar photograph appears in the 1942 yearbook YACKETY YACK.

Going through the Daily Tar Heel for the 1941-1942 academic year revealed that the photograph depicts a momentous occasion: the printing of the fiftieth anniversary edition of the Daily Tar Heel, the oldest college newspaper in the south. New news, indeed!

 

A View to Hugh meets Twenty Eleven

Joe Lee Hartley Jr. at Grandfather Mountain, NC changing admission sign

Joe Lee Hartley Jr. at entrance gate to Grandfather Mountain, N.C. changing admission sign, reflecting higher admission prices.

Today marks the debut of the third stylistic incarnation of A View to Hugh. I hope you like it! So what does this mean for you, our readers?  Beyond just the different “look-and-feel” of this new WordPress theme, “Twenty Eleven,” (more on themes later), the updated style allows for different kinds of posts than our previous themes (first “Blue Zinfindel” followed by “Atahualpa”). I’ll be experimenting with these new features for future posts.  If nothing else, the cleaner look will hopefully offer you a refreshing, easy-to-read experience.  And while we had the capability before with the previous theme, I’ve categorized the links to other websites and blogs to make them easier to find and use.  Also added are two icons for links to Facebook and Twitter to make it easier for you to share a post with your friends.  All that, and there’s no change in the admission price.  Please let me know what you think of the changes!

So why the change?  In the spirit of a “Behind-the-Scenes” post, the answer is . . .

Side note: If “library talk” is less enjoyable to you than the sound of fingernails scraping a blackboard, now would be a great time to explore previous posts and leave a comment, read one of the great essays from last year (maybe the essay that includes today’s featured photograph) and start or contribute to a discussion, or explore the online collection of Hugh Morton images!

. . . With the growing desire by library staff members to create new blogs, the library’s IT (information technology) department has become increasingly confronted by the challenges associated with maintaining the corresponding growth in the number of different WordPress themes selected by staff to design their blogs.  (Phew, that was a mouthful!)

WordPress is the software used by the UNC Library that makes these blogs possible. A WordPress theme is “a collection of files that work together to produce a graphical interface with an underlying, unifying design for a blog.

WordPress has a rigorous schedule for version updating. Every time WordPress releases a new version of its software, Library IT staff have to check each blog theme to be sure that it works properly, and then fix what was broken.  That process was getting to be more and more cumbersome with each WordPress upgrade. The same held true when a theme creator updated a theme.

To make life simpler, Library IT initially thought that they might limit staff choices to just a handful of themes.  They eventually concluded, however, that we could select one from any of the 114 free themes supported by WordPress.com (the “hosted” flavor of WordPress where your blog is maintained on its servers; the WordPress software available for downloading onto your own computer/server is obtained from www.wordpress.org.)

At first glance, supporting any number of those 114 themes may seem like even more work.  The key to Library IT’s decision, however, is that (theoretically) by limiting our theme choice to one of those supported by WordPress.com, there is a greater likelihood that a particular theme’s code would also be updated so that it functions properly in conjunction with the underlying WordPress content management software upgrade—and thus function properly with minimal effort on our part.

So . . . if you are still following along, you may have deduced that our previous theme was not among the approved 114 themes. (There are hundreds, maybe thousands, of WordPress themes out there!)

To pick a theme that I thought would work for A View to Hugh, I used the WordPress Themes Showcase and filtered for “Art” and “Photography” and “Three-columns” . . . and didn’t see anything I liked.  More browsing lead me to “Duster,” which I really liked.  Seeing Duster made me think that using three-columns was not as important as it was when we began, because the nature of the blog has changed since processing the collection is now complete.  The need for two side columns to hold all the links closer to the top of the screen just didn’t feel as compelling, and “expanding” to two columns would allow the photographs to be displayed a bit larger (35 pixels wider) and yet still feature the written word.  A View to Hugh has always been about a dialogue between our writers, our audience, and the photographs, which is why we quickly discarded the notion of a “photoblog” in the early design stage back in 2007.

To wrap things up . . . a few days after settling on Duster, WordPress.com announced its new default theme for this year, Twenty Eleven, which they touted as an improved and enhanced version of Duster.  We made the switch . . . and now you know why A View to Hugh met Twenty Eleven in 2011.

Islands of the Pacific revisited

Hugh Morton in Manila Chinese Cemetery

Hugh Morton with camera, Manila Chinese Cemetery, Philppines, circa March 1945.

During the Memorial Day weekend, I looked online through the numerous photographs made by Hugh Morton during his tour of duty in the South Pacific during World War II as a photographer (still and moving image) with the United States Army 161st Signal Photographic Company.  The idea was to have a military post related to the holiday.  I must confess that the exercise consumed the greater portion of my holiday weekend, but it was enjoyable and educational!  It also was rewarding because my journey through the collection, using the geographical subject heading “Islands of the Pacific,” led to several corrections with some interesting new identifications.  Unfortunately it has taken some time to update the catalog records, plus some of the master scans were “M. I. A.” so I needed to rescan those negatives.  That extra work meant that this post got pushed into June—and there’s enough material to merit more than one post.

The delay turns out not to be a such bad thing, however, because significant events in the war in the South Pacific took place during the month of June 1945—particularly on Luzon that lead to the liberation of the Philippines, declared on July 5th.  Ironically it was through that country’s two national heroes from the Spanish-American War—Andrés Bonifacio, and José Rizal—that I was able to identify the actual locations depicted several photographs.

Our first stop on this virtual expedition, however, is 4,000 miles southeast of Manila: Nouméa, New Caledonia.

Noumea, New Caledonia

Nouméa with Mount Dore in the distance, New Caledonia, circa late 1943–1944.

Many of the “misidentified” images are from a batch of negatives that Morton originally labeled “Noumea, New Caledonia.”  Nouméa is the capitol of New Caledonia, a country formed from a group of islands that are more than 900 miles east of Australia.  Nouméa is located on the southwestern coast near the southern tip of a long slender island called Grande Terre and situated on a protected harbor with a small island, Ile Nou, just offshore.  In 1942 the Allies needed to relocate the center of their Pacific operations from Auckland, New Zealand to a place closer to the “front.”  New Caledonia had been a French colony since the mid 19th century, and Nouméa was significantly closer to the action.  During the summer and autumn of 1942, the United States Navy and Army constructed extensive facilities at Nouméa, and on 8 November 1942 Nouméa became the official headquarters of the Allied Commander of the South Pacific.  New Caledonia also became home to many USO performances by Bob Hope and others, which Morton photographed in 1944.

When the army shipped members of the 161st Army Signal Corp to the Pacific, including Hugh Morton sometime in late 1943 or early 1944, they likely landed first in Nouméa.  Above is a scenic photograph by Morton of Nouméa with Mount Dore in the distance, scanned from the original negative with a U.S. Army Signal Corp identification number 22-16 along the left-hand edge.  Another scan in the online collection is from a cropped print.  The snapshot photograph below, with Saint Joseph’s Cathedral in the background, is the only other positively identified view made Nouméa. The original 2.5 x 3.5-inch negative is in the Morton collection, but it has not been scanned.

Street scene, Noumea, New Caledonia

So far, these are the only two images positively identified as Nouméa.  When Elizabeth Hull processed World War II material in the Morton collection, she made a note in the finding aid alerting users that many of the images in that the batch of negatives may not be of Nouméa.  Many of those negatives can now be assigned their proper place on the map: the Philippines, where Morton’s military service concluded in the spring of 1945.  The next post (or posts) on this trip back to the South Pacific will be a reflection of Morton’s tour of duty: “island hopping” our way to the Philippines.

Worry No More: a Charlie Justice photograph revisited

An interesting revelation about a classic Hugh Morton photograph serendipitously unveiled itself last week while I was writing my previous post on the Good WILLmington Mission, which occurred mid November 1948 and stemmed from a tragic event that occurred during the final days of October of that year.  Researching issues of the Wilmington Morning Star on microfilm, I discovered a number of Morton photographs—including the one below in the November 8th edition that I recalled having seen several times before.

Photograph as published in Wilmington Morning Star 8 November 1948 page 6

The beginning of the caption reads:

IN THE CLOSING MINUTES of the Carolina-William & Mary game Saturday, about the time it was obvious that the Tar Heels could not break the 7-7 tie, here’s how the Carolina bench looked. . . .

I made the digital copy you see above from the newspaper microfilm because often it is the easiest way to transcribe long captions when updating image descriptions in the online collection of Morton photographs.  With the scan in hand, I returned to the original focus of my digging expedition. Later, a quick check in the online collection located the stadium sideline scene below (without cropping),

Charlie Justice and Carl Snavely, 1948. . . but the image had the surprising title “1949 Sugar Bowl: UNC vs. Oklahoma” and its description read:

UNC All America Tailback Charlie “Choo Choo” Justice #22 talks with Head Football Coach Carl Snavely at Sugar Bowl in New Orleans, LA. Others in the picture: #66 Blocking Back Paul Rizzo, #67 Center Dan Stiegman, and #33 Blocking Back Bobby Weant. The assistant coach to Snavely’s left is line coach Max Reed; “board of directors meeting at the final bowl.”

Did you catch that? Here was a classic Morton image of Charlie Justice, long associated with his last game with UNC—the 1950 Cotton Bowl played nearly 14 months later—because of its placement the chapter “End of an Era” in Choo Choo: The Charlie Justice Story by Bob Quincy and Julian Scheer published in 1958. In their biography of Justice, Quincy and Sheer’s caption reads, “Board of directors meeting at the final bowl.” And to compound the confusion, we had a subject heading for the Cotton Bowl, but our description related to the 1949 Sugar Bowl. (Note: I’ve since corrected the description, title, and subject heading.)

Another known appearance in print of the photograph is the June 19th, 1949 issue of Holiday magazine with the caption:

All American halfback “Choo Choo” Charlie Justice has confab with Coach Carl Snavely.  Justice with another year of playing eligibility has already become one of U.N.C.’s grid immortals.

Obviously that publication also predates the 1950 Cotton Bowl.

I passed this discovery on to our contributor Jack Hilliard, who also noted that the player uniforms in this picture are definitely from 1948.  He also noticed that Snavely is wearing a dark coat in the William and Mary photograph, but in photographs of the 1949 Sugar Bowl he is wearing a lighter-tone overcoat.  So looking more closely at Snavely, I noticed that he is wearing the same tie in both photographs!  Maybe it was his favorite game-day tie during 1948, because he is also sports it in a photograph shot after defeating the University of Texas on September 25th, 1948, an undated photograph with Wake Forest coach Peahead Walker, (if you click on those links and use the zoom tool—is that the same sports coat, too?!) and a photograph made just before the 1949 Sugar Bowl.

So with new evidence in hand, we need “Worry, Worry, And More Worry” no more. The “board of directors” photograph has been relocated to its proper place on the “Justice Era” time line.

Worth 1,000 Words essays on LEARN NC

We’re very pleased to announce that nine of our Worth 1,000 Words essays are now included as part of the online educational offerings of LEARN NC, a well-respected teaching and learning resource program from the UNC School of Education. The essays are part of North Carolina History: A Digital Textbook. Here’s the description from their website:

LEARN NC’s “digital textbook” for 8th-grade North Carolina history offers a new model for teaching and learning. This “digital textbook,” designed for grade 8 and up, covers all of North Carolina history, from the arrival of the first people some 12,000 years ago to the present. Far more than a textbook, though, it’s a collection of primary sources, readings, and multimedia that you can search, select, and rearrange to meet the needs of your classroom. To build critical thinking and literacy skills, special web-based tools aid reading and model historical inquiry.

We’re thrilled to be able to get our essay authors’ work more easily into the hands of teachers and students, and want to say thanks to LEARN NC for this great collaborative opportunity!

A processor’s (concluding) perspective

Looking back at the first blog post I wrote nearly three years ago, I have admittedly mixed feelings about how the Hugh Morton processing project has proceeded, and is now wrapping up. Don’t get me wrong — when I compare these “after” pictures of the collection with the “before” shots in that first post, I feel an undeniable satisfaction, that particular archivists’ sense of triumph at having wrestled what was essentially a BIG OLD MESS into something that is organized, nicely rehoused and labeled, physically stabilized, digitized (in part), described, and accessible to the public.

Still, there is a niggling part of me that suspects, deep down, that my victory over the Morton beast is incomplete . . . that despite three years of hard work (not just mine, but also that of numerous and wonderful students and volunteers), the collection still somehow got the best of me. [Note from Stephen: the collection also got the best in Elizabeth.] In the past, I’ve left behind most of my projects/collections with a sense of closure — I had thoroughly beaten those collections into submission, and it was unlikely any processor would ever have to work on them again (or at least for a very long time). Not the case with this one! A person could devote a CAREER to the Morton Collection and still not be “finished.”

In that first post, I wrote:

Since I began working on the collection . . . I have had regular moments of crisis during which I become nearly paralyzed by all the challenges associated with and possible approaches to this project. How do you impose order on chaos, while respecting what few pockets of order do exist? How do you decide what to digitize, and when? How do you balance the needs and interests of the many people who will use this collection with the preservation needs of the material itself?

I’m not sure that we ever found firm answers to these questions, or that we ever really will. But the answer we have to go with is, “we do our best.” And that’s what we did!

  • We digitized, described, and made available online more than 7,500 images in the Hugh Morton Digital Collection
  • We organized the collection into nine series by subject, and described everything in detail in the collection’s finding aid, and linked it up to the digital collection at the subseries level
  • We tracked our progress and highlighted special topics/images in this blog, and built upon it through the Worth 1,000 Words essay project

And what of the future, you ask? First and foremost, A View to Hugh will continue! North Carolina Collection Photographic Archivist Stephen Fletcher will be taking over primary author and editorial duties, but I will likely contribute now and again. We may not post as often as we have for the past three years, but there’s just too much fascinating, beautiful, relevant stuff in this collection — we simply must share!

I’ll be moving on to other collections here in the North Carolina Collection Photographic Archives, but will still be around and completing a few remaining Morton-related clean-up tasks. Morton Collection-related inquiries should be directed to Stephen; information about reproductions is available on the NCCPA Requesting Reproductions page.

Until next time,

–Elizabeth Hull

All nine series now available!

It’s been a while since I announced an update to the finding aid for the Hugh Morton collection . . . but that’s because I’ve been saving up until I could reveal ALL of the remaining series at once. (Not intentionally, actually — it just kind of worked out that way). So yes, this means that almost all* of the Morton collection is now open and available for research!

Of greatest interest to many will be the Sports Series (series 6), which contains the absolute gold mine that is Hugh Morton’s UNC basketball photography. Morton took an amazing 30,000 photographs of UNC basketball, dating from the beginning of his time as a UNC undergrad in 1939 through the early 2000s (see left). We worked hard and very carefully to process this portion of the collection, knowing how popular these would be. Along the way, we digitized about 1300 of them, which (in case you need a reminder) are available online in the Hugh Morton digital collection. (Big props to our volunteer Jack Hilliard, who did the vast majority of the description/identification for these — talk about a “citizen archivist“!).

But let’s not overlook the other sports (football, golf, and hang gliding, to name a few), or series 7 through 9 — World War II (7);  Places, Non-North Carolina and Unidentified (8); and Documents & Objects (9). Go to the newly updated finding aid for detailed descriptions of these materials.

*Yes, unfortunately, we’re not quite done yet. There’s still a good deal of cleaning up left to do, inserting stray items into series, adding the film, video, and audio materials, the oversize prints, etc. Not at all helpful is the fact that as I was doing a “victory lap” around the stacks the other day, I came upon a previously overlooked (and quite large) box of negatives — a tangled mess of hundreds of rolls of film, representing lots of different subjects and time periods. SIGH. Wish me luck.