What’s with all the Backpacks?

If you’ve seen any publicity about the Community-Driven Archives grant, you’ve probably seen references to “the Backpacks.” One of the central initiatives for the CDA Team is transportable archiving kit that demystifies the technical jargon and supplies resources for communities. … Continue reading

If you’ve seen any publicity about the Community-Driven Archives grant, you’ve probably seen references to “the Backpacks.” One of the central initiatives for the CDA Team is transportable archiving kit that demystifies the technical jargon and supplies resources for communities. This has manifest as the “Archivist in a Backpack” and the slightly less catchy but equally important “Archivist in a Roller bag.” These are a simplified archive in an easily portable kit that we bring and mail to communities doing archival and cultural heritage projects. In April of this year, the online forum HyperAllergic published an article about our “Archivist in a Backpack” project. Since then, we have had an enormously positive response from people all over the world and I think the speed and reach of the backpacks has surprised us all. We’ve received numerous inquiries about the backpacks and our grant project in general. This might seem like a basic administrative detail, but when you consider that each inquiry has the potential to become a new resource and an introduction to dozens of new colleagues, it is no small feat in networking. While most of my conversations have been with people in the US, we’ve had interest all over the globe. From a member of a Canadian first Nation, to a library in New South Wales, an Archivist in the UK doing her own community work with immigrant Somalian communities and a theatre professional in Germany, something about the Backpack project has struck a chord. A version of the backpack has been used in Mexico with Yucatán Mayan students with materials being translated into Spanish and Yucatec Mayan. For more information about this project check out this National Geographic article!

 Sounds great, but why all the hoopla? Backpacks aren’t exactly cutting edge. I think it is the mix of the un-apologetically bright colors of the kits (though we do offer some more muted tones) and the awe that digging into a family or community’s past almost always elicits. But there are other components to the backpacks, not always mentioned in the emails. Social justice, commemoration, and community healing often feel like implicit threads of the conversations and the projects new colleagues talk about.

The backpacks look unimposing, but I think they represent something quite profound. The backpacks invite people to tell their histories so that the information can be put towards a larger purpose. The backpacks aren’t just about a walk down memory lane (as important as that is) but many of the people with whom I’m in contact have a mission that the archival resources are to be used in forwarding. Whether it’s about connecting generations in learning about the many iterations of civil rights, housing and preventing gentrification and displacement, or combating rampant minority stereotyping and erasure practices, the backpacks are an accessible way for communities to take control.  The initial emails show that many projects are just getting off the ground or are still in the early planning stages. It will be interesting to see what the results are for everyone, especially since we at CDA are right there with them. It’s a “figure-out-as-you-go”, one foot in front of the other kind of process, collaborating between institutions, communities, and newly-found colleagues. At least we can all have coordinating backpacks.

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu.

Follow us on Twitter @SoHistColl_1930
#CommunityDrivenArchives #CDAT #SHC
#EKAAMP #HBTSA #ASHC #SAAACAM
#yourstory #ourhistory #community #AiaB

A priceless gem for only ten bucks

Today, October 27th, UNC head football coach Larry Fedora leads his 2018 Tar Heels into historic Scott Stadium for a continuation of “the South’s Oldest Rivalry.”  This game between the University of North Carolina and the University of Virginia marks … Continue reading

Spangler with Justice's torn jersey

UNC President C.D. Spangler standing outside the President’s house on UNC-Chapel Hill campus, February 23, 1988, holding a ripped #22 jersey worn by UNC football player Charlie Justice during the 1948 game against Virginia.

Today, October 27th, UNC head football coach Larry Fedora leads his 2018 Tar Heels into historic Scott Stadium for a continuation of “the South’s Oldest Rivalry.”  This game between the University of North Carolina and the University of Virginia marks the 123rd meeting between the two old rivals. Over the years, since the first meeting between the two in 1892, Carolina has won sixty-four times while UVA has won fifty-four; four games ended in a tie.  Of the fifty times Carolina has played UVA on the road, the game in 1948 not only provided Carolina with a highly significant win, it also provided an interesting sidebar story.  Morton collection volunteer Jack Hilliard takes a look back at the game in Scott Stadium on November 27, 1948 between the Tar Heels and the Cavaliers.

Arguably the best UNC football team was the 1948 squad that finished the season undefeated and ranked third in the Associated Press poll. The ’48 Tar Heels started off the season at home with a historic win over the University of Texas, 34 to 7. (Many old-time Tar Heels still like to talk about this game.)

The weekend following the Texas win, Charlie Justice had his best day as a Tar Heel down in Georgia with a win over the Bulldogs. Then came wins over Wake Forest, NC State, LSU, and Tennessee.  A tie with William & Mary on November 6th was the only blemish on the ‘48 schedule.  Following wins over Maryland and Duke, it was time to close out the historic season—a season that had seen Carolina ranked number one for the first and only time.

With bowl talk in the air, Head Coach Carl Snavely took his team into Scott Stadium for that finale.  An overflow crowd of 26,000+ turned out on November 27, 1948, a day that could have very easily been called “Charlie Justice Day.”  Here’s why:

  • He got off runs of twenty-two and eight yards in the initial Carolina touchdown drive.
  • He passed thirty-nine yards to receiver Art Weiner for the second Tar Heel score.
  • He cut off left guard on a delayed spinner and outran the field to cross the Virginia goal eighty yards away.
  • He passed thirty-one yards to end Bob Cox for Carolina’s fourth touchdown.
  • He returned a UVA punt, in a straight line, fifty yards for Carolina’s final touchdown of the day.

In summary: Justice carried the ball fifteen times for a net total of 159 yards—that’s almost 11 yards per carry. He completed four of seven passes for 87 yards.  He returned two punts for sixty-six yards. He punted five times for a 40.8 yards per punt average. And oh yes, he intercepted a Virginia pass, had a 49-yard touchdown pass called back as well as a 21-yard run. Needless to say, Carolina won the game 34 to 12 and went on to play in the 1949 Sugar Bowl.

Among those 26,000+ fans in Scott Stadium that afternoon was an eleventh grade student at Woodberry Forest, a prep school in Madison, Virginia.  His name, Clemmie Dixon Spangler, Jr. from Charlotte, North Carolina.  Spangler, along with several of his school buddies, had made the trip over to Charlottesville for the game. (Clemmie Dixon Spangler, Jr. would become known as C.D. Spangler, Jr. and would lead the University of North Carolina system from 1986 until 1997.)

On one of those great Charlie Justice plays mentioned above, Justice’s #22 jersey was torn. He came over to the Carolina sideline where equipment manager, “Sarge” Keller, quickly got out a new one . . . tossing the torn one over behind the bench into an equipment trunk.  In a 1996 interview with A.J Carr of Raleigh’s News & Observer, Spangler described the 1948 Charlottesville scene:

“Charlie was a hero of mine.  It was one of his greatest college games.  On one play, a linebacker grabbed him, but he twisted away as he often did, ran another 10-15 yards and his jersey was torn.”

“He came over, the trainer helped him put on another and they put the torn one in the trunk. I said: ‘That old jersey would be nice to have.’”

After the game, Spangler got the attention of a Carolina cheerleader and explained that he wanted the Justice jersey.  He then offered the cheerleader ten dollars to go and get the jersey out of the trunk. The deal was completed and as Spangler walked out of the stadium, some Carolina fans offered him one hundred dollars. Spangler said, “No deal.”

He displayed the jersey on the wall while in high school and after graduation he kept it in a “safe place.”

“I wouldn’t take anything for it,” Spangler continued. “It’s a piece of history that meant something to me.”

“My mother offered to wash it and sew it. But I said we would not wash it, that we’d keep the lime marks and grass stains and leave it torn.”

“(Charlie Justice) is very symbolic of someone who did well, was a hero and he lived a really good life.  He lived up to all expectations and has been a fine representative for North Carolina,” Spangler added as he closed the interview.

contents of Machine Print Envelope 2.6.398-10-9

Photographs of Charlie Justice and C.D. Spangler stored in Machine Print Envelope 2.6.398-10-9. One of the prints has a caption typed on the back with the ubiquitous stamp, “PHOTOGRAPH BY HUGH MORTON.”

Spangler kept the prized memento for more than fifty years. Then, on November 18, 1989, during halftime of the Carolina–Duke game, he presented the jersey to then UNC Athletic Director Dick Baddour.  It is now on display in the Charlie Justice Hall of Honor at the Kenan Football Center.

Justice and Spangler autographed photograph

A mounted color photograph autographed by Justice and Spangler, located in Oversize Box 2 in the Hugh Morton collection

Morton also used the images in his slides shows, saying: “…the only university president who freely admits to bribery and steeling.”

Contents from Machine Print Envelope 2.6.398-10-6.

Photographs and negatives from Machine Print Envelope 2.6.398-10-6. The envelope contains negatives from two rolls of film, one of which is seen here on the left. The negative for the print with Justice and Spangler standing next to the torn jersey exhibit case is not in the envelope. It would fit sequentially in the space seen next to the upper right corner of the print. Above that print, on Spangler’s right is Julia Morton; to his left is Betty Kenan.

On April 30, 1984, the Charlotte chapter of the Juvenile Diabetes Foundation staged a Charlie Justice Celebrity Roast and one of the roasters was Justice’s dear friend, teammate, and business partner Art Weiner.  One of Weiner’s roast stories went something like this:

We knew that Charlie was competing with SMU’s great All America Doak Walker for the 1948 Heisman Memorial Trophy.  When we read in the papers that Walker had a jersey torn up during one his games, we decided, in the huddle, to tear up one of Charlie’s . . . just to make things look equal.  But on November 27, 1948, the tear was for real and C.D. Spangler, Jr. got a “Priceless Gem for Only 10 Bucks.”

Old West Hall: A View Changes With Time

It could have been the result of damage from hurricane Florence or tropical storm Michael.  Maybe it was just (extreme) old age. During the week of October 21, UNC Grounds Crew felled one of the most consistently photographed trees on UNC’s campus. Don’t worry… the Davie Poplar is fine… Another tree, not as prominent or […]

It could have been the result of damage from hurricane Florence or tropical storm Michael.  Maybe it was just (extreme) old age.

During the week of October 21, UNC Grounds Crew felled one of the most consistently photographed trees on UNC’s campus.

Don’t worry… the Davie Poplar is fine…

Another tree, not as prominent or easily identified as a landmark on campus as the Davie Poplar, a majestic Post Oak that was a fixture in images of Old West Hall (when photographed from the north side looking to towards South Building), was cut down.

The tree was there when Old West was constructed in 1823 and appears in the first images in the University’s possession of the building, dating from the 1880s-1890s.

In 2005 the (UNC) Chancellors Buildings and Ground Committee approved a report from the Task Force on Landscape Heritage & Plant Diversity.

In that report the committee identified and described it as:

“(Heritage Tree #) 74. Quercus stellata (Post Oak) — an impressive specimen.”

Close up of page from 2005 UNC report on heritage trees and plant diversity.

A rendering of a tree appears to be in the same location on the north side of Old West in this early engraving by W.  Roberts from a drawing by William Momberger of the University campus as it appeared circa 1855 (Old West is right side of illustration).

P0004/0162: Campus view: Engraving by W. Roberts (facsimile), 1855

 

Circa 1880s-1890s:

P0004/0393: Old West Hall and New West Hall, circa 1880s-1890s; North Carolina Collection Photographic Archive

It was difficult to get a “long-view” of the west face of the building AND include the Old Well…. without capturing “Tree 74” in the image.

Circa 1880s-1890s

P0004/0393: Old West and Gerrard Hall, circa 1880s-1890s; North Carolina Collection Photographic Archive

Circa 1940s

P0004/0393: Old West, circa 1940s; North Carolina Collection Photographic Archive

On October 23, 2018 this is what remained of “(Heritage Tree #) 74. Quercus stellata (Post Oak) — an impressive specimen.”

(Images by Patrick Cullom)

North side of Old West looking east. Stump of Tree 74 is at the far left side of image.

View of stump of Tree 74 (North of Old West).

View of stump of Tree 74 with timeline of approximate age/size of tree indicated. (Timeline is from unverified source)

View of stump of Tree 74 (North side of Old West).

All historical views from University of North Carolina at Chapel Hill Image Collection Collection #P0004

New Collection: Danny Bell Photographs

We have just opened a new collection for research: photographs from Danny Bell. Bell has been at the heart of American Indian life at UNC since the late 1980s. He was one of the founders of the American Indian Studies … Continue reading

We have just opened a new collection for research: photographs from Danny Bell. Bell has been at the heart of American Indian life at UNC since the late 1980s. He was one of the founders of the American Indian Studies program and has worked closely with the Carolina Indian Circle. Bell’s photos document performances, lectures, and classes, and include many images of Carolina Indian Circle events.

The photos now available for use in Wilson Library.

Carolina Indian Circle performance and beading workshop, ca. 1996-1997. Photo by Danny Bell.

Carolina Indian Circle performance and beading workshop, ca. 1996-1997. Photo by Danny Bell.

What is a Community Archive?

Community archives and other community-centric history, heritage, and memory projects work to empower communities to tell, protect, and share their history on their terms. In 2017, the Southern Historical Collection, a part of Wilson Library Special Collections, within UNC Libraries … Continue reading

Community archives and other community-centric history, heritage, and memory projects work to empower communities to tell, protect, and share their history on their terms. In 2017, the Southern Historical Collection, a part of Wilson Library Special Collections, within UNC Libraries in Chapel Hill was generously funded by the Andrew W. Mellon Foundation for a grant to “form meaningful, mutually supportive partnerships that provide communities with the tools and resources to safeguard and represent their own histories.”  We argue that “Community archive models and community-driven archival practice address the ‘symbolic annihilation’[to quote Michelle Caswell] of historically marginalized groups in the historical record, and aim to create sustainable and accessible memory projects that address these archival absences.”[1]

So what does it mean? A whole host of complex, complicated moving parts that if done right could transform the historical record! And it wouldn’t just be the grant funded community driven archives team (CDAT) doing it, but rather a true collaboration between the CDAT and communities to keep communities in control of their narratives.

Communities can preserve their history in a myriad of ways. They can keep records in  brick and mortar buildings like the Mayme A. Clayton Library and Museum, or they can curate a digital archive like the South Asian American Digital Archive.[2]  Communal heritage or memory can be expressed through historic markers or murals, like the Portland Street Art Alliance’s “Keep on the Sunnyside Mural Project”[3] and through guided walking tours, such as those created by the Marian Cheek Jackson Center.[4] History and heritage can even be expressed through parades, commemorations, and community celebrations. In her article, “The records of memory, the archives of identity: Celebrations, texts and archival sensibilities” Jeannette A. Bastian notes,

the relationships between collective memory, records, community and identity as expressed through a particular celebration—a carnival— [is] located within the paradigm of a cultural archive. That paradigm theorizes that if an annual celebration can be considered as a longitudinal and complex cultural community expression, then it also can be seen dynamically as a living archive where the many events within the celebration constitute the numerous records comprising this expression.[5]

Community archival work can also be done in public libraries like the Queens Memory Project or with the support of universities like the SHC’s Community-Driven Archives project. We call our work community driven archiving because we take cues from community members on the best ways to support their memory work, we would not trample the long standing tradition of community owned and operated archives by co-opting their name.

We understand that working with communities to create archival, historical and heritage-based projects means grappling with complex issues of identity, ownership, and legacies of marginalization.  Community history has always been present; the community archives movement didn’t suddenly discover these histories.[6] We have a lot more to share about our perspective and experiences with community driven archival work, including its benefits and challenges for a large organization with a complex history like UNC Libraries. With this post we are signaling that boosting community voices in all their intersectional, diverse, complicated and creative outputs is a top priority in the Southern Historical Collection these days.

This is a model we created to help us visualize the relationship between traditional archival users and community-history creators. By changing the emphasis on who is being considered essential to the archives story, you can completely change the priorities.

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #memory

[1] “About: Community-Driven Archives Overview,” https://library.unc.edu/wilson/shc/community-driven-archives/about/

[2] South Asian American Digital Archive, “SAADA”, https://www.saada.org/

[3] Portland Street Art Alliance, “Keep on the Sunnyside Mural Project”, http://www.pdxstreetart.org/articles-all/sunnyside-mural-project

[4] Marian Cheeks Jackson Center “Soundwalk of Northside,” https://jacksoncenter.info/northside-stories/soundwalk-of-northside/

[5] Jeannette A. Bastian, “The records of memory, the archives of identity: Celebrations, texts and archival sensibilities,” Archival Science, (2012), 122.

[6] Yusef Omowale, “We Already Here,” Medium: Sustainable Future, September 3, 2018, https://medium.com/community-archives/we-already-are-52438b863e31.

Ackland Art Museum turns sixty

Birthed as the William Hayes Ackland Art Center, the Ackland Art Museum turns sixty today.  The art center held a special preview for UNC faculty on Friday evening, September 19, 1958.  The official dedication ceremony took place the next morning, featuring a talk titled, “The Role of the College Museum in America” by S. Lane […]

Ackland Art Center gallery

A gallery in the William Hayes Ackland Art Center during its opening weekend, 19-20 September 1958. (Scene cropped from a negative in the UNC Photo Lab collection.)

Birthed as the William Hayes Ackland Art Center, the Ackland Art Museum turns sixty today.  The art center held a special preview for UNC faculty on Friday evening, September 19, 1958.  The official dedication ceremony took place the next morning, featuring a talk titled, “The Role of the College Museum in America” by S. Lane Faison, head of the art department and director of the art museum at Williams College in Massachusetts.  The opening exhibition drew paintings, prints, etchings, drawings, and sculptures from the collections of several college and university art museums across the country.

The university slated Joseph Curtis Sloane, then at Bryn Mawr College, to become chairman of the Art Department and director of the new art center.

Sitterson, Aycock, and Sloane

Welcoming visitors to the Ackland Art Center are, left to right, J. Carlye Sitterson, Dean of the College of Arts and Sciences; William Aycock, UNC-Chapel Hill; and Joseph C. Sloane, incoming chair of the Art Department and director of the Ackland Art Center. (Scene cropped from a negative in the UNC Photo Lab collection.)

William D. Carmichael Jr., Vice President and Financial Officer of The University of North Carolina, accepted the building on behalf of the consolidated university.

William D. Carmichael Jr.

William D. Carmichael Jr. accepting the Ackland Art Center building on behalf of the university. (Scene cropped from a negative in the UNC Photo Lab collection.)

Photographic black-and-white negatives and prints in the University of North Carolina at Chapel Hill Photographic Laboratory Collection document both events, plus a number of artworks loaned for the debut exhibition.

Care to learn more about the Ackland’s origins?  The Daily Tar Heel covered the story, including the background of the William Hayes Ackland bequest and the works of art in the opening exhibition on September 18th in advance of the dedication ceremony, and reported on the formal opening on September 21st.

 

 

 

Community-Driven Archives

Hello and welcome to the Community-Driven Archive blog located on UNC-Chapel Hill Library’s site Southern Sources! On this blog, we, the Community-Driven Archives Team or CDAT for short, will talk about the work you see (like the “AiaB” Archivist in a Backpack) and … Continue reading

Hello and welcome to the Community-Driven Archive blog located on UNC-Chapel Hill Library’s site Southern Sources! On this blog, we, the Community-Driven Archives Team or CDAT for short, will talk about the work you see (like the “AiaB” Archivist in a Backpack) and some behind the scenes activities, such as discussions about funding, obstacles we’ve faced, the little victories, and aspects of community archives that don’t make it into the brochures. We hope that you find our posts engaging and thought-provoking, and this blog is for anyone and everyone. From archival and institutional practitioners to community members and everyone in between you are welcome here!

Community archives are complex and there are a lot of ways to talk about the different types of community history and memory practices. One common analogy is that of a garden. In a recent Letonica article, Director of the Southern Historical Collection Bryan Giemza notes,  

[there are] those who see the archive as analogous to a garden. Properly tended, it keeps growing, and the measure of its good is both in its sustainability and the measure of nourishment it provides. If food sustains the ability of a community to reinvent itself, which is necessary to the advancement of any civilization, an archive contains the cultural resources that provide the creative sustenance for the process.

Gardens offer a more accessible image of information and community materials; they are an epicenter of collaborative activity. Community champions break the ground and help prepare the foundation. Donors provide the seeds, while volunteers till the soil, water, and feed the new growth. Visitors, outsides and locals, consume the produce and have the seeds of inspiration planted in their own minds. The community can be nourished by the visibly of their work, and the tangible outcome it provides, be that an exhibit, a website, a history harvest, or series of oral history interviews. Community archives can be kept small and within the bounds of the planter or they can climb over the garden walls and expand outside anyone’s previous notions. These types of community archive-gardens are unique to each community and we at CDAT are excited to share our experiences and hear about the work of others! 

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #gardenarchives

EKAAMP Garden

This image is from one of our pilot projects, the Eastern Kentucky African American Migration Project, or EKAAMP. Gardens feature heavily in our jargon and our work as you can see!

Mack Brown’s return to Kenan Stadium

Last month, on August 11, 2018, former UNC head football coach Mack Brown revisited Chapel Hill and Kenan Stadium, where he had roamed the sidelines for ten seasons from 1988 through the 1997.  The occasion for Brown’s recent return was … Continue reading

Mack Brown, September 14, 2002.

Mack Brown, University of Texas head football coach, at Kenan Stadium on September 14, 2002.

Last month, on August 11, 2018, former UNC head football coach Mack Brown revisited Chapel Hill and Kenan Stadium, where he had roamed the sidelines for ten seasons from 1988 through the 1997.  The occasion for Brown’s recent return was a celebratory dinner with about fifty Tar Heels from his UNC days, held in the stadium’s Blue Zone, in honor of his selection into the College Football Hall of Fame.  The hall announced its 2018 College Football Hall of Fame Class announced back in January, and will hold its induction ceremony on December 4 in New York City.

Brown’s August visit was not first time back to Chapel Hill after his final UNC football season. Morton Collection volunteer Jack Hilliard looks back to September 14, 2002—a visit by Brown that many Tar Heel fans still recall.

The headline in the Saturday, September 14, 2002 edition of the Greensboro News & Record read “Tar Heels hope to catch Texas off guard again.”  Sports writer Larry Keech recounted the famous Carolina–Texas game from 1948 when the Tar Heels beat the Longhorns 34 to 7.  Keech interviewed Tar Heel All-America Art Weiner and he recalled that day in September of 1948 when he and teammate Charlie Justice made UNC history.  Keech closed his story by saying, “If history is to repeat, it will be up to UNC quarterback Darian Durant and receiver Sam Aiken to do their best Justice and Weiner impersonations.”

When Texas head coach Mack Brown and his nationally ranked #3 Texas Longhorns took the field shortly before 8:00 p.m. on Saturday, September 14, 2002, a few boos were heard from the Tar Heel faithful in the Kenan crowd of 60,500—the second largest in Kenan to date. I remember my disappointment at those boos.  I chose to believe they were directed at a Tar Heel opponent, not at Coach Brown.  It was estimated that there were 5,000 Texas fans in the sold-out crowd.

Kenan Stadium during Texas versus UNC football game

Kenan Stadium during the the second quarter, the scoreboard showing Texas with a 17-to-0 lead over UNC.

By the end of the first quarter, and trailing 10 to 0, the chances of that “repeat-history” seemed to be getting farther away.  Carolina finally scored in the second quarter but trailed 24 to 7 at the half.  That “repeat-history” was now . . . history.  There was just too much Texas.  Each team scored in the third quarter, but Texas poured it on with 21 points in the fourth.  The final score was 52 to 21, Texas.

Following the win, Coach Brown hugged his players and looked toward those Texas fans as he held up the famous “Hook ‘em Horns” sign. The Texas band then played “The Eyes of Texas.”  The Tar Heel hype for this game by now was forgotten. Texas was ranked #3 for a reason.  They were that good.

Following the Mack Brown–John Bunting handshake at midfield, Coach Brown walked into the atrium of the old Kenan Field House at Kenan Stadium, a room in which he was totally familiar. He was set to address the media.

“I’ve never seen a team play that hard down 31 to 14.  The crowd was in it, it was an unbelievable atmosphere.  For myself, I’m really proud that North Carolina football is in John Bunting’s hands and moving forward.

“I was impressed with the crowd. I’m proud to be a part of the two biggest in school history. I’m just on the wrong side in one of them . . . .  There was way too much talk about me coming back here. . . . We had our struggles and I’m proud of what we did here.”

Mack Brown’s position in Tar Heel history is secure with ACC Coach of the Year honors in 1996, three ten-win-seasons, and a number four national ranking (Coaches’ Poll) for the 11-1 1997 team.

Brown would go on to lead the Longhorns for eleven more seasons, winning the National Championship in 2005.  You can see why he will be inducted into the College Football Hall of Fame in December.

Epilog

During his most recent campus visit, Coach Brown talked with the 2018 Tar Heel football team and told them it is a “privilege” to play in a historic and winsome venue like Kenen Memorial Stadium.  He then added that he was pulling for them each Saturday from his ESPN studio vantage point where he is a network analyst each weekend during football season.

UNC Students Study Nike, 1998

In the mid 1990s, Nike and other apparel companies drew criticism for labor practices in overseas factories they owned or used. UNC students and faculty were at the heart of the debate in the spring of 1998 when an entire … Continue reading

Daily Tar Heel, 29 April 1998.

In the mid 1990s, Nike and other apparel companies drew criticism for labor practices in overseas factories they owned or used. UNC students and faculty were at the heart of the debate in the spring of 1998 when an entire class looked at Nike and its role in the global economy.

UNC began its relationship with Nike in 1993, when it signed its first agreement with the company to provide shoes and other athletic apparel for Carolina athletes and coaches. It was a new era for the basketball team in particular, which had worn Converse shoes since the 1960s.

When the University began negotiating a renewal of the contract a few years later, students began to bring up concerns about Nike’s labor practices. In the summer of 1997, student Marion Traub Warner started the Nike Awareness Campaign to educate other students about concerns over Nike’s labor practices. This was not just a UNC issue. Other universities with apparel deals with Nike, including Michigan, Ohio State, and the University of California, collaborated with an independent study of working conditions in factories used by Nike. In the fall of 1997, business students at Dartmouth released a study of pay rates at factories in Indonesia and Vietnam. Workers were found to be poorly paid and subject to dangerous environmental conditions.

Inspired by UNC student interest and an opportunity to study and learn from a current, global issue, UNC faculty members Richard Andrews, Nick Didow, and James Peacock offered a class in the Spring semester 1998 entitled “Economics, Ethics, and Impacts of the Global Economy: The Nike Example.”

The course drew national media attention, including a mention on ESPN. At the end of the semester, the faculty arranged for a staff member from Nike to be present for the students’ final presentations, which included recommendations for the company. They were all surprised when the company representative turned out to be Nike CEO Phil Knight. Nike took steps to address labor concerns in its factories and the University continued to renew its apparel contracts with Nike.

This topic and the class are covered at length in a new collection in the University Archives. The collection includes materials gathered and saved by Dr. Raymond (“Pete”) Andrews. It is a terrific resource for anyone interested in studying labor practices of apparel companies in the 1990s and the ways that college students at UNC and around the country helped to engage and possibly influence the practices of a major international corporation.

UNC faculty and students with Nike CEO Phil Knight (third from left), 1998. From the Richard Andrews Collection on The Nike Class, UNC University Archives.

Lath Morriss: the cheerleader they called Tarzan

With the 2018 football season kickoff tomorrow on the west coast against the University of California, Berkeley, many Tar Heel fans are ready for their annual rite of autumn.  An important part of that rite is fan participation—cheering, it’s called.  And no … Continue reading

With the 2018 football season kickoff tomorrow on the west coast against the University of California, Berkeley, many Tar Heel fans are ready for their annual rite of autumn.  An important part of that rite is fan participation—cheering, it’s called.  And no one in Carolina history cheered like the rotund man from Farmville, the unofficial UNC cheerleader they called Tarzan.  He was not only famous on the UNC campus.  Tarzan was a familiar face and voice at Duke as well as other schools across North Carolina. A View to Hugh awakens from its summer doldrums to the beat of Hugh Morton collection volunteer Jack Hilliard, who takes a look at the life and times of Lath Morriss.

Author’s Note: In researching this post, I found numerous spellings of the main character’s name—from Lathe to Lath, and from Morris to Morriss.  In a Daily Tar Heel story published on December 12, 1946, the man himself says his name is Lath Morriss. So that’s what I will go with throughout this post.

Lath Morriss cheering

Lath Morriss, UNC’s unofficial cheerleader during the 1930s and 1940s, with a cheer and cigar in hand. Hugh Morton’s photograph includes plenty of sky, possibly with hopes that a magazine title and issue information could be printed in that area without encroachment into picture area.

When Duke University’s Blue Devils traveled to Pasadena, California for the 25th annual Rose Bowl game on January 2, 1939, the opponent was the University of Southern California.  Many Duke fans across North Carolina were not able to make the long trip to California for the game, so they listened to sportscaster Bill Stern’s coast-to-coast broadcast on NBC radio. Not only did they get Stern’s play-by-play account of the famous game, but another well known voice was heard during the broadcast.  It was that of Lath Morriss cheering on the opposite side of the field from Stern’s broadcast booth.

Lath Morriss was born in Brenham, Texas on February 15, 1904 and spent his early years in and around that small town.  He had a love for the game of football.  He played fullback on his high school team and quarterback on his college team.

The Eagle 28 Dec 1921

A clipping from a December 28, 1921 newspaper article about selecting the All Central Texas High School Football Team, written by Jinx Tucker of the Waco News Tribune and published in The Eagle—a newspaper for Bryan, Texas eighty-five miles away. Although Brenham was a bit too far south of the central Texas area covered by the all-star selection, Tucker noted that Morriss was all-state material.

After college, Lath took a job in Port Arthur, Texas with the Smith Construction Company, which had recently acquired a contract to build a highway between Farmville and Wilson in North Carolina.  When the construction company completed the road project, Morriss stayed in North Carolina and took a job in Farmville with the A.C. Monk Tobacco Company.  He was often seen at football games at Duke and attended his first game in Kenan Stadium in 1927.

His unusual voice often became a distraction in the cheering sections. During a Duke – Colgate game in Duke Stadium, university security asked him to leave.  The Associated Press, which covered the game, reported that Morriss had been evicted.  Students who were seated near him that September day, however, said he just went across the field and started cheering for Colgate.

Morriss soon found a “home” in Chapel Hill on football Saturdays.  He became known as the “Screaming Eagle” in The Daily Tar Heel but the students called him Tarzan.  In a 1935 interview in The Daily Tar Heel, Lath said, “I reckon you might call a voice like mine somewhat unusual, but I believe it has its good points.”

UNC’s 1937 season opener against the University of South Carolina ended in a 13-to-13 draw. The Daily Tar Heel blamed Tarzan’s absence for the tie.  S. R. Rolfe writing in the Sunday, September 26 issue said, “For the first time in memory . . . Tarzan was not at a Carolina ball game.  That may be the reason for the tie. The team probably missed his ‘15 rahs’ and shrill yell.”

At the UNC pep rally on Fetzer Field for the 1946 Duke game, Tarzan was one of the featured speakers, along with another famous Carolina Cheerleader, Kay Kyser.  A portion of the rally was broadcast on WPTF radio.  Tarzan was in rare form the next day when Duke came into Kenan Stadium for the thirty-third meeting between the two old rivals.  He led Rameses, the Carolina mascot, around the stadium to the delight of the photographers covering the game, as Carolina won 22 to 7 to cap off the first Duke–Carolina game of the “Golden Era” in Chapel Hill.

In a game billed as the “1947 Sugar Bowl Rematch,” the Tar Heels took on the Georgia Bulldogs in Chapel Hill on September 27.  Following a 0-to-0 first half, the Morriss led the Tar Heels back onto the field for the second half.  With megaphone in hand; he shouted “Go, go, go, go . . . Care-lina.”  The students shouted back, “Go, go, go, go . . . Tarzan.”  Carolina came back in the second half to win 14 to 7 to the delight of the Tar Heel fans among the 43,000 in Kenan Memorial Stadium.

Tarzan’s picture was often displayed in The Daily Tar Heel, and in UNC’s yearbook, The Yackerty Yack (both the 1947 and 1949 editions).  Even the magazine The State carried a cover photograph of the man from Farmville in its November 27, 1947 taken by photographer Bugs Barringer of Rocky Mount.

Lath Morriss The State November 22 1947

Cover of the November 22, 1947 issue of The State, featuring Bugs Barringer’s photograph of Lath Morriss.

The year 1949 brought to a close the “Golden Era” of Tar Heel sports, but the Lath Morriss story continued in Chapel Hill.  When The Chapel Hill Newspaper printed its sixth “Town & Gown” edition in August of 1975, it included a picture of Tarzan.  And in 2016 when author and historian Lee Pace published his book Football in a Forest: The Life and Times of Kenan Memorial Stadium, he featured the following Hugh Morton image of Tarzan on pages 134-135.

Lath Morriss with Rameses

Lath Morriss encourages UNC mascot Rameses to pick up the pace and gain more yardage.

The sad news from Farmville on July 30, 1962 told of the passing of Lath Morriss. He was 58-years-old.