Artifact of the Month: Elisha Mitchell’s pocket watch

Every artifact tells a story. One of the most dramatic stories represented by one of our artifacts is the story associated with our June Artifact of the Month: Elisha Mitchell’s pocket watch.

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Elisha Mitchell was a professor of geology, mineralogy, and chemistry at UNC in the 19th century. In 1828 he observed a peak in the Black Mountain range that he believed to be the highest point in the eastern United States. He returned three more times to gather data in the 1830s and 40s.

In 1855, Mitchell entered a two-year public debate with state senator Thomas Clingman — a former student of Mitchell’s — about the resolution of the highest-mountain question. In an effort to settle the matter, Mitchell made a final, fatal trip to the Black Mountains in 1857.

On that trip, he slipped, hit his head on a rock, and fell into a pool at the base of a waterfall. The blow to his head knocked Mitchell unconscious and he drowned in the pool.

… And that’s where our artifact comes in.

Mitchell carried this pocket watch on his journey and it still tells the time of his supposed death: June 27, 1857, 8:19.

The Mitchell pocket watch and the state parks

Mitchell’s life was cut unduly short, but his legacy is part of the North Carolina landscape. The mountain Mitchell identified was eventually verified as the tallest peak in the eastern United States, and it was named Mount Mitchell in his honor.

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Image source

In 1916, Mount Mitchell and the land surrounding it were purchased to become North Carolina’s first state park. This year the state park system celebrates its 100th anniversary with events at every park.

In April, Gallery staff took the Elisha Mitchell pocket watch to Fort Macon State Park for an event attended by 25,000 people. In August the watch will travel to Mount Mitchell — a homecoming of sorts.

We’re delighted to share one of our favorite artifacts with audiences beyond Chapel Hill, and proud to be part of the state parks’ anniversary celebration. If you’ll find yourself near Mount Mitchell at the end of August, please join us!

Artifact of the Month: IBM Personal Computer AT, ca. 1984

Our May Artifact of the Month is the state-of-the-art IBM Personal Computer AT, IBM’s second-generation PC.

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While this computer may seem like a mammoth in comparison to the latest MacBook Air, it was IBM’s streamlined and state-of-the-art release in August of 1984. In fact, AT stands for Advanced Technology. Advanced, high-technology features of this computer include: 80286-based processor with 265k RAM, one 1.2-Mbyte floppy disk, and high-capacity diskette and fixed-disk drives. When it first went on sale, all this and more could be had for the low, low price of $3,995!

If the RAM-and-bytes jargon doesn’t make sense to you, we’ll simplify: this computer was pretty high-tech for its time, and it was designed for professional applications, office environments, and personal productivity. This computer in particular was used in an office in Davis Library during the first decades of automated record keeping and online searching.

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To put technology growth into perspective: In August of 1984, the IBM Personal Computer AT was released with a memory capacity of 256K RAM. In 1995, the average RAM of most computers was 2 Megabytes. Modern-day RAM is anywhere between 4-12 Gigabytes. In other words, from 1984 to 2016 there was a million-fold increase in computer memory capacity. That’s pretty astounding.

UNC has close ties to IBM because of Fred Brooks, computer architect and founder of UNC’s Computer Science department. Brooks managed the development of IBM’s System/360 family of computers that revolutionized IBM computing, made advancements in capability, and allowed machines to be upward-compatible. Brooks also facilitated the transition of the 360-series from a 6-bit byte to an 8-bit byte. Simply put, a byte is the number of bits used to encode a single character of text in a computer, and for that reason it’s the smallest addressable unit of memory in computers. The switch from a byte composed of 6 bits to that of 8 bits allows us to use lowercase letters.

If, like us, you’re thankful that computer text is not all caps and doesn’t read as if someone is yelling at you, give Fred Brooks a nod if you ever see him on campus.

Artifact of the Month: Winston Rodeo bumper sticker, circa 1975

This month’s Artifact of the Month post illustrates our continuing fascination with objects related to tobacco marketing. (For prior evidence of this obsession, see posts about the Seal of North Carolina Plug Cut tobacco pouch, the Joe Camel holiday lighter, and the Duke Cigarettes tobacco cards.)

Our April Artifact is a bumper sticker for the Winston Rodeo, circa 1975. That’s Winston as in the cigarette brand, owned by the R.J. Reynolds Tobacco Company.

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The Winston Rodeo series began in 1971 or 1972 (depending on which source you consult). It originally included roughly 600 rodeos each year throughout the country.

An intriguing 2010 article in the American Journal of Public Health analyzes internal tobacco industry documents to reveal the motivations behind tobacco company rodeo sponsorship. Not surprisingly, the goal was the promotion of cigarettes — not rodeo.

The researchers conclude that it was no coincidence that the advent of Winston’s rodeo sponsorship coincided with the 1971 ban on cigarette advertising on television and radio. During a televised rodeo event, TV cameras can pick up branded banners, scoreboards, and clothing, such as the jacket worn by a cowgirl in two photographs that came to the North Carolina Collection with the bumper sticker:

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Tucked under the collar on each shoulder is the embroidered slogan “Winston: How Good it Is.”

If you find that kind of branding too subtle, then take the example of Miss Winston:

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Miss Winston was a spokesmodel for the Winston Cup, a NASCAR racing series that was also sponsored by Winston. Miss Winston presumably made an appearance at the rodeo and autographed this photo for a lucky fan.

In 1975, R.J. Reynolds offered free Winston Rodeo bumper stickers, of which our Artifact is likely an example. Fans who were younger than 21 could skirt the company’s policy against marketing to young people by having their parents sign a statement provided by RJR.

On the back of the bumper sticker Winston advertises a 45 rpm souvenir record, a “Musical Salute to the Professional Rodeo Cowboy.”

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It’s a clever marketing move: Why not use your promotional materials to advertise other promotional materials? The cost was only $1.50 and two empty Winston packages.

A 1979 study commissioned by R.J. Reynolds concluded that Winston’s rodeo sponsorship had its intended effect of increasing purchases among fans. The study found a 10% per-year increase starting in 1974 attributed partially to Winston’s sponsorship of its Rodeo Superstars and College Rodeo Scholarship programs.

We’re grateful to the researchers who sifted through all those tobacco industry documents: Drs Pamela M. Ling, Lawrence A. Haber, and Stefani Wedl.

And we’re grateful to the anonymous rodeo fan who opted not to affix this artifact to his/her bumper. It’s a perfect addition to the NCC Gallery’s collection of tobacco-related objects.

Artifact of the Month: Lucky UNC sweatshirt

Our March Artifact of the Month is a UNC sweatshirt that saw two generations of UNC basketball championship wins — and carries the spray paint to prove it.

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Wynne Maynor Miller bought this faded Carolina blue shirt during her freshman year in 1982 and was wearing it as she celebrated UNC’s 1985 championship victory on Franklin Street. She recalls:

I bought this blue sweatshirt during my freshman year at UNC-Chapel Hill. It witnessed all the chaos on the night we won the NCAA Basketball Championship in 1982. I will never forget the final 30 seconds of the game when the Georgetown Hoyas had one point on us, 62-61. Michael Jordan stole the ball for a one-point win. The students in Morrison Dorm chanted and screamed so loud that I felt the building shake in my 8th floor room… We could hear the whole campus roaring. I grabbed my favorite sweatshirt and we headed to Franklin Street. Beer flowed in the streets, students painted each other with blue spray paint, and naked blue people hung from trees.

I graduated in December 1984, married my college sweetheart, and left my home state — but my heart never left Carolina.

Her daughter, Courtney Miller Hileman, wore the sweatshirt as UNC again won a championship in 2009, in what would have been her final semester had she not graduated early. Her recollection:

I don’t remember the specific details like my mom does. My memory contains a blur of Carolina blue, cheering, and the smell of fire. I remember the feeling of camaraderie gained from sharing a moment in sports history: the thunderous crowd transitioning into silence as we raised our hands and held our breath while watching Tyler Hansbrough at the free throw line; the communal resounding sigh of relief when he made the shot; and the emphatic ‘Go to Hell Duke’ at the end of the game.

The sweatshirt reminds me of that instant bond between alumni that only another Tar Heel can understand.

This storied sweatshirt has clearly been well loved, though it’s in good enough condition that a third generation might be able to share in this tradition. We’ll keep our fingers crossed that it proves to be lucky again.

You can see the sweatshirt, along with many other pieces of clothing worn by Carolina students, in the exhibition From Frock Coats to Flip Flops: 100 Years of Fashion at Carolina in the North Carolina Collection Gallery through June 5th.

Artifacts of the Month: Duke Cigarettes tobacco cards, early 1900s

With the 88th Academy Awards happening this month, we’ve been dreaming of old-school starlets. Our February Artifacts of the Month are a trio of tobacco cards from the early 1900s featuring actresses from that era.

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The tobacco cards came from Duke Cigarettes, a product of W. Duke, Sons & Co., founded by North Carolina tobacco magnate Washington Duke in 1881.

Tobacco cards were first included in cigarette packs in the 1870s, with the purpose of stiffening each pack to lessen the chance that it would be crushed or bent. It wasn’t long before some enterprising soul saw their potential for brand promotion and a new advertising medium was born.

By the mid-1880s, manufacturers were printing themed sets of tobacco cards, with each card in the set bearing a unique image. The idea was to encourage brand loyalty by creating consumers’ desire to complete a set — so the themes capitalized on the popularity of certain cultural interests. Baseball players, boxers, and aviators all appeared on tobacco cards. And so, of course, did beautiful young actresses.

The three cards featured here are just a few in a huge series. Lillian Russell was one of the most famous American actresses at the turn of the twentieth century. Violet Cameron was a British stage actress with a scandalous personal life. And the lovely Lilia Blow remains a mystery to this writer. Students of cinematic or dramaturgical history, please chime in in the comments!

Artifact of the Month: 1776 note issued by the Fourth Provincial Congress

A recent addition to the North Carolina Collection Gallery’s numismatic collection tells a lesser-known story related to American independence. That $7.50 note is our January Artifact of the Month.

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North Carolinians asserted their independence from British rule at the Fourth Provincial Congress in a session convened at Halifax starting April 4, 1776. The first North Carolina battle of the war had occurred that February at Moore’s Creek Bridge, where North Carolina troops led by Richard Caswell defeated a Loyalist force.

Independence was on the minds of the legislators, who called for a declaration of independence and the right to create a constitution. The Halifax Resolves passed unanimously on April 12. This action influenced other colonies to adopt similar resolutions, and together these actions led to the Declaration of Independence. (If the April 12 date is ringing distant bells, it’s because you’ve seen it on the current North Carolina state flag.)

That same session of the Provincial Congress led to a lesser-known assertion of independence. North Carolina, along with the other colonies, had long issued paper money. Massachusetts was the first colony to do so in 1690. North Carolina followed in 1712, the first of twenty-five 18th-century issues, the last in 1785. The 1776 session of the Provincial Congress authorized perhaps the most interesting of all the issues.

That issue is significant for several reasons. A total of seventeen different denominations were authorized, from 1/16 dollar through twenty dollars. (Aside: Bonus points to any Miscellany reader who can tell us in the comments why 1/16 of a dollar was used as a denomination.)

The denominations were issued in 56 different varieties with some denominations having as many as eight designs. The legislation specified neither the number of varieties nor the designs themselves, and it is unknown how these decisions were made.

Each note design displays a vignette, or illustration, usually of an animal, sometimes a plant. One even shows a cupid. But one design, the sole example of the 7 ½ dollar denomination, displays an unfurled flag.

Close-up of the flag vignette on the note.
Close-up of the flag vignette on the note.

Adopted by the Continental Congress in 1775, the Grand Union flag is usually considered the first American flag. It is also known as the Continental Colours, the Congress Flag, the Cambridge Flag, and the First Navy Ensign. The flag displays the familiar thirteen stripes but the canton features the British Union Jack flag. In 1777, thirteen stars replaced the Union Jack, and the Grand Union became our historic first flag.

The Grand Union flag.
The Grand Union flag.

First Lieutenant John Paul Jones hoisted the Grand Union flag over the USS Alfred in February 1776. This was the first appearance of an American flag on a naval ship. It is believed that the same flag was raised by George Washington on New Year’s Day, 1776, at Prospect Hill, now part of Somerville, Massachusetts. Today, you might see the Grand Union flying over the Capitol in Colonial Williamsburg, Virginia.

Oil painting by W. Nowland Van Powell, depicting  the Grand Union flag flying on the USS Alfred.  Original in the U.S. Navy Art Collection, Washington, D.C.  U.S. Naval History and Heritage Command Photograph. Source: https://commons.wikimedia.org/wiki/File:NH_85212-KN.jpg
Oil painting by W. Nowland Van Powell, depicting the Grand Union flag flying on the USS Alfred. Original in the U.S. Navy Art Collection, Washington, D.C.
U.S. Naval History and Heritage Command Photograph. Source: https://commons.wikimedia.org/wiki/File:NH_85212-KN.jpg

“The Story of the American Flag” in the October 1917 issue of National Geographic claims that the image on the North Carolina note is the “earliest perfect representation of the Grand Union ensign.”

Many examples of the note have survived, probably because of its odd denomination and the flag illustration. We were excited to add one of these proud patriotic notes to our numismatic collection. For North Carolina collectors, the vignette of the flag gives it special historical meaning and a bold statement of early patriotism.

Artifact of the Month: Dizzy Gillespie for President button

If you’re already fed up with the 2016 presidential campaign and aching for a new candidate to shake things up, our December Artifact of the Month is for you!

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The artifact is a pinback button reading “Dizzy Gillespie for President.” Dizzy Gillespie, of course, being the jazz trumpeter who earned his place in the pantheon of masters in the 1940s and 50s. Gillespie was born in Cheraw, South Carolina, less than 15 miles from the North Carolina border. He spent two years in North Carolina studying at the Laurinburg Institute as a young man on a music scholarship, before his rise to fame and long before this button was made.

Now, if you’ve never thought of Gillespie as a politician you may be wondering why this button was made.

The practice of printing joke items reading “___________ for President” has long been a promotional tool for performers and other celebrities. That’s what the “Dizzy Gillespie for President” slogan was initially — just a funny tool for promotion. Gillespie’s booking agency, Associated Booking Corporation, created the buttons as merchandise for fans, probably in the late 1950s.

But several years later, with the fight for civil rights taking on increasing urgency and the 1963 March on Washington for Jobs and Freedom serving as inspiration, Gillespie decided he would, in fact, launch a presidential campaign. He had a political platform, a campaign manager, and a slate of jazz greats shortlisted for his cabinet.

Gillespie pitched his candidacy as a third choice in the 1964 presidential race between Lyndon B. Johnson and Barry Goldwater. And although he never got on the ballot in any state, his campaign did serve as a valid — if sometimes lighthearted — critique of the issues.

1955 portrait of Dizzy Gillespie from the Library of Congress Prints and Photographs Division, Van Vechten Collection, reproduction number LC-USZ62-102156 DLC.
1955 portrait of Dizzy Gillespie from the Library of Congress Prints and Photographs Division, Van Vechten Collection. File here.

In his memoir, To Be, or not… to Bop, Gillespie writes, “Anybody coulda made a better President than the ones we had in those times, dillydallying about protecting blacks in the exercise of their civil and human rights and carrying on secret wars against people around the world.”

How would a Gillespie presidency have been different? He would have had NASA send at least one black astronaut to space. Transformed the White House into the Blues House. Revoked the citizenship of Alabama Governor George Wallace and deported him to Vietnam. Required the Senate Internal Security Committee to investigate “everything under white sheets” for un-American activities.

Gillespie acknowledged later that the campaign “had its humorous side,” but the media attention he received shed light on critical issues like segregation and employment discrimination. He writes:

There were pressures on me to withdraw from the race after the press began to show some interest, and they found out that I was a serious candidate. Barry Goldwater, the Republican nominee, an arch conservative, tried to split and draw away my support from the jazz community by naming Turk Murphy as his favorite musician. I replied, ‘All I can say is don’t blame Turk for that. I’m glad he didn’t pick me.’

The election took place on November 3, 1964. And — spoiler alert — Gillespie didn’t win. But his campaign was a media-savvy way to bring important ideas into the national conversation.

This pinback button is part of a recent donation of objects from donor and longtime friend of the NCC Lew Powell, along with a trove of other buttons, three-dimensional artifacts, and paper ephemera from North Carolina. We look forward to sharing more from the Lew Powell Memorabilia Collection in the new year!

Artifact of the Month: Carolinas’ Carrousel commemorative buttons

Macy’s Thanksgiving Day Parade enjoys the title for the nation’s most famous Thanksgiving parade, but North Carolina‘s most well-loved Thanksgiving Parade is surely Carolinas’ Carrousel. Our November Artifacts of the Month are two commemorative Carrousel buttons.

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Carolinas’ Carrousel began in 1947 and quickly attained big-deal status. In 1950, celebrity cowboy Hopalong Cassidy led the parade, which drew a record crowd of 500,000 attendees.

The celebration has been held every year since its inception and is televised regionally. When it nearly folded in 2013, the company Novant Health rescued it, renaming it the Novant Health Thanksgiving Day parade (and leaving us to perpetually wonder: What was with the extra “r” in “Carrousel”?)

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The parade remains as an annual holiday tradition, with floats, balloons, celebrity performances, and an annual scholarship competition. (Would you fault us for bragging if we mentioned that one of the NCC Gallery’s former student employees won 5th place in the 2010 competition?)

2011 Carolinas' Carrousel Parade. Photo by Flickr user cheriejoyful.
2011 Carolinas’ Carrousel Parade. Photo by Flickr user cheriejoyful.
2012 Carolinas' Carrousel Parade. Photo by Charlotte Fire Department.
2012 Carolinas’ Carrousel Parade. Photo by Charlotte Fire Department.
2012 Carolina's Carrousel Parade. Photo by Charlotte Fire Department.
2012 Carolinas’ Carrousel Parade. Photo by Charlotte Fire Department.

As we make our annual gratitude list in honor of Thanksgiving, we’ll certainly include blog contributor and ephemera collector Lew Powell. Thanks, Lew, for donating these fantastic buttons (and so many others).

Artifact of the Month: Paper money from a North Carolina sutler

Our October Artifact of the Month, a 50-cent note, was issued by a merchant in an uncommon and now obsolete profession. The note is a rare survivor of private North Carolina paper money issued because of the Civil War.

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I’ll bet many of you join me in what until recently was my ignorance of the meaning of the word sutler. The term is unfamiliar these days because sutlers are no longer needed. During the Civil War (and other wars before it), the sutler was a civilian merchant who travelled with armies and sold goods to the soldiers.

Why did sutlers exist? In our nation’s early years, federal, state, and local governments provided only limited support to institutions we now consider to be publicly-funded services. Soldiers in the military, for example, did not receive the same level of resources they do today. A soldier was expected to provide some of his own necessities and other goods to make life more livable.

A section about sutlers appears in the Confederate Army Regulations of 1863. The regulations state that “Every military post may have one Sutler, to be appointed by the Secretary of War on the recommendation of the Council of Administration, approved by the commanding officer.” Once appointed the sutler could move his wagon or tent or establish a more permanent structure near or on the grounds of an army post.

The sutler often had a monopoly on many non-military goods, including food, clothing, and stationery. As a result, prices were often unfairly inflated. And the quality of the goods, especially the food, was often very low.

Sutlers developed a less-than-respectable reputation, and were regarded as, at best, a necessary evil. Seen from another perspective, though, they operated a high-risk business, a target for local thieves and enemy army raiders.

Sutlers were important to both sides during the American Civil War. After the war ended, though, the need for sutlers diminished as the government increased the quantity and quality of its services to soldiers. The post exchange evolved to be a great benefit to the soldier, providing quality goods at desirable prices. The memory of the sutler is largely kept alive by modern self-described sutlers, merchants serving Civil War buffs with facsimile period military merchandise.

Most surviving documentation of Civil War sutlers pertains to those of the Union Army. A photo from the Library of Congress (source) shows a Union sutler, A. Foulke, and his tent at Brandy Station, Virginia, headquarters of 1st Brigade, Horse Artillery, in the winter of 1863-64.

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Sutler money

Lack of circulating money was a big problem during the Civil War. Coins were scarce, leading to private substitutes. Like many other merchants, sutlers often made small change with their own paper money or tokens. Numismatists have studied and cataloged sutler money, and most surviving Civil War examples are from Northern sutlers. Southern examples are quite rare. The North Carolina Collection recently acquired this piece of paper money from a North Carolina sutler.

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The 50-cent note is signed by W. Shelburn, indistinct here, but clearer on some of the other examples. He served the Fourth Brigade, N. C. T (North Carolina Troops). The statement of obligation declares that the note will be received for goods (from the sutler) or in “current funds,” which means any other scrip that the sutler might possess.

An unusual feature is the quite specific June 1863 printed date. One wonders if Shelburn had printed scrip with other dates.

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Notes like this one tell an important story about the conduct of the Civil War – how militaries operated, how goods were exchanged, the life of soldiers on the front.

Can you tell us more?

The identity of W. Shelburn remains a mystery to us. We know of a William Shelburn, a North Carolina photographer active from about 1856 to 1907. It’s possible that he provided sutler services during the Civil War. But Shelburn is a relatively common name.

If you have any suggestions for identifying Shelburn, or other information about North Carolina sutlers, please leave a comment!

Artifact of the Month: Class of 1911 pillowcase

Our September Artifact of the Month is a hand-embroidered pillowcase — a memento made for a UNC graduate by his bride-to-be.

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This pillowcase was embroidered by Georgia Haskett for her fiance George Washington Rhodes when he graduated from UNC in 1911. During his time as a student, he was a member of the Philanthropic Debating Society. Rhodes must have been known for his love of books as he was described in the yearbook as “One of those antiquarian monks who thinks that a college is a place to learn things.” Soon after graduating, Rhodes became a teacher.

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Haskett embroidered ninety-nine names — presumably the names of UNC graduates — in maroon-colored thread on the pillowcase. Some of the names have a cross embroidered next to them.

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The center depicts a symbol with “UNC” embroidered in white thread. The pillowcase originally had fringe on the edge, which has fallen off with age.

The significance of the symbol in the center and the crosses remains a mystery.

The pillowcase can be viewed in our digital collection Carolina Keepsakes, a compendium of treasured artifacts related to life at UNC.

Rhodes’ daughter Eleanor Sullivan donated this pillowcase to the North Carolina Collection Gallery in July. The NCC Gallery is pleased to be the second recipient of this gift, more than one hundred years after it was given to its first recipient.