24 10 650 https://digitallis.isg.siue.edu/files/original/946294036485773c71ef8651bd072f03.jpg f2778b0fc9c46a47f836c21210318862 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Color photograph Physical Dimensions The actual physical size of the original image 7.75 x 10 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2015_7_38_0168 Title A name given to the resource Flier for Jean Kittrell and the St. Louis Rivermen on JazzSea Cruise, 2003 Subject The topic of the resource Kittrell, Jean Lehr, David Kaletsky, Noel Grimm, Bobby Schroeder, Don Stamps, Brett Lilley, Steve Description An account of the resource Photo flier for the JazzSea Caribbean Cruise in 2003. Flier reads "Jean Kittrell & St. Louis Rivermen/JazzSea 2003/Photos by Bob Byler" and features a photo of each of the seven members of the group performing. From top, L-R: Brett Stamps on trombone, Steve Lilley on trumpet, David "Red" Lehr on sousaphone, Jean Kittrell with microphone, Noel Kaletsky on clarinet, Don Schroeder (drums), and Bobby Grimm on banjo. Creator An entity primarily responsible for making the resource Byler, Bob Date A point or period of time associated with an event in the lifecycle of the resource 1/15/2003-2/15/2003 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Caribbean Type The nature or genre of the resource Still Image Bobby Grimm Brett Stamps Caribbean Cruise Don Schroeder JazzSea 2003 Jean Kittrell Noel Kaletsky Red Lehr St. Louis Rivermen Steve Lilley https://digitallis.isg.siue.edu/files/original/c0f777661a62085c38a9ef1d91bd6e25.jpg 1bb911454428a182be73f6bd145fc44b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Focus Magazine 1978 cover https://digitallis.isg.siue.edu/files/original/e768456a8f3c62e7b388e3a15d54c22e.pdf 464319d4ceb5f328ad240ad5f623b605 PDF Text Text Focus On Southern Illinois University at Edwardsville June, 1977 Number15 In this issue 2 Four lives: pictorial stories about the daily lives of SlUE students. 23 The art of pipe-smoking, a photographic series by Rick Stank oven. 24 Design on campus: a pictorial essay. 28 Kids on carhpus: a pictorial essay. 36 Five photographers interpret the new buildings on campus. 4 7 The directive photograph. Saleem Salaymeh: an international student This issue of Focus is produced by five students of photojouma~sm : junior Alan Schneider and Tim VIler, and seniors Cathy Cullem, Rick Stankoven, and Jim Wolfe. The concepts are theirs. They produced the photographs. They reported, wrote and edited the copy. They designed and layed out most of the magazine . . Theirs is a multimedia performance, the five working with both visual and verbal communications. Two of them are also experienced with television and radio. Focus is a pictorial quarterly magazine produced by journalism students at Southern Illinois University at Edwardsville. Now in its sixth year:. Focus is basically a laboratory publication, produced from journalism courses in reporting, photography and editing. Focus provides pictorial coverage of the campus as weN as occasional in-depth or investigative reports. The next issue of Focus is scheduled for 091iQber. 1977. FCa'ls is five times regional SOX "best college magazine." Once it has been named SOX " best in the nation." 2 Melody be\ls �Four lives: the daily stories of SlUE students George Hasenstab: a school-day, then a work-night Pat Dineff: after a workday, back to school 3 �Saleem Salaymeh: his day is organized It's quiet at Saleem Salaymeh's trailer at 5:30 this morning. Jan, his wife, is snuggled under the covers while Saleem sits up in bed to get in some study before an exam on this Friday. At 7:30, Jan prepares blueberry muffins for lunch later. Saleem loads up the car with books and other things needed today. After the cat is tossed outside and the dog tied up, the Salaymehs drive the short distance from their Edwardsville trailer to the campus. Jan goes to the library basement where she takes a shower. Saleem brushes his teeth in a University Center men's restroom. There hasn't been water at their trailer for six weeks because of the winter's hard freeze. Saleem copes with the problem the same way he copes with a busy day - with organization. Saleem, a biology-medical sciences major, finds this Friday busy with organic chemistry labs, his·job at the craft shop, a meeting of the International Students Council and a meeting of the vice presidental search committee. But Saleem has planned for everything. Story continued on page 22 �Photos and story by Rick Stankoven Saleem and Jan Sa!aymeh's day begins with a long walk to their car through the cold and snow. Left behind at their Edwardsville trailer are their cat and dog. At the University Center, Saleem spruces up in a men's restroom, a daily routine after water pipes at home froze during the winter. , ~· . At the edd of the day, the Salaymehs do their weekly shopping at an Edwardsville store. ~ ��Professor M. P. Bardolph monitors Saleem while performing an experiment in organic chemistry lab. Getting his point across as ahairman of the lnternationlJ/ Students Council, Saleem discusses up coming events at the Tosovsky center. A weekly chore, Saleem and Jan fill scores of gallon jugs with water at a local This gasoline station. lengthy task is necessary to get drinking and cooking water for their dry trailer. �George Hasenstab: the working student Apart from night students who work fulltime and attend classes, too, some of the busiest people on campus are those who hold down parttime jobs to support their education. Such is the lot of George Hasenstab, ·a 24-yearold senibr from Belleville. Hasenstab, a tel~v_ision­ radio major, has two part-time jobs, both related to his field of study. · · On campus, he does videotaping for the physics department. Off campus in Alton, he works at Cablevision, a cable television station. ·"The jobs aren't exceedingly difficult," Hasenstab says. "It's just that they take up a lot of time. There isn't always too much lift to spend with people you like." His day begins early, as he must drive to SIU from Belleville, about 25 miles away. Breakfast is consumed in whirlwind style in the utility room of Hasenstab's not-so-lavish basement apartment. It can consist of anything from coffee and doughnuts to Cold Duck and chocolate chip cookies. "I eat whatever is around that isn't rotten or stale. Sometimes I eat that too." .... �Story and photos by Jim Wolfe Above: Hasenstab has a lot of things to keep him occupied in-between physics department taping, in this case a flexible lens. Top: Breakfast can be anything from coffee and doughnuts to Cold Duck and chocolatechip cookies. �During Hasenstab's campus activities are pretty much like those of any SIU student: classes, tests, staying awake. Frequently, mornings are spent in and around the television studio in the communications building. Hasenstab has been spending a good deal of time in the film editing room, putting the finishing touches on a short film he helped produce. On many afternoons. he dwells in the basement of the sdience building operating the physics department's color video cassette system. Subjects are usually lectures by physics instructors about a variety of topics, like the operation of a computer terminal. After his on-campus day is complete, Hasenstab heads for Alton and Cablevision. There he performs a number of duties: operating cameras for the evening's newscast, assembling and tearing down sets, and running the switcher which is a video mixing consol. _.. �He likes working at the station. "I'm working with young, talented people. The program director is only 24, but he's really sharp. Working nights, I don't get to do a lot of production, but I do pick up a lot of things. My boss doesn't believe it, but I do." Often his shift at Cablevision extends into the early morning hours. Alone and somewhat weary, he monitors the equipment to make sure that something is being piped out to viewers. At times, his tight schedule can cause problems. "The girl I'm dating now works weekends, and I work nights. We don't get to see each other too much which is probably why the relationship is going so well." After Hasenstab tucks the cameras of Cablevision into bed for the night, he makes another journey to Belleville for a few hours rest . Clockwise from upper left: Hasenstab edits film in the television studio complex in the Communications Building, prepares the evening's newscast at Cablevision, rests a bit after a long day, and awaits quitting time at the Alton studio. • • • • �This quarter's clinic is a good hour's drive away. It's early, true, but Candie and her carpooler Pat always make the best of it talking with the sun rising behind them. ;;:;._ Candie leaves for clinic before the sun is up. At the hospital she takes a patient's blood pressure and makes notes from her patient's medical charts. 12 �Candie: a nurse. learning, caring, sharing '• Photos and story by Alan Schneider At 5:15 Tuesday morning in a modern townhouse complex in Belleville, a solitary light appeared from a second-story bedroom. It wasn't prowlers or a mother startled by her baby's cry, but an SIU nursing student starting a typical day of clinics. While music and anthropology and other students slept, Candice "Candie" Schwarz donned a white uniform, downed a quick breakfast and, after checking husba11d and baby, walked quietly through the morning darkness to her car. This quarter's assignment: a medical-surgical clinic at Christian Northeast Hospital in Spanish Lake, Mo., a good hour's drive away. She enjoys the trip. It's early, true, but she and her carpoolef, Pat, always make the best of it talking with the sun rising behind them. 13 �'I can't imagine just learning from books and then going out and being a nurse.' It was about 7:15 when the two girls walked through the lots to the hospital where, inside, their wide-awake-for-the-most-part fellow nurses gradually became a tight group of six plus instructor. At that point Candie already knew her patient to some extent. Though they had never met, Candie knew her patient's condition and how to administer treatment from research she had done the night before. The student nurses met with their instructor, Mrs. Ruth Gresley, in what is called "preconference." Here, questions of "what," "how" and "why" were posed to each student. ., "Nursing is pretty demanding," Candie said. "You can't just go to class once and show up for the tests. You have to be prepared in order to understand what's wrong and what the treatment is." With graduation and a career only a quarter away, Candie, 24 years old, takes the clinics seriously. "I can't imagine just learning from books and then going out and being a nurse," she said. "I'd need some experience in a hospital atmosphere to build confidence in myself and to learn how to relate to patients." 14 �A seemingly lifeless hand hung over a bedrail represents the less-than-pleasant conditions which often accompany life as a nurse. One of the more enjoyable daily moments includes browsing in the hospital gift shop on lunch break. 15 �'I let him scribble one day while I was reading, but (the pen) started going to his hair and his mouth and pretty soon he had little blue dots all over his head.' ., 16 �After checking the patient's charts, Candie proceeded down the long hallway to look in on her assigned patient, an elderly women with terminal cancer. " Hello, Mrs. . . . Can you hear me? .. . My. name is Candie " . . No use. The patient was in a semi-coma. Simple care could become a problem, but she began it, nevertheless. · · Giving insulin. ' Attempting orange juice tube feedings. Changing bedding, giving a bed bath, taking blood pressure and checking other vita l signs and dressing sores. s , ory continues on page 46 1 Candy and her carpooler walk through the lots after clinics. At home again Candy plays with herbab~Chad Then out of her uniform and into jeans, Candy studies. Later in the evening Candy and her husband find time to talk and relax. 17 �Night students live in a world devoid of the sights and sounds that "normal" daytime students are accustomed to. Besides coming to school at night, these students often have full-time jobs during the day which, as in the case of Pat Dineff, are hectic and keep them on.the move. Pat Dineff is an elementary music teacher at Logan and Niedringhaus schools in Granite City. She teaches 11 classes at Niedringhaus ·and 12 at Logan School. She takes night ~lasses in hope of getting her master's degree. Durtng winter quarter Pat had her night · classes on Tuesday at 7:30 p.m. Pat's typical day begins with a quick breakfast gulped down with briefcase in hand and a short two~ 18 �19 �Photos and story byTimVizer 20 �block drive to Niedringhaus School. With a different class coming every 25 mintues, a challenge confronts her daily. The classes are taught in the cafeteria "classroom" in the morning with an hour break for lunch and then back to more teaching. After a day of teaching Pat goes home for supper with her parents and then prepares notebooks for a night class, Co·mmunity Chorus. The twohour-long singing class is composed mainly of people who, like Pat, have demanding daytime jobs. The life of a night student is different. It has a touch of adventure to it, in an on-the-go world. • • • • 21 �Continued from page 17 Lunchtime came quickly. Giving a daughter time alone with her ailing mother, Candie descended nine floors, via elevator, to the snack bar. "After we eat, Pat and I always go across the hall to the gift shop," Candie said. "We find lots of goodies but we never buy a thing. And during the whole break we just talk, talk, talk." The break, of course, never seems long enough, but a patient's care isn't usually something that can wait. Therefore, back on floor nine Candie repositioned her patient to prevent bedsores. She attempted to feed her again. She supplied the woman with a new I.V. bottle and took her vital signs for the second time that day. When necessary, Candie and the other students asked for the assistance of their instructor and the ·staff nurses. "The staff nurses trust our judgment a lot," Candie said. "But they're also willing to help if something is new to us. They respect us." "And Mrs. Gresley is always around during the day to give her support. If you're doing something for the first time and you're already nervous, she doesn't make it seem like a big ordeal. She really has a calming air about her. She'll say 'Oh, relax. It'll come to you' or 'Oh, you can do it.' " "And besides that," she added, "I like her sense of humor.'' ~ At 1 p.m. Candie · and h~r fellow students checked into the nurses' station again, this time to chart ~ their patients' progress and the care administered. From there they gathered together for a postconference where each student riurse;'shared whatever information she could about her patients. A·nintern • • 1n nurs1ng. 46 Postconference ended a somewhat hectic Tuesday at clinic for Candie, but all was ready for the evening shift nurse to take over. One hour after postconference Candie was back home playing with Chad, her one-year-old boy. "I miss him so much when I' m gone," she said. "He's really fun - not a drag on me at all.'' "I can't wait until he's old enough to color because I used to just love it," she said. "I can see us now: 'Chad, let mommy do the last page,' and 'Mommy, why don't you outline your pictures?' and 'Mommy, you used up . all my black crayon.' " • ' Being a full-time student, wife and mother isn't easy for Candie. When she comes back from school or clinic her time is taken up with laundry and cleaning and trying.to be with Chad as much as possible. Then there is feeding time and bath time, and by then it's time to make supper. The schedule doesn't allow much time for homework before 8. "Chad starts chewing on my books if I don't pay attention to him while I'm studying," Candie· sa,id. "So I let him scribble one day while I was reading, and ~e just couldn't believe the thing in his hand was making designs. But the'n it started going to his hair and his mouth and pretty soon he had little blue dots all over his head.'' This night we(lt quickly after John came home from work. After a late supper, Chad, sluggish, was put to bed. John and Candie then had some time together. And, in a modern townhouse in Belleville a solitary light shone late. Two silhouetted figures had stories to tell and dreams to share. . • • • • � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Focus Magazine: Issue 15 Excerpt Subject The topic of the resource Focus Magazine Date A point or period of time associated with an event in the lifecycle of the resource June 1977 https://digitallis.isg.siue.edu/files/original/71939ec502ee5ec433efd40eaf0e424b.pdf 794279da86bcaf83e5551eedf00e2979 PDF Text Text Southern Illinois University at Edwardsville A special edition dedicated to A Campus of Excellence �Th e Presidential Focus On Southern Illinois' University at Edwardsville Scholar In an attemp't to better the educational experiences for students of Southern Illinois University at Edwardsville, President Kenneth Shaw has initiated several new programs aimed at creating a 'campus of excellence.' Among these programs is the Presidential Scholars Program, which • would provide four-year scholarships to outstanding high school students who wish to attend SlUE. The program is scheduled to kick off this year. ( . This supplement to Focus magazine attempts to highlight SIUE,t~s a 'campus of excellence' through the students who are presently attending the university. Photobiographies of six outstanding SlUE students are included in this issue . Although these students are not Presidential Scholars, they are represe ntatives of the type of students the scholarship program will aid. This special supplement to Focus magazine was produced by six students of photojournalism: Nancy Behrns, Ron Hempe l, Chris Ochoa, Jim Roche, Pete Stehman and Mark Wakeford. These students produced the" photographs and wrote and edited the copy. They also designed and layed out most of the magazine. Focus is a pictorial quarterly magazine produced by journalism students at Southern Illinois University at' Edwardsville. Now in its seventh year, Focus is basically a laboratory publicat ion, produced from journalism courses in reporting, photography, editing and publication de~ign. . Focus provides pictoria l coverage of the campus as well as occasional in -depth or in vestigati ve reports. Focus is six times regiona l SOX "best college magazine." Once it has been named SOX "best in the nation." Tom Koertge ' • Mark Mueller �A campus of excellence. This has been the goal of SlUE President Kenneth Shaw since his arrival here not much more than a year ago. Since his arrival, Shaw has organized the Presidential Scholars Program, a scholarship fund, to attract students with outstanding skills to SlUE. Pictured below and in the photobiographies throughout this special edition of Focus magazine are some of the outstanding students who are presently attending SlUE. These are the students Shaw hopes to draw to SlUE. Robert Mitchell Melissa Curry Monica Sharp A lice Noble �:T om Koertg e Future Dentist Tom Koertge, 23, of Alton is a third-year seni or at the Alton Denta l School. He hopes to graduate in June and go on to spec ialty school to study periodont ics, which has to do with surgery of the gums. As a biology major he graduated from the Edwardsv i li e campus in 1975. Tom was one of three students from the Dental School named to the Who's Who For American Colleges and Universities this year. He also works part-time for Dr. Greg Stewart in research on dentures. When he isn't study in g or working, Tom enjoys playing volleyball, which he claims to play~our or five times a week. He even plays on his lunch hour ~th other students from the Dental School. �Above... Tom works on a patient at school. L eft. .. Tom watches television with his girlfriend, Linda Carlton. ��Alice Noble: Alestle editor It is a typical newsroom scene, wi th busy reporters rushing in and out. Ove r the din of the typew riters, there is the co nsta nt ringing of t he telephone. T he editorin-chief moves around the newsroom, checking on a story or cle~ring ~p a problem. , But th is is no ordinary newsro om. It is the headquarters of the Dail y Alestle, ca mpus newspaper for S I U E. T he repo rters, as we ll as t he edi tor-in-ch ief, are all stude nts . Alice No ble, ed itor-i n-chief of the Alestle, adm its t hat thi s can cause problems. Noble said , "Whe n you have students work in g for you and they have to go to class, sometimes they ca n' t get th in gs do ne. Then it falls back on my shoulders as ed ~ or." Nob le might've missed a class but she's never missed a deadline. The paper has always gone out. Noble was chosen as Alestle editor in Srring, 1977. She ran for the j ob because she didn't I ike the way the paper was being run at the time . Noble sa id, " I felt that it (the Alestle) had a lot of potential " Noble, a double major in j our nali sm and psychology, is a Dea n's Coll ege student. Ma intai ning her grade poi nt average, as we ll as hav in g the most de man d in g stude nt job on campus, keeps her goi ng, but she loves th e chall enge. Top photo -- Noble checks on a cartoon being drawn by Alestle cartoonist Phil Timper. Bottom photo -- Even when she 's relaxing, Nob le is never far away from the A lestle office. �Mark Mueller, a 21-year-old education major who grew up on a farm near Mascoutah, Ill., has a wide range of interests and he works equally hard at them all. ·, In the photos above, Mark is fulfilling a portion of his student teaching requirement by working with four and five-year-olds in the Early Childhood Development Center at Florissant Valley College . (Immediate right) In a small, converted bedroom at Tower Lake, illuminated by a bare bulb, Mark works out daily, lifting weights in . order to prepare himself for the track season when he throws bo.th the shot put and the discus for the SlUE team . Mark hopes to reach World Class status in the discus, which would help him qualify for the U.S. Domestic Olympic team. (Far right) After his eight hours at the child care center , three hours of 'throwing' in a gymnasium and one hour of weight lifting, Mark takes time to play his banjo and relax with his wife, Sue, in their apartment. • �Mark Mueller: ,; A student with ambition . �Monica Sharp Mapping a life in Geography �I NV OL V ED is t he one word which mi ght best desc ribe 2 1-year-o ld Mrs. Mo ni ca Oli szews k i Sh arp 's st ude nt life at Sou t hern I llin o is Uni ve rsity in Edwa rdsv il le. Th e long-h aired brunette, now a graduate student in geog raph y, has led a ve ry bu sy ex istence durin g her quick three yea rs as an undergraduate at Sl UE . Sh e has served as a st udent se nator, a stu dent wo rk er in t he Lovejoy Li brary and has been invo lved in va ri ous co mmi ttees, both at th e uni versity and at T ower Lake Apa rt ments where she fo rm er ly resided unt i l her rece nt marri age to David Sha rp. During t hat pe ri od of ti me, she also ' ' main ta in ed such a high grade po in t ave rage t hat s~h e ra nked as one of the to p t hree st udents in her major . Th at resulted in bei ng nominated fo r and w inni ng the L incol n Academic . A chievement A wa rd-a n award prese nted ann ual ly by the govenor o f Ill ino is to outsta nd in g col lege and university stude nts t hro ughout t he state-du rin g he r seni or y ear in 1976. M oni ca 's latest invo lve ment has been in t he med ica l f ield . She co m pl et ed f ive se meste r hours of emergency med ica l tech nic ian ( EMT) t raining dur ing t he sum mer of 1977 and is now a qual if ied EMT. _. She is current ly wo rkin g t owa rd her . . . maste rs degree tn geograph y and rs JUSt one of th e many su ch ta lent ed st ude nts on t hi s campus. ~ Far left, Monica Sharp works on a map over a light table in the new cartography lab. Above, she identifies and labels rock samples . Below, she listens to advice from her geography instructor, Dr. Noble Thompson, assistant professor of geography. ��Robert Mi tch ell Bob Mitchell knows that although he's spent more than nine years in college, he'll probably never be rich . · But that doesn't dampen his spirits as he works toward completion of his master's degree at Sl UE. He says the experience and enjoyment he gets out of working in archaeomin erology is enough of a reward. Mitchell, 26, hopes to get his double master's in earth science and environmen tal studies . 'T il f.inish "in June or August ... hopefully sooner, probab ly )ater ." Between now and then, Mitchell has plenty to do . When he's not in one of his two classes, he's probably working in ' · the S I U E Archaeological Laboratories. That is, when he's not serving as a teaching assistant to Charlotte Frisb ie of the anthropolo gy department . What's next after graduation? Mitchell isn't sure. Maybe he'll try for a Ph.D. "I really feel the type of work I want to do requires further background ," he said. Or maybe he'll just go out into the job market. He may teach at the university level or do research work. "I like to be versatile," he said . �Me lis sa Curry~ Invo lvem ent, in class and out, equa ls success Melissa Curry believes public contact and work outside of the classroom are as important to her education as the classwork itself. Vice president of the student body and the ca mpus Women for Women organizatio n are • just a few of the positions she holds. In class, Curry is working for a B.S. in Business Admin istrat ion with a double sp ~c iali zat ion in account ing and finance. In so doing she ca rries a grade point *' average of 4.6 . When she graduates this December, Curry plans to go to wo rk as a cert ified publi c accounta nt. �Melissa, (above}, with Greg Mudge, Budget Committee chairman, (upper left}, and with roommate Cyndi Stewart and their pup Moonshine (left). �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Focus Magazine: Issue 17 Excerpt Subject The topic of the resource Focus Magazine Date A point or period of time associated with an event in the lifecycle of the resource 1978 https://digitallis.isg.siue.edu/files/original/71d132e45265e1b8f8ab59fd3c265bdb.pdf ecb5d57077790a1749b58c9259351aff PDF Text Text Over-30 students Over-30 students find way back to school Text by Connie Braundmeier and Mar� Rogers Mrs. Ruth Carter is the mother of three children, the grandmother of four, and works full­ time as an assistant librarian at Assumption High School in East St. Louis. She is also an SIU-E night student working toward a degree in English with a minor in library science. Tom Hammond is a divorced father who works full-time as a deputy sheriff in Madison County. He realizes the need for law enforcement officers to have more than a desire to enforce the law. That is why he is a part-time student at SIU-E majoring in Human Services. He wants to understand the sociological and psychological motivations of crime, so he can work more effectively with criminal situations. ' Like Hammond and 9irter, about 1700 SIU-E students are over the age of 30. Of this number a little over half are women, according to the registrar's office. The over-30 student returns to or begins college for three general-reasons. One group is made up of persons who feel a need to return to college because they find · ,• themselves at an impasse in their careers. They can go no higher on the promotion or money scale and find they must seek other, more opportune job possibilities. This group makes up the majority of night students attending SIU-E. ·They hold full-time jobs, often have families, and spend two to four nights -' '\ Ga,ySuhl a week attending classes. Changing careers is often a heartbreaking, desperate move, but the majority of older students fitting into this category find the return an enlightening, even refreshing venture for their general outlook on life. Probably the largest over-30 group is the housewife and mother returning to school after a long absence raising chil­ dren. These mothers do not return out of boredom due to chil­ dren attending school; they return to fulfill their own potential. A University News Service article which appeared in area newspapers during the fall quarter 1974 told the stories of several housewives returning to school after a long absence. One woman interviewed from St. Louis County looking back on her 28 years as a "household engineer" said, 'I enjoyed it, b,u t now it's time for me." The third category of over-30 students includes those persons who have retired from one career and are seeking something worthwhile to fill their time with, whether it is the aim to get another job or not. To get an idea of the breakdown of over-30 majors, the Admissions Office at SIUE ran a computer print-out of a sampling of 859 students in this category. The vast majority listed their major as undecided. Most of these students were 56 Gary Suh/ �taking less than eleven hours, the amount required for a full­ time student. From there the majors broke down into much smaller fragments with the greatest concentration in elementary education (60). The two nearest to this were business administration (51) and accounting (46). These two concentrations are most ideally suited for over30 students, according to the departments, because age has little impact on job opportunities. From these major concentrations the number decreases rapidly. Psychology numbers 32, nursing 29, special education 27 and management science 23. After these the concentrations break down ·into scattered groups. Mathematics, music, engineering and art each have small groups of over-30 students. How does the older student get along with his fellow younger students? Very well, it seems. From the older point of view, Mrs. Rena Altenritter, in the University News Service article, said that 19-year-olds do not look down on mature students in the university classroom. Nursing major Camilla Laughlin (above} studies in the library. Older students listen to a Goshen Lounge deb9te. (opposite page}. Mary Anne Tillman (foreground} is leaning toward a mass communication major. Behind her is Verlin Smith, also a mass comm student. Next to Smith is his wife Doras who is not an SIU-E student. "Young people are much more encouraging for us to do our own thing (hat our own peers," she said. From the regular college-aged student, much ·the same opinion is expressed. Mrs. Vickie Heinemeier, a 20-year-old civil service worker who takes courses on .campus, said "Older students are not shy, they speak out when they have an idea or an answer. I think they care more than younger students .do about learning. They want to learn." Larry McNamara is a 21-year-old senior majoring in busi­ ness administration. He sees many older students in his classes and believes they have advantages over the younger students. "In business the older students have a big advantage because they are already out in the business world and know what is going on." Many reasons bring the over-30 student back to college, but all the reasons eventually focus on the essential purpose of SIU-E - learning. 57 �Over-30 students Everett Davis: back to school after 40 year break Text by Marty Heires Sitting behind a desk in the reference section of the library, 56-year-old Everett Davis looks more like an instructor than a student. He is attired in a green turtleneck sweater and dress slacks, and his checked sportcoat and overcoat are draped over a study desk behind him. He studies a book on the desk in front, which makes his dark, heavy-framed glasses all the more pronounced and does little to hide his sparsely covered pate. But Davis is not a teacher, and on this Monday morning he is doing what other conscientious students are doing, resear­ ching a term paper. Even though he has been away from college for years, education is not new to him. He comes from a large family of eight children who were very academically inclined. , "I have two brothers and two sisters who have retired out of the school system," he says. Indeed, if it were not for World War 11, Davis himself might now be a teacher, playing the part which he, appearance-wise, is so well suited to. He began studyingt for the teaching profession at SIU-C in the 1930's before enlisting in the lllinois�ational Guard. He ser­ . ved in the guard for five years, working his way up to the rank of captain at the close of the war. He and his wife, Kathryn, had already had their first son, Mike, by the time Davis completed his service. He then did not consider the teaching profession a very promising vocation. "I was not too impressed with the income teachers were making at the time." But Davis has always regretted not finishing his education and now, after an interlude of over 40 years, he is back, really back, 24 hours-a-day worth. Until the fall quarter, 1974, he had only been able to attend SIU-E on a part time basis and in so doing picked up eight classes. After fall quarter he now finds himself just a few hours away from a B.A. in English. Of course 40 years is a long tirhe to �ait before returning to school, and no one knows this better than Davis. te·rtain things always held him back. One of the most important was money. "I could not take off and go to school without any money coming in," he says. "The reason I am able to do this now is because my wife is working. She has been for the last 15 years." Davis says that he is also at a stage in life where mo.st major financial predicaments are behind him. For instance, he has only his 21-year-old daughter, Mary Kay, at home. She attemls McKendree College in Lebanon on a music scholarship. Son Mike, 29, works for the North Atlantic Treaty Organization in Naples, Italy. Bruce, 17, is working on .� master's degree at the University of Missouri at Kansas City. Bob,:who is 19 and married, attends the Gateway Bible College in St. Louis. Davis, a longtime insurance agent and resident of Collins- 58 ville, says he has just recently been able to take the time to complete his education. "My wife has thought all along that I should go back and get a degree," he says, "but you get caught up in the stream of life and any thought of jumping out and going back to school is out of the question." "No one thing made me come back. The urge is there and then you go." Davis says he felt he owed it to himself to finish his college education because his four brothers and sisters have master's degrees while his son Mike is nearing completion of his B.A. and Bruce is getting close to his master's. Now that he is back, Davis has not only experienced little difficulty, but is enjoying himself immensely. "I do not think anybody with a reasonably active mind should have any trouble going back to school. It has always been easy for me to learn. I have a quick mind and a good memory." �Davis thinks the only trouble a returning student might have is when a course he is taking is based on a prerequisite course which he might have taken years ago. The only trouble Davis has had was when he was attending classes on a part time basis, he occasionally did not have time to complete all of his reading assignments. That's not a problem now. "\ climb right into the pages of a good book," he says. "\ get much more pleasure from reading than I do from watching movies or television. My ultimate hope is that I get a chance to read all the great books that I have never had a chance· to read." But it is also this great ability that Davis has in literature that he feels is not one of his more endearing qualities. He sometimes feels that he is talking too much in class·and that the younger students are just waiting for him to make the first move. He is not afraid to make a mistake, but feels the same is not true of most other students. Davis is also aware that his viewpoints are sometimes in direct contrast to those of the other students in the class. On several occasions, he says, he felt like a real outsider whom the other students considered a reactionary, while he considered the other students too liberal. "In my years I have found that people have to ac­ commodate themselves, to some degree, to the world as it is," he says. "This is the main area of difference between my view­ point and that of the other students." Everett Davis finds little difference between students regardless of age. Davis (above) discusses an assignment with some of his younger classmates. At top of page, Davis relaxes with his piano at home. But all-in-all Davis is really excited to be with and arnund young people, and even though his opinions are sometimes opposed by the .younger students, he says such clashes do not occur very often. Have students given him any trouble because of his age? "!,ell no.. Most people have been very con­ siderate of me and h,ave appreciated being in class with me as I have appreciated being with them." Then too, Davis is in senior level cl.asses and most of the students he comes in contact with mean business because graduation is near for them. Davis freely admits that he is pretty im­ pressed with his classmates. As for developing friendships with those classmates, Davis lias really not had the time to get to know anybody very well. When he was going to school part time he was kept busy by his insurance business. Now with a huge class load he has little time for anything but studying. He describes his relationship with students in his classes as "a little bit like the fleeting friendships I made in the military during World War II. I met many wonderful guys during the war and I used to correspond with about 20 of them. Now I ge't Christmas cards from two of them." He attributes this difficulty in getting to know people to the metropolitan flavor of this campus, and to the way people tend to go around as a "sort of faceless group." It is from his four children that Davis says he has been albe to get-what he considers a good insight into the way younger people think. Indeed this insight must have increased Davis' enjoyment of the educational experience. He loves both people and ideas and says, "In my present state of mind I can't visualize that I would ever quit going to school." 59 �,George Gregory A 73-year-old SIU-E student Text by Janice Law George Gregory, an anthropology ma­ jor at S/U-E, is 73years-old. Here he is shown relaxing at his Litchfield, Ill. home. Davis recently joined a car pool so he would not have to continue driving 40 miles to class each day. 60 After 56 years of working for the railroad, George Gregory switched tracks and took on another role - that of a full­ time student. Not just as another student, mind you, but as the oldest student at­ tending SIU-E. George Gregory is 73years-old. Or is it 73 years young? Gregory is a junior at SIU-E and plans to graduate with a bachelor's degree in an­ thropology after the spring quarter of 1976. "After graduation, I may go on for my master's . SIU-E does not have a master's program in anthropology, so I will probably do my graduate work in history which is my minor," he said with pride. A resident of Litchfield, 111., Gregory retired from the railroad in 1972, and in the spring of the same year registered at SIU­ E. "I always wanted to go to college, but never had the opportunity as a young man," he said. He had to quit high school in 1916 due to his father's death. His older brother was with the Army in France at the time, so as the second oldest in a family of six he took his first job at the age of 15 as a railroad agent. "Within a few months after my retirement from the railroad my wife died and this left me at loose ends. My daughter then suggested that I begin college since I had always said that I wan­ ted to. This sounded like a good idea, so I did just that." The Assistant to the Director of Ad­ missions at SIU-E, D. W. Wilton, was Gregory's first contact. Wilton said that one day in March, 1972, Gregory. walked into his office and told him that he was 71-years-old and wanted something to do with all of his time, so he had decided to come to SIU-E to study archeology. �Over-30 students Wilton was both amazed and im­ pressed. He explained to Gregory the procedure to follow regarding his ad­ mission and registration at the university. Since Gregory had never completed high school, he was required to take the General Educational Development Test (GED), which is accepted as a substitute for the high school diploma. Gregory passed the GED test with high scores and then, with some hesitation, registered for 11 quarter hours of General Studies classes. Wilton said that though Gregory was a bit apprehensive at first, he adjusted beautifully within a few weeks, and he remains a very energetic student. Gregory has made straight A's several times and maintains an overall grade point average of 4.23 with 116 hours completed. When choosing his major in the spring of last year, Gregory had to settle for an­ thropology since SIU-E does not offer a major in archeology. Born December 26, 1901 at Karnell, Ill., Gregory has lived most of his life in the state. While working as an agent and operator for the Wabash, and·the Norfolk and Western railroads, he, travelled ex­ tensively in Illinois. His travelling has provided interesting background for his an­ thropology studies. "I had to choose anthropology as a major in order to study. archeology. I've always been interested in archeology, and I had read ·a lot about it before I ever star­ ted studying at SIU," explains Gregory. He has worked at the excavating ·sites in an Indian Village near Cottage Hills, Ill. for the last two summers with fellow an­ thropology students and·Dr. Sid Denny, an SIU-E anthropology professor. Gregory's main interest lies with North and South American anthropology. He especially enjoyed the research he did for a class paper he wrote on the problems of the Brazilian Indians. When asked about his reaction to the young kids of today, he commented, "I don't think there is any basic difference between the young kids of today and the young_ kids-I grew up with. There are some that have habits that I don't like, but there were also kids with habits I didn't like when I was growing up." Gregory has felt at home at SIU-E almost since his first day on campus. "The kids at school treat me just like another kid, and that's fine with me." He attributes his success as an elderly college student to his vast amount of previous reading. "I read my whole life, and college is just more reading," Gregory said. Although Gregory claims reading as his favorite pastime, books do not monopolize his time. Occassionally his evenings are spent working as a desk clerk at a motel near his home, and many of his weekends are busy with fishing or hunting trips. Litchfield is located 40 miles north of the Edwardsville campus, and until last quarter when he began riding in a carpool, he drove himself every day regardless of the weather. It was reported that during last winter's ice and snow, he did not miss one single day of classes. Distinguished as the oldest student ever at SIU-E Gregory is described as a delightfully interesting individual by fellow students and friends. 61 �Over-30 students Return to school is worth the trouble By Nora Baker A few dozen people applauded. I had just been elected president of a local women's liberation organization. I made a brief speech about women moving into the mainstream of life, about them fulfilling their potential to the best of their abilities. As I spoke, I felt decidedly uneasy.What was I doing to live up to my words? Earlier that same day, a dozen different people had applauded my winning fifth prize in a local bridge competition. What was the difference? I thought. I didn't deserve applause for either event. While I truly believed in the cause of women's liberation, I was not an outstanding member. Most of the other women possessed multiple degrees and were working at challenging, worthwhile careers.I was a college dropout twenty years ago. For a long time, I had been killing time, aimlessly drifting. I had held a variety of jobs whenever times were lean, but mostly I stayed home, prepared gourmet meals, and did \ needleworl<. I nurtured lovely potted plants. I bought antique bric-a-brac. .,, When we moved to Edwardsville three years ago, I was impressed by the number of older women who were enthusiastically taking courses at SIU. These were mostly on the graduate level, but the preponderance of women my age who were getting out of club and volunteer activities because of the pressures of education was impressive. One day, half as a joke, I suggested to my husband that I, too, might go back to school. To my amazement, he was enthusiastic. I abruptly changed the subject and said nothing more for the next few months. I had always wanted to be a journalist.When I first entered college in 1951, I was discouraged from this on the grounds that it was no career for a lady.I was steered' into ia liberal arts program. 62 After I married, I discovered at' the local em­ ployment agency just how valuable a year of college with a concentration in liberal arts was. They put me to work in a factory. I always wrote. At one time, I supported my family by churning out true confessions under a number of pseudonyms. My ego was boosted when I wrote for little magazines.I got nowhere. The immediate catalyst for my return to college was a visit from my nephew. He had made plans·to enter SIU-E and I helped him with the preliminaries. At the last minute, however, he changed his mind and returned to his home on the east coast.The idea of college had now become fixed in my mind. My major fears were of ridicule and hostility. How would young students react to me? Could I compete? Was my mind so stagnant after twenty years of nothing more challenging than balancing the family budget and reading cookbooks, that I would be unable to concentrate, to memorize, to absorb? Would younger students resent me? Laugh at me? I prayed they would simply ignore me. From the beginning, the encouragement of my family has been a major factor in my continuing education. Without them, I could not have gone to school.My husband and teenage sons have been truly supportive, making tremendous sacrifices and changing their way of life to help me. My fears about fellow students were un­ founded.From the first day, I met nothing but frien­ dliness and help. I needed help that first day, literally having to be led by the hand through the confusion of registration and textbook rental. During that quarter, I didn't know many people. I never set foot inside the University Center, feeling too alien and out-of-place.I realize now this was in my own mind. I was embarrassed because I was older than most of my professors. I was secretive of the fact that I was friendly, socially, with many faculty wives ... afraid of seeming pushy or seeking favoritism. I yVas rrght about mind stagnation.I had to read everything four and five times before it remained · 'fixed in my brain. I developed an ulcer. I lost a lot of sleep. Memorizing facts became a traumatic ex­ perience. My second quarter, I met a lot of people I had been in classes with the first quarter. We now had something in common ...survival.I began to make a few friends.I saw people to say "hi" to. We now use a lot of TV dinners and frozen piz­ zas at our house. Beds don't get made unless the owner wants the bed made and does it. I used to turn socks inside out for the laundry so lint wouldn't show on them; now, we all have linty socks. My sons brag to their friends about my ac­ tivities, their friends' mothers have told me so.My husband admits he's "proud of my guts." My mother does not complain so much that "at your age, you should forget all that nonsense and con­ centrate on my welfare." Our house is no longer a hotel for every relative in the continental United States. I haven't had a decent night's sleep since I star­ ted all this over a year ago.I've dropped out of a lot of clubs and I don't go to church very much any more. I don't attend PTA meetings. I've developed a second ulcer and I'm a vitamin junkie. I've lost seventeen pounds. But, when I graduate, when all the worries, pressures, frustrations, aggravations, bad food, long hikes from the parking lot in incredible bliz­ zards, deadlines, exams, crises are finally over . I'm going to miss it. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Focus Magazine: Issue 9 Excerpt Subject The topic of the resource Focus Magazine Date A point or period of time associated with an event in the lifecycle of the resource February 1975 https://digitallis.isg.siue.edu/files/original/1fd2a0071fc6bf3853bb072e7c1d3103.pdf 89736b31f0b96b8d261b2d0e35cebc43 PDF Text Text 'I • SCRIPT ADAPTATION OF DRUMVOICES: THE MISSION OF AFROAMERICAN POETRY ~ (a'critical history) by Eugene B. Redmond . j_ C., ) ( For Presentation at Book Party October 3, 1976: 3 p.m. to 6 p.m., Redwood Room, University Union California State University Sacramento ¥4 �Narrator: . . I run the poemJ Chorus: We are the poemJ Narrator: And the poem is mel Chorus: And the poem is usi Narrator: I am the poem and I came before pen or pencil or paper or printing pressJ I cupped and cuddled the wisdom of the winds in drum-bosoms of ecstasy. Drummer: A. wide range of rhythms, movements, multiple movement-rhythms: · African, West Indian, Af ro-American. Narrator: I write in drum-language and converse with tomorrow, today and the here - t c fo re. Chorus: D:iiUMFEET ON THE SO IL, ON THE SANDROADS OF THE MIND! FLESH - PISTONS PRANCING, THE EARTH'S EN GINE! IT IS A CO MING FORTH, THE NIGHT WIT HI N US CO MI NG FOffi'H ! THE NIGHT WI'l'HIN US COMING FORTH I FEE'T BEATING, BEATING, BEATING SEEDS INTO THE SOIL! Narrator: I return and r eturn and return to my_ magni ficent and reliable arch i ves. Chorus: That love we can depend on! 'rha t love we can depend on t (over) ~ �,• . Voice (singing): Onoborobol Chorus: Onoborobo r Voice: Onoborobo! Chorus: Onoborobol Voice: Onoborobo! Chorus: Onoborobol Narrator: In my dependable cultural vault is the Idea-gram,: the natural cinematography landscaped by thudding thoughts of my totem-family, the living-dead, the breathing, the unborn. I am the poetic flesh-temple with many forms, earth-daughter and agiie inundator of history. I am the poem in motion. Dancer: Rudimentary movements and other elejnents of traditional African and Afro-American dance: isolation, use of pelvis and torso, leaps, twirls, pulls, yanvalou, vigorous stretches and thrusts.(Drum accompaniment) Narrator: I am the Black and Unknown Bard. America put me on a conveyer belt moving ✓ i n ~ different directions at the same time. My African Jubilance turned to anger and a song of sabatage. Hy Indom.ij;able Echo and Idiom flavored my Indomitable press to be human. As a poem, became part of ;,wh$.t ', I .:did, saw •;o.,• 1'1~ \ l i).\I I{ 1~' 1 ~ H ,( • and dreamed on these shores: Field_lHollers, Vendors I Snouts, Chants, ( -,o-.'I ~ _k,r.t,S•uJJ\'\C ~1wtt:K" "'•"' ' Wo~ ~ ng "' , Spirit 1 J1i a-Ti.,., C\vup l\'li \.! , L(l-l11 6"''" n-l , Blue L'ofl-tl\ , Gosptels, Jaz , Rhythm-and-Blues, Soul Musico -rr·. Vk• 1e w1b.'t,o l 0~ - (over) \ o {) l>-Jt hapyy dr,.v h11 PP I/ 1~~1 I fyy,.V ~I~ do..y ,t:v! (J,_6 ,I).!& V;, U.~ ~i LI you sf; l{ Lour l>lf "t.,11,,,, C()/ , �r. _ :. - JJrt.w1v9lc es, .> ---r:-r\,--~•--:---:--. 1 ~ ,c . I l Voice: Did yer feed my cow? Chorus: Yea Mam! Voice: Will yer tell me how? Chorus: Yes Mam! Voice: Oh w'at did yer give 'er? Chorus: Ca'Wn an hay ! Voice: Oh w 1 at did yer give 1 er. Chorus: Cawn an hay J Voice: 1Evahwhuh. I, whuh"'look dis mawnin, Looks lak rain, looks lak rain. Voice: I gotta ~~inbow, tied all roun mah shouider, Ain gonna rain, ain gonna rain. Chorus: Dis is de hammer Kilt John Henry; (over) �w ..... \...-. .,,. .. ...; .l. __::_~ , . :,~·- . ,. ~ , "' Voice: Twon't kill me, baby, Twon't kill me. ~ho.rus: Take dis hammer, Carry it to de captain'; Voice: Tell him I'm gone, baby, Tell him I'm gone. Chorus: I got a rainbow fl'ied :! roun my shoulder, AinJt gonna rain, baby, Ain't gonna rain. Voice: ~ Dis ole harnrner--huh, Ring lak silver--huh, '-, Shine lak gold--huh. I Chorus: Ain't gonna rain, Ain't gonna rain. Voiceffemale): I'm a big fat :rnrumna, got the meat shaking on mah bones, I'm a big fat mamma, got the meat shaking on mah bones, And every time I shakes, some skinny girl loses huh home. Narrator: Yes, as- poem, as cotton-picker, as banjo-player, as preacher and slave-rebellion leader, I emerged as a · new part of the old. My African song ushered forth in strange new Biblical language. (over} �., ; : -- Dr:.,,- vqi C ~ s, .::> . Voice: Go down, :Moses, Way down in Egyptland; Chorus: Tell old Pharaoh To let my people go. Voice: Deep River ••• Chorus: Deep Deep Deep River •••• Voice: Deep River, my home is over Jordan; Chorus: ----- River, Lord; I want to cross over into camp ground. ) Voice: And yes, I DREAMED I was riding in that chariot. Chorus! ~wing low, sweet chariot, Coming for to carry me home, Swing low, sweet chariot, Coming for to carry me home. Voice: Green trees a-bending, Po' sinner stands a-trembling The trwnpet~ unds within-a-my soulJ Chorus: I ain't got long to stay here. (over) · �. \ , ... : . Drum.voic e s, 6 Voice: You . named m~: Lucy Terry! , .. Voice: Voice: Britton & Jupit er Hammon. Voice: , ,, Voice: Phyllis Wheatley!. Al2d I mastered Gree~, , La.ti~ a.n,d '- English in my teens . Lonely Black girl, whom the muses befriended, thousands and thousands I pt'/ of miles away fromA~_e sJ African home. I continued to emerge as the poem. Voice: ,. Should you, rrr.y Lord, while you peruse my song, J f Wonder from whence my love of Freedom sprung, Whence flowi., these wishes for the common good, By feeling hearts alone best understood, I, young in life, by seeming cruel fate, Was snatchJd from Afric 1 s fancy 1 d happy seat; What pangs excruciating must molest, What sorrows labour in my parents' breast? Steel 1 d was that soul and by no misery mov'd That from a father . seiz•d his babe belov~d: Such, auch{my cas; And can I then but pray Others may never feel tyrannic sway? Narrator: You named me George Moses Horton. I did not like the injusti_ce of the . ~ 4C:,:. ,f double standard~ And such resentment turned me into a poem. Even though l (over) �some called me "'r"ne S1ave." ' Chorus: The Slave. Voice: Because the brood-sow 1 s left side pigs were black, v Whose sable tincture was by nature struck, . Were you by justice bound to pull them back And leave the sandy-colored pigs to suck? Chorus: Runagatef Runagatel Runagate! Runagate! Runagate! Narrator: , • f"i'l.fath er work ed roots. In the b i-cultura1 My mother cured ills andA constriction the poem became juju-man, the face hidden by the «.mbtJUOCIJ minstrel smile. Voice: We have fashioned laughter Out of tears and pain; Chorus: But the moment after-Voice: Pain and tears again. Voice: Forgive these erring people, Lord; Voice: Who lynch at home and love abroad. Narrator: )Vr" i Still I wrote--this time just like I talked, though some made fUn of it. But, as maker of song, I could only produce heart-rhythms. (over) �~ I ,' • Dru."Tivoi c e s, 8 Voice: ' De Cunjah man, de Cunjah man, o chillen, run, de Cunjah man! Chorus: O chillen, run, de Cun'juh manl Voice: Him mouf ez beeg ez fryin' pan; Voice: Him yurs am small, him eyes am raid, 7 Him hab no toof een him ol' haid, / • Him hab him roots, him wu'k him trick, Eim roll him eye, him mek you sick-Chorus: De Cunjah man, de Cunjah man, 0 chillen,run, de Cunjah man! Narrator: I knew my rights, my rough-times and my remedies ... :fo-r t-mat aileel me... Voice: Blue-mass, laud-num, liver pills, "Sixty-six, fo' fever an' chills, Ready Relief, an' A. B. An' half a bottle of 11 C., X.Y.z. Narrator: Yo u named me ,Frances Elleri WatkinJ Ha-r per,,_ James Edwin Campbell, James Welaon Johnson, Paul Lawrence Dunbar--son of ·ex-slaves, elevator boy risen to brilliant bard of the race. As the poem I 5~J.e. in several kinds of English. Voice: I know why the caged bird sings, ah me, ( (\-.T p 'Y> ' forth �'· V o:....; ",., -e S , . 9~ D When his wing is bruised and his bosom sore-When he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart's deep core, But a plea, that upward to Heaven he flings-I know why the caged bird sings! Narrator: o.Ll.., Above~ song exudes from me. I am song. ~ A •i:511't-e. ~xamine Me. Watch Me. My birthright is my anthem. My song is my sword. Voice: /J-,J. 1-t.J..f~ ~ • $~ Lift every voice and sing! Till earth and heaven ring! Ring with the harmonies of liberty! Voice: Till our rejoicings - ris·e High as the listening skiesJ , c.....:Narrator: As song-poem, I forge pure flames of rhythms without books. James Weldon Johnson called me the Black and Unknown Bard . • And I love to hear Malindy sing. Voice: G1 way an 1 quit dat noise, Miss Lucy-Put dat music book away; What 1 s de use to keep on tryin•? Ef you practise twell you•re gray, You cain•t sta 1 t no notes a-flyin 1 Lak de ones dat rants and rings From de kitchen to de big woods When Malindy sings. (over) �• :ir.··..unvcli c e~, 10 . You ain't got de nachel o 1 gans Fu• to make de soun• come right, You ain•t got de tutns an' twistints Fut :.to make it sweet an• light. Tell you one thing now, Miss Lucy, An• I'm tellin' you fut true, When hit comes to raal right singin•, •~ ain 1 t no easy thing .to do. Easy .1 nough fur folks to hollah, Lookin' at de lines an' dots, When dey ain•t no .one kin sence it, An 1 ·- de chune ·c.omes in, in spo:ts; But fut real melojous music, Dat jest strikes yo• heatt and clings, J _e s r you stanr an' listen wif me When Malindy sings. Ain't you nevah hyeahd Malindy? Blessed soul, tek up de cross I Look hyeah, ain't you jokin 1 ,honey'? " Well, you don 1 t know whut you los•. Y' ought to hyeah dat gal a-wa I blin·~, Robbins, la 1 ks, an 1 all dem things, Heish dey moufs an' hides dey f a ce When Malindy sings. Narrator: Poem that I am and was, I traveled from "oasis to oasis." Voice: (over) �Drumvoices_, 11 Man 's Saharic up and down. Narrator: ~ ~« ,,,,,.vJI' Riverboats, river towns, chaingangs~ bar-room toughs, hard-hearted Hanna, Stagolee, ••• they all knew me. Voice: Hard-hearted Hanna-Voice: , From .Savannah, GEE A. Voice: She was so cold, yall-Chorus: Wasn't she-Voice: She'd poor water on a drowing/1 man! Voice: I It was early one mornin', When I heard my bulldog bark; Voice:~ Stagolee and Billy Lyons Was squablin' in the dark. Chorus: Shine, shine, shine, ••• save po' me. Narrator: You heard me coming from the swollen lips of the bugle, French horn, trumpet, clarinet and saxophone. Horn: A series of short riffs exempla~ of various forms of music played between the advent of the spirituals and the blues-ragtime period. (over) �.. ..·. · -J;l;rw.nv.qice •-i·•- - - -s,. ..1..::: Narrator: I n Paris they called t h e "Oakewalk" the llpoetry of motion. 11 >1'1'he. crevices of ships I wa s transported t o global points to make my splendid sound and dance my splendid poetry of motion. Dancer: Executes a series of movements representing such dances as t h e Caltewalk, aP Charleston, Jitterbug and t h e Bop. ~lements ~W est Indian dances should flavor the movements. Narrator: As the poem I blue horns, shot guns in your war, danced dances and came home to face the Ku · ; Klux Klan, ... Southern Sheriffs and Jim Crow. I got angry. And I got defiant. But I was relatively- cool. Voice: I lnto the furnace let me go alone; Stay you without in terror of the heat. I will go naked in--for thus 1 tis sweet-- Into the weird depths of t h e h ottest zone. Voice: Desire destroys, consumes m~; mortal fears ., .~ :.;, Transforming me into a shape of flame. J I will come out, back to your world of tears, A stronger soul within a finer frame. Narrator: After race riots in several American cities , I lifted my voice into a searing shaft of discontent. 0 kinsmenl we must meet the common foe! Voice: Like men we'll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting back! ( (over) l,,\~~el,,pA ... �l)r p:m;voi ·c e s, lJ ·. Narrator: Still, still my past pulled on me. It was as if we were married to each other, glued, locked, welded togeth~r. It was as if those who left us here on this earth never really, really died. Some African sense kept tugging, tugging at my truncated roots. The bridge of my past rested on t wo shores. Voice: Pour O pour that parting soul in song, ,-_- 0 pour it iJl the sawdust glow of night, Into the velvet pine-smoke air to-night, ••• And let the valley carry it along. And let the valley carry it along. Narrator: Sometimes I wa~ f there, fi ~ ting those who wanted to snatch away rrry humanity by day; and fighting hunger and confusion at home by night . As the poem, S emerged convoluted and wholly new, only to retreat t o a some-other-time refrain. Egypt, Ghana, Madagascar, the Pyramids- Vocdoo Ceremonies--what did they all mean to me1 Voice: · Come with a blast of t r umpets, Jesus l Voice: And the beauty of Susanna Jones in red Burns in my heart a love-fire sharp like pain. Cho_rus a Sweet silver trumpets, Jesus I Voice: Well, son, I 1 11 tell you: Life for me ain 1 t been no crystal stair. (over) I �Narrator: The blur of the veil was always reli eved by song, by dance, by reading about foreign places and looking forward. to the day when Americans would grow up. We were here--in America--but not of it. Simply worryin~ without a plan to change ·thing.,never helped much. We grew stronger, and more beautiful, in the words of Langston Hughes, as we re-embraced our rituals. Chorus: Shake your .b rown feet, honey, Shake your brown feet, chile, Shake your brown feet, honey, Shake 'em swift and wil, __ Voice: Get way back, honey, Do that low-down step. Walk on over, darling, Now! Come out With your left. Narrator: During the watering years, after the Great Depression, I was terrified by lynching end an atmosphere of intimidation. I went to war, as poem and soldier and cook and shining knight of Democracy. The Swastika, The Rising Sun, The Hammer &...-S ickle, I was told, . <~ real enemy• ~ -Meanwhile you had named me 0~ Do~son and I became a witness to the ...r~al~t~e~~of neighborly enemies. Those who caused unnatural deaths. Voice: Wake up, boy, and tell me how you died: What sense was alert last, What immediate intuition about us (over) �You clutched like a bullet when your nails Dug red in your yellow palm. And that map the fortunetellers read Chorus: (this line for money, this for love) Voice: Childish again and smeared •••• Chorus: Wake up,boy, ••• Voice: ••• I go to death tomorrow, Tell me what road you took, ••• Chorus: What hour in the day is luckiest? Voice: ,#- Did your Adams apple explode? Who sewed stitches in your angry heart? Chorus: 0 wake••• Narrator: Yes, yes ••• I was sometimes a tattered poem in the thirties, forties and fifites. But I was a poem anyway: gracious, noble, fundamental, fiery, t WtlkVL firm, relating My People1 Someone called me MargaretK I became a td tape s try of my many selves. Voice: For my people everywhere singing their slave songs repeatedly: ~ heir dirges and their ditties and their b,lues and jubilees, ( praying their pr~y.ers •.nightly to an unknown god, ( bending their knees humbly to an un/se:en-: power; (over) �Di"UlllVOices,- 1 6 Voice: For my playmates in the clay and dus t and sand of Alabama backyards playing }baptizing and preaching and doctor and jail and /s oldier and school and mama and cooking and playhouse and concert and store and hair and Miss Cho omby and company; Voice: Let a new earth rise. Chorus: Let another world be born. Let ·.a bloody peace be written in the sky. ' Voice: Let a race of ~ / now rise and take control. ')-t--•fv-,. .,,,.. I Narrator: Frank Marshall Davis, Melvin Beaunorous Tolson, Sterling Brown, Robert Hayden, Gwendolyn Brooks--these are names by which my · voice is known. Some even call me by the name of HISTORY. Chorus: History, history, history; RunagateJ Runagate!RunagateJ , Voice: Runs falls rises stumbles on from darkness into darkness and the darkness thicketed with shapes of terror and the hunters pursuing and the hounds pursuing . and the night cold and the night long and the river · to cross and the jack-muh-lantems beckoning beckoning and the blackness ahead and when shall I reach that somewhere morning and keep on going and never turn back and keep on going •••• Chorus: Runagatel Runagate! Runagate! (over) �r' Narrator: I wormed into and won hearts and minds. In 1950, America gave ·me the Pulitzer Prize. My name was Annie Allen. I was so -·finely sculpt- ed that no inflection was imprecise. I said what I had to say in a language that dazzled and blinded the world. I stood as a jewel; I talked about a jewel named Satin-Legs Smith. Voice: He wakes, unwinds, elaborately: a cat Tawny, reluctant, royal. He is fat And fine this morning. Definite. Reimbursed. He waits a moment, he designs his reign, I ,. Y That no perfom.ance may _be plain or vain. Then rises in a clear delirium. _ Voice: Let us proceed. Let us inspect, together With his meticulous and serious love, The innards of this closet. Which is vault Whose glory is not diamonds, not pearls, Not silver plate with just enough dull shine. But wonder-suits in yellow and in wine, Sarcastic green and zebra-striped cobalt. With shoulder padding that is wide And cocky and determined as his pride; Ballooning pants that taper off to ends Scheduled to choke precisely. Voice: Here are hats ' Like bright umbrellas; and hysterical ties Like narrow banners for some gathering wat. (111Ver) �· -Drtlmvoices,, l b Narrator: I lmew the power of the rap! Chorus: Ament Narrator: I am the power of the rap! Chorus: Ament Voice: \ Bartender, make it straight and make it two-- ~ /, Voice(pointing): One for the you in me••• Voice(pointing)~ • • • and one for the me in you. Narrator: I became the Be Bopper; somebody called me the oot-suiter; I put on dark glasses and conked my hair. A salesman handed me some bleaching cream and a cadillac as I sped North to join my Brothers and Sisters in the Promised Land • .Richard Wright and James Baldwin cried for IlB • . John Oliver Killens Heard the 'fhunder and Ralph ~llison called me Invisible, adding that once my leaders figured out the riddle of my • my rap they could help me save me. Black, I ~eft a white .. style and country , to fight yellow men in Korea. Ella, Miles, Monk, Billie, Prez,·::. . Chano Pozo, Ornette, Coltrane--they went to war with me. Chorus: Good morning heartache! How do you do? _(over) �.. J_j .L 'i., ;r. - ·- ·. ,, Horn: Brief medley of sounds and tunes reminiscent of the period. Narrator: ~ I returned to myself ~n, ~~ tion t Be~qldl The Stroll! The Kansas City ¢«'\~..,.,. ~ " ' ~ Slop! The Madisonl ~The Twistt~The Funky Chicken! The Karate-Boogaloo! They saw me poeting with my hips and my feet. ~ u .. ~ Poet~_n gl Poetingl Narrator: A.,_er,c. a..1 And took it all back to/\Bandstand and other countries. Voice: There's a thrill upon the hill. Chorus: Let's go, let's go, let 1 s goJ Narrator: I came from knrea to meet the ltlan in ,/.. .'~ll"they woul I t let my ~ ~.,_ l '"__, 1,,L:..aa..~;11::--_t~~ll"\:-:;J' ct'ilew sheet". 1 · ~~•t, if::;;....Btarey on, a bus. ~ ~ ;~J1¼,,,/,•j, tahkJ hit).;F/ luanJ ~ l1f/ Chorus: Montgomery, Montgomery, I remember Montgomery. Voice: And Birmingham--the three little girls. Voice: And Selma! Voice: And Philadelphia, Mississippi! Voice: I recollect Emmett Till! Voice: And Watts! And, in Montgomer)t, . �... , • v_,.· ,,._..i. ,)i ce s,, c:1., ·' Narrator: My name was Conrad Kent Rivers at that time. I became a poem called lfWatts~· ••-hoping that in such disguise I could _fi~d -·my .> wa.y out of this daily nightmare. Voice: Must I shoot the white man dead to free the nigger in his head? Voice: Must I shoot the white man dead to free the ni gger in his head? Voice: And Newark! Voice: And Harlem! Narrator: My color felt good to me. I stretched and yawned and walked around MU7 m~ eigb,borhood. Someonef' called me Black and I didn-1-:s,._ hit him. At a rally, I turried into a voice on the podium shouting. \ Chorus: WE ARE AN AFRICAN PEOPLE! Voice: For all things black and beautiful, The brown faces you loved so well and long, the endless roads leading back to Harlem. (over) ' I rl._,.) �·, Druriivoic e s,, ' 21 · Chorus: Ku:iu Se Mama I Kulu Se Mam.al Voice: Where the stri ng At Some point, Was some umbilical jazz, Or perhaps, ln memory, A long lost bloody cross, Buried in some steel calvary. In what time For whom do we bleed, Lost notes, from some jazzman 1 s Broken needle 0 Musical tears from lost Eyes, Broken drumsticks, why? Pit t er patter, boom dropping Bombs in the middle Of my emotions My father's sound My mothert,s sound •••• Chorus: Is love, Is life. Narrator: I turned to philosophy. In the spit and dart of my new self, there �were utterances I had to make, blood-thoughts I had ·to share. I knew this was another sequel to the dream. I had not believed . those fairy tales. I needed to take a hand and stand and speak the truth. Speak the truth to the people! Voice: It is not necessary to green the heart Only to identify the enemy It is not necessary to blow the mind Only to free the mind •••• Chorus: It is the total black! Voice: It is the total black, being spoken From the earth 1 s inside. There are IllBil y kinds of open. How a diamond comes into a knot of flame How a sound comes into a word, colored By who pays what . ~ar speaking •••• Chorus: Love is another kind of open-Voice: As a diamond comes into a lmot of flame I am black because I come from the earth I s inside : Take my word for jewel in your open light. Narrator: I am the ecstasy of NOW. The fullest realization of my ancestors' wishes. I return, even in the alarm; even in the shadow-body I am often forced to wear. But enough, enough; I beg you, my dear associates, look Now on ourif(tld ltisrjfry~:~j,.,st 1iitca.sv~ • ( "'"'"'Y' I --ti1}0 -~ 1 �Voice ( and Dancer): I am a black woman the music of my song some sweet arpeggio of tears is written in a minor key and I can be heard humming in the night Can be heard humming Chorus: Hums first line of "Nobody Knows i'he ··Trouble I See" Voice: in the night I saw my mate leap screaming ~o the sea and I/with these hands/cupped the lifebreath from my issue in the canebrake e:v I lost ·Nat 1 s swinging body in a rain of tears and I heard my son scream all the way from for Peace he never knew • • • • I learned Da Nang and Pork Chop Hill in anguish Now my nostrils know the gas and these triggered tire/d fingers seek the softness in;_iarrior 1 s beard I am a black woman tall as a cypress strong (over) ~~­ �( beyond all definition still defying place and · time and circumstance assailed , impervious --- ~ indestructible Look · on me and be renewed. Chorus: Look on me and be renewed. ----30---- � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_09_33_04 Title A name given to the resource Fourth draft of Script Adaptation of Drumvoices: The Mission of Afro-American Poetry (A Critical History), typed with handwritten edits, 1976 Description An account of the resource Fourth draft of Script Adaptation of Drumvoices: The Mission of Afro-American Poetry (A Critical History), typed with handwritten edits, 1976. For presentation at book party on October 3, 1976: 3 p.m. to 6 p.m., Redwood Room, University Union, California State University, Sacramento. Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Date A point or period of time associated with an event in the lifecycle of the resource 1976 https://digitallis.isg.siue.edu/files/original/dd3fb05753f77eeb9e4e37c5fa38ea13.jpg 2439bcea86d68a9c74d4f908d62a02d4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black & white photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2017_10_1_0001 Title A name given to the resource Framed Photo of David McCarty, Father of Jean Kittrell, Undated Subject The topic of the resource McCarty, David Description An account of the resource Black and white framed photo of David McCarty, Jean Kittrell's father. Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Still Image Still Image Date A point or period of time associated with an event in the lifecycle of the resource Undated David McCarty Kittrell Family https://digitallis.isg.siue.edu/files/original/1f85d1c4e9fc4dc56e9df4c271df1659.jpg 397d292a99d201f627f64e3e2a930349 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black & white photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2017_10_1_0003 Title A name given to the resource Framed Photo of David McCarty, Jr., Older Brother of Jean Kittrell, Undated Subject The topic of the resource McCarty Jr., David Description An account of the resource Black and white framed photo of David McCarty Jr., who was killed in action over Germany during World War II. McCarty Jr. was a First Liuetenant, known as "Mac" to his squadron, and flew a B-17 plane. Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Still Image Still Image Date A point or period of time associated with an event in the lifecycle of the resource Undated David McCarty Jr. Kittrell Family https://digitallis.isg.siue.edu/files/original/4031f63dcb31f74da2c0698ad48a8a6b.jpg da155ab3ff6b5fda8944224c937ba507 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black & white photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2017_10_1_0002 Title A name given to the resource Framed Photo of Dorothy Ethel Clark McCarty, Mother of Jean Kittrell, Undated Subject The topic of the resource McCarty, Dorothy Ethel Clark Description An account of the resource Black and white framed photo of Dorothy Ethel Clark McCarty, Jean Kittrell's mother. Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Still Image Still Image Date A point or period of time associated with an event in the lifecycle of the resource Undated Dorothy Ethel Clark McCarty Kittrell Family https://digitallis.isg.siue.edu/files/original/6a495739f1b69b532c061dc801228251.jpg 661315efdc07720afb208e12eecc2c9e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Garrison Keillor Description An account of the resource This photo shows Garrison Keillor speaking at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 2004 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 04275_030_Keillor