Notes from the Miami Zine Fair

By Jay Sylvestre, Special Collections Librarian

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Zine Fair attendees on the plaza at HistoryMiami

On Saturday, April 30, Special Collections and the UM Gender, Sexuality, and Visual Studies Collective shared a table at the 3rd annual Miami Zine Fair. The Zine Fair, organized by Exile Books and hosted by HistoryMiami, featured 140 tables of zine makers, artists, and poets. The event drew more than 1,500 people who came to purchase and swap zines, chat with their favorite zinesters, or simply learn more about zines.

 

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Special Collections Librarian Jay Sylvestre at the zine table.

Special Collections assembled a zine about zines that we called Zineology #1. With more than 6,000 zines in our collection we knew we couldn’t share details about each one so we decided to approach the collection thematically. Zineology highlighted several of our distinct zine collections along with zine subject areas like music, perzines (short for personal zines), gender and sexuality, science fiction, and Florida zines.

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The UM Gender, Sexuality, and Visual Studies Collective

The initial focus of the zine collection was on Florida or Florizines, but it quickly became clear that just as zines serve to subvert and expand the conversation, we knew we couldn’t limit the collection geographically. Florida zines will always be a particular focus, but the amount of variety in the eclectic world of zines requires that we collect zines about anything and everything from here, there, and everywhere.

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Zine artist and Special Collections Library Assistant David Rodriguez (right) recently donated this zine he presented at Zine Fair to our collection.

We met so many people at the Zine Fair that we ran out of business cards and gave away almost the entire first run of Zineology. We had countless conversations with people about the existence of our collection; many of whom had no idea that UM Special Collections has such an extensive zine collection. Participating in an event like the Zine Fair was the perfect venue to share this information. We lost track of how many new potential researchers we met, but we know that we’ve already been contacted by a few people from the fair about adding their zines to the collection.

If we met you on Saturday at the Zine Fair and you would like to add your zines to the collection please give us a call!

 

 

 

 

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Stop by the Richter Library 8th floor and pick up a copy of Zineology #1 for detailed highlights of the zine collection.



This Just In: Celebrating and Preserving Urban Art in Florida

By Yvette Yurubihuff2
A unique collection generously donated by Barbara Young in honor of her late husband, artist and teacher Robert Huff, is now available for research. The Robert Huff Collection includes a vast array of exhibit catalogs dating back from the 1980s to the present. Of interest are the sheer number and variety of exhibits that cropped up all around Miami, showcasing different artists with their own brand and identity that contributed something valuable and new to the art scene.

At the forefront of the collection is one name splayed across many of these exhibit catalogs – Robert Huff himself, a former art professor and chairman at Miami Dade College. His stunning, three-dimensional visual style was celebrated throughout the decades as a welcome presence in Miami as his use of bright colors intersects with architectural designs to create pieces that are unexpectedly harmonious in spite of their disparate elements. Segmenting lines and geometrical shapes present in many of his artworks are where these elements meet and interact to create layered images that paint an urban jungle for its audience to be lured into, inviting them to traverse deeper into the story he tried to tell in each piece.

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These catalogs serve as a celebration of his prominence and success here in Miami and will hopefully evoke the curiosity of future young artists and researchers who wish to delve deeper into his work and those of his contemporaries. We invite you all to come stop by and take a look through the exhibition catalogs to experience the way the urban art movement has shaped Miami’s cultural scene as a whole.

Capturing Florida’s local art scene is one of our key collecting areas here in Special Collections as we feel it has something unique and culturally significant to offer current and future generations. We are striving to document as much of it as possible before historical materials are lost or disappear into the ether (as so many websites do), so materials such as our newly acquired Robert Huff Collection have become crucial to our initiative to preserve Florida’s modern history with the same eclectic flair that we experience in our day-to-day lives living here in this energetic and artistically vibrant city.



Class Project Breathes Life into Historical Documents

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Stereoscopic card showing black men with wheelbarrows and shovels with caption, “Negroes at work near Cristobal, Panama.” Slave Documents Collection, University of Miami Special Collections

In her own academic career, English professor and PhD candidate Allison Harris has spent a significant amount of time in archives, using records dating back to the historical periods she’s studying to support research and to breathe life into her writing. Taking her African-American Literature students to the archives for a project focused on the era of slavery, however, was an idea actually inspired in a cemetery, miles away from the archives.

“I was walking there with a friend and we were thinking about the lives of the people buried there and the legal and social constructions of personhood beyond death,” Harris explains. It was in the midst of gravestones, many inscribed with only a name and a range of dates, that she thought about how the briefest details of a person’s life can evoke wonder about a long ago experience. “Together we brainstormed ways that students could use creative writing to engage with these constructions of personhood.”

After the students enrolled in Harris’s course visited UM Special Collections’ Slave Documents Collection in the fall 2015 semester, they created stories based on real individuals from history referenced in letters by plantation owners, bills of sale, and other legal and personal documents preserved from the pre-Civil War era. The eight short stories, together known as the Slave Narrative project, are told from the perspective of slaves documented in the records.

“Part of the goal of the assignment was to make the documents come to life through plot and conflict. But more importantly, they were to give their characters a rich and vibrant interiority that explored the emotional and spiritual limitations and silences of these archives,” Harris says.

Visit the Slave Narrative Project

The Slave Narrative project, now permanently preserved and available to the public in UM Libraries Scholarly Repository, features the following short stories:

The Example
by Nathaniel Bradley
English Literature major (2018) from Aurora, Colorado

Her Taste of Freedom
by Orlandra Dickens
Sociology and Criminology major (December 2016) from Wilson, North Carolina

The Hill, Named after some White Man
by O’Shane Elliot
Political Science major (Spring 2016) from St. Petersburg, Florida

The Match
by Marcus Hines
Computer Science major (2017) from Los Angeles, California

Betsey Simons: Freedom at What Cost?
by Anthony Maristany
Neuroscience major (May 2017) from Miami, Florida

Earth and Ashes
by Michele Mobley
General Studies major (2017) from Wilmington, Delaware

A Narrative of the Torments and Unlikely Freedom of a Child Slave
by Hanna Taylor
Undecided major (2019) from San Rafael, California

Nameless People, Keep Trekking
by Brandi Webster
Sociology major (2017) from Naranja, Florida

To learn more about the Slave Documents Collection, visit Special Collections in person or online at library.miami.edu/specialcollections.



Now Available: The Lenny Kaye Science Fiction Fanzine Collection

A small sample of zines from the collection.

A small sample of zines from the collection.

Sam #8

Sam #8

We are happy to announce the acquisition of the Lenny Kaye Science Fiction Fanzine collection at the Special Collections Department of the University of Miami Libraries. The Kaye collection constitutes a very rich and unique trove of science fiction fanzines from the 1940s to the 1970s, and represents a significant addition to our ever-growing zine holdings. The zines were originally collected by Lenny Kaye, who is best known as the guitarist for the Patti Smith Group, and for compiling the seminal 1960s garage rock collection Nuggets: Original Artyfacts from the First Psychedelic Era.

Science fiction fandom has been a significant source of published material, starting in the 20th century and continuing through today. The Lenny Kaye Science Fiction Fanzine collection documents the self-publishing activity of the sci-fi fandom community in the mid-20th century. Despite being primarily amateur publications, there is a significant sense of organization evident in the community. Many of the fanzines were published as part of amateur press associations, including the Fantasy Amateur Press Association (FAPA), and the Spectator Amateur Press Society (SAPS). The topics of the zines include reviews of science fiction literature and films, fanfiction, updates about conventions, and news and notes about different fan clubs dedicated to the genre. Some fanzines might veer off into the intensely personal, while others devolve into gossip about other fans or writers.

The National Fantasy Fan

The National Fantasy Fan

The collection includes important titles, such as Cry of the Nameless, JD-Argassy, and Yandro, and is truly international in scope: zines held include those produced in the United States, Canada, the United Kingdom, Australia, New Zealand, Argentina, Japan and several European countries.

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Yandro

 

 

 

 

The Special Collections Department at the University of Miami Libraries holds over 5,000 zines in six unique collections. In addition to science fiction, our zines also include punk rock fanzines, perzines, and independent publications covering a wide variety of other subjects, such as LGBT rights, environmentalism, art and poetry. We have a significant amount of zines from South Florida, as well as zines produced in countries in the Caribbean and Latin America.



Looking for Ezra Pound, Finding a Local Treasure

Guest Writer: Barry Devine, Ph.D., English Graduate Student

Key West, a place for aspiring writers

Key West, a place for aspiring writers

Researching in the archives is a slow, often labor-intensive process, but one that rarely leaves me disappointed. Each rare book or box of documents is a world waiting to be explored; sometimes you will find something once thought to be lost, sometimes you will find documents that either confirm or contradict previously held notions about a particular figure, and sometimes, on rare occasions, you will run across something completely unexpected and wonderful.

Correspondence between Emory and Ronald Perry

Correspondence between Emory and Ronald Perry

The Richter Library Special Collections at the University of Miami houses a small collection of documents from former English Professor Clark Mixon Emery (1939-1981). Emery is regarded for his books Ideas Into Action: A Study of Pounds Cantos (1958) and The World of Dylan Thomas (1971). In preparation for Ideas Into Action, Emery exchanged many letters with Ezra Pound (1885-1972), one of the most influential poets and promoters of literature of the early 20th century. Pound was incarcerated for treason in St. Elizabeth’s Psychiatric Hospital in Washington D.C. at the time he and Emery were corresponding. This correspondence and Emery’s entire collection of Pound memorabilia comprise the bulk of the Clark Mixon Emery Papers. Emery’s literary relationship with Pound was my primary reason for exploring this collection, and the material contained in the boxes is fascinating. Of the five boxes of material, however, it is what I found in Box 4 that surprised me the most and sent me on a literary exploration of the Florida Keys, the Bahamas, Laos, and the Miami literary scene of the early 1980s. Box 4 provides small pieces and clues about the life of a Miami poet, his struggles for a personal poetic renaissance, and the mysterious circumstances surrounding his tragic death in 1982.

Key West, Florida

Key West, Florida

Ronald Perry was born in Miami in 1932 and died in 1982. He received his MA from the University of Miami in 1954, spent several years in the US Army, and settled into Miami civilian life as an airline reservation agent. This job allowed him the freedom to both write poetry and to travel extensively, and he lived for periods in Miami, Laos, and the Bahamas. Between 1956 and 1962 Perry published three short pamphlets of poems and one full-length collection entitled Rock Harbor (1959). His poems reflect his life in Miami and the Florida Keys as well as in the Bahamas and Laos. Eighteen years would pass before Perry was ready to write another collection, which he called Denizens and which was published in 1980. Denizens marked a new era of production for Perry, and over the next two years, he would reveal enough new poetry to fill two new collections, neither of which would ever see publication. Information about Perry is difficult to find, and what little I was able to uncover in comes from the material in Box 4, Dana Gioia’s Letter to the Bahamas (1983), and from personal interviews with people who either knew Perry or shared mutual friends. Even armed with some background information, I was left with more questions than answers.

Box 4 begins with a typed letter from Perry to Clark Emery in 1981. This letter expresses immense gratitude and kindness toward Emery, and in it he promises to send Emery the manuscript for his new poetry collection, In The Smoke, which he had just sent to Random House publishers.

Letter from Perry to Clark Mixon Emery, November 11, 1981.

Letter from Perry to Clark Mixon Emery, November 11, 1981.

The manuscript arrived shortly after with another letter expressing gratitude and humbly forgiving Emery in advance should he not want to read the poems. In just these two letters, I began to see Perry as a man both genuinely kind, infinitely generous, and who greatly appreciated anyone willing to talk about his poetry. Between this letter and the time of his death, Perry sent Emery several typed individual poems and a second brand-new collection entitled Stonecraft. The material contained in the poems and collections reflect a poet with a renewed sense of purpose and who was at the most productive period in his literary life. He returns to a familiar theme of poems written about Laos with ten new poems containing vibrant imagery and a deep reverence for the people and the place that took him in. Passages like the following are typical of the style and power of his verse:

The journey was inside us
The sun overcame us with herons
With jackfruit mangoes and citrons
Until we moved on
And deep as down is
The road unwound like silk before us
Entangled in spiders’ webs
Lost in perfumes at every little wind

(from “The Song of Setaphon”)

 

Perry died in July 1982 while in Nassau, and reports claim that he died of a heart attack while writing a poem, still unfinished in his typewriter. A short letter from a mutual friend, however, cast a shadow over this romantic, yet tragic end.

Maggie Donovan DuPriest was a central figure in the Miami literary scene and had connections to UM. She was once married to the late UM Professor Laurence Donovan, and she owned The Old Book Shop on South Dixie Highway for many years. She was a friend of both Perry and Emery. Some time after Perry’s death, DuPriest sent Emery a short, undated letter typed on both sides of a small sheet of 4×5-inch stationery. In the letter she frankly discusses the reality of Perry’s final days. Contradicting the official memorial notice, she writes, “The real errors are the hidden ones where he [the author of the memorial] talks of Ronald’s euphoric attitude towards the end. Those of us who saw Ronald shortly before that end knew that this was far from the case.” DuPriest suggests that, despite the tremendous amount of writing he was doing, he was depressed in part by the fact that Random House had rejected the new collection In The Smoke. Most surprisingly, however, is what she writes next: “The major ‘error’ is the never-to-be revealed one of Ronald’s death. Without going into all the ramifications, it was almost certainly suicide. The half-finished poem in the typewriter is a pure fiction. It is a beautiful, romantic presentation.” Her assertions that he was depressed and had taken his own life cast a tragic and contradictory shadow over the effusively kind letters he had sent to Emery just a few months earlier.

Much more research will be necessary in order to resolve these contradictions, and Perry’s two unpublished collections of poetry, In The Smoke and Stonecraft are practically screaming to be studied in detail. My research plans, however, are taking me in another direction, so these mysteries will have to be solved by someone better qualified to study Miami literary history, poetry of the Caribbean, or the poetry of the American experience in Asia. Perry’s work crosses many genres and national literatures, and his kindness still echoes through the archives among those who were lucky enough to have met him or to those, like me, who were lucky enough to stumble across his poems while searching Special Collections for something else entirely.


Barry Devine received his MA in 2009 from University College Dublin in Anglo-Irish literature and drama. His areas of concentration are manuscript genetics and creative development of James Joyce’s Ulysses, transatlantic modernism, and twentieth-century Irish literature. Barry is the co-student organizer of the 2013 “Miami J’yce” conference.  In 2011-12, he served as assistant editor for The James Joyce Literary Supplement; he will be managing editor in 2012-13. In March 2012, he presented “James Joyce and Popular Culture: The Genesis of ‘Hades’” at the American Conference for Irish Studies (ACIS) in New Orleans, LA.



Life in an Archive: A Visit to the Pan Am Collection

by Jason Sylvestre and Steve Hersh, Special Collections

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Guy Noffsinger explores the Pan Am collection on his latest visit to Special Collections.

Washington DC resident Guy Noffsinger has made several trips to Miami to conduct research on Special Collections’ Pan American World Airways, Inc. Records. He made sure to time his most recent visit with the “Cleared to Land” event on January 29, in which Special Collections celebrated the completion of a two-year effort in reprocessing the collection. The visit was an all-around success for Guy, who not only got to take home a print of a Pan Am Clipper that he won during the event, but also made an exciting discovery in the archives. He was kind enough to answer some questions for us to share with our Special Collections community about his latest experience in using the collection.

– How has the Pan Am collection helped your research?

The collection has been a source of wonder and reflection. For nearly fifteen years, I have been endeavored in researching the story of the world’s first aerial hijacking for both a book and documentary production. Before the recent update to the archive research tools, finding specific photos and other information was challenging at best. Now, with the updated method and two year effort into re-cataloging all the archived materials, my search results have been ten-fold in the successful discovery of previously misplaced information.

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Woodcut print of planes and globe from a 1938 Pan American World Airways timetable, 1938.

I had an “A-ha!” moment on Friday, first time ever, that when I found two documents labeled “Pan Am – Secret” that proved a long held theory about attempts at sabotage of aircraft prior to World War II. Feel free to visit www.lostclipper.com to see how some of your materials are being shared with the world.

– Do you have a memorable real life Pan Am experience?

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Pan American World Airways Boeing 747, interior image of spiral staircase and bar, c. 1970-1980.

The very first time I stepped aboard a commercial airliner was an international flight between France and the US and it was on a Pan Am 747. I still have my wings and have loved that blue beach ball of a logo for a long, long time. Now, that I have been to the archive four times (no easy task as I live in Metro Washington DC), I feel that I will soon be able to use my personal experience, along with the hundreds of images within the archive, to tell the story of the Pan Am flying boat Hawaii Clipper and how it may have been one of the first unknown victims of World War II.

– What is your favorite place to travel?

My favorite place is absolutely New Zealand!

– If you could be any animal, which animal would you be?

I would say a bird…probably an Osprey.

Life in an Archive is produced by archivists and staff at UM Libraries. Stay tuned for more stories about how UM students, researchers, donors, and community members are breathing life into UM Libraries’ unique and distinctive collections.



COOLCRAZYBEAUTIFUL: Train Approaching UM’s Student Union

marcia-headshot_thumbA Pick of the Week from

Special Collections of the UM Libraries

By Marcia Heath, University Archives technician

 

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Train approaching Student Union, University of Miami Office of Communications and Marketing Historical Photograph Collection [Collection in Process]

A recent and generous donation from the University of Miami’s Office of Communications and Marketing has provided us with several boxes of captivating photographs which hail as far back as the mid-1900s and capture the essence of university life from UM’s formative years to the present. The growth and transformation of our campus is well documented in these photographs through candid, everyday shots of students, faculty, and staff. The photographs also focus on a particularly interesting aspect of the University during the near decade in which UM owned its very own locomotive train line.

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The Gold Coast Railroad operated from 1958 to 1966. University of Miami Office of Communications and Marketing Historical Photograph Collection [Collection in Process]

How this even transpired was largely due to the efforts of several train enthusiasts in University of Miami’s early administration, who managed to convince the U.S. General Services Administration to lease a set of railroad tracks that had been located near the University of Miami South campus to the University to be turned into a fully operational train. The Miami Railroad Historical Society was then formed and placed in charge of the entire operation, and they officially named the line “The Gold Coast Railroad.” It remained in service from 1958 to 1966, acquiring new train carts along the way through generous donations and concentrated efforts from the administration, and eventually expanded enough to offer rides to the general public.

The Gold Coast Railroad was discontinued during the Cuban Missile Crisis so that the land could be used by the CIA. The train line never reopened. However, the cherished memories of this once treasured University feature are well preserved through these photos. Be sure to visit the University Archives at the Otto G. Richter Library to view this collection.

COOLCRAZYBEAUTIFUL is written by Yvette Yurubi and showcases unique items at Special Collections and the University Archives discovered by librarians and staff members while on the job. They gather monthly for “Show and Tell” to present their top finds. You too can experience these items up close, and access other rare and interesting treasures, by visiting Special Collections and the University Archives, located on the 8th floor of the Otto G. Richter Library.



The Haitian Diaspora Oral History Digital Collection

The Haitian Diaspora Oral History Digital Collection includes videos and outlines of oral history interviews conducted with individuals of Haitian ancestry that are well renowned in the world of culture and the arts, education, community activism, civic leadership, and many professional organizations. In these interviews, musicians, artists, dancers, and writers explore the creative process, often through the lens of the diaspora experience, while showcasing the Haitian influence in the arts.

Educators, activists, and civic leaders share their experiences and their passion for supporting both their local community and the larger Haitian community.

Edwidge Danticut

Additional interviews from the Haitian Diaspora Oral History Digital Collection are available for research upon request at the University of Miami Libraries Special Collections. A full description and list of all materials in this collection are available in the Haitian Diaspora Oral History Collection Finding Aid.

These oral histories express the views, memories, and opinions of the interviewee. They do not represent the viewpoints of the University of Miami, its officers, agents, employees, or volunteers. The University of Miami makes no warranty as to the accuracy or completeness of any information contained in these interviews and expressly disclaims any liability therefor.

Haitian Word Cloud

Copyright to these materials lies with the University of Miami. It may not be reproduced, retransmitted, published, distributed, or broadcast without the permission of the University of Miami Libraries Special Collections. For information about obtaining copies or to request permission to publish any part of an interview, please contact Special Collections at asc@miami.edu.



Politics, Literature, and Culture in Brazil: The Leila Míccolis Collection

Politics, Literature, and Culture in Brazil: The Leila Míccolis Collection

by Tatiana Faria

Over the last several months, I have had the privilege of working with an extensive collection of alternative press materials from Brazil. Most of the pieces—in the form of newspapers, magazines, newsletters, books, and comics—are from 1968-1990, a time of political unrest and oppression for Brazil. From 1964-1985, Brazil was under a military dictatorship that censored and repressed mass media. Brave activists, writers, and groups created these alternative press pieces amidst political turmoil, distributed them independently and were thus able to spread their ideas, their work, and their art.

Unfortunately, the collection is far too large for me to have been able to read or even skim everything—there are 121 boxes and each box contains a different number of folders (ranging from 2 to 41). However, even just through gathering data for a finding aid for the collection—establishing creators, dates, contributors, subjects, etc.—I was able to garner an understanding of some of the movements, ideals, and concerns of the time. Freedom of expression is a huge concern in many of the works in the collections, and much of the writing is about writing. There are countless poems written about the art of poetry, the difficult life of the poet, and the process of writing a poem. So many of the pieces, even when they are discussing other topics (such as music or cinema), also relate directly to the political climate and offer politically conscious discussion of their specific topics.

poetry This collection was compiled by Leila Míccolis, poet and teacher from Brazil. Because of Míccolis’s highly literary background, the collection unsurprisingly contains a lot of literary pieces, including poetry zines and newsletters. Many of these are simply two folded sheets of paper containing several short poems by different authors and others are anthologies of poetry showcasing just one poet. The most interesting part about reading through these homemade-looking, typewritten pieces is the reappearance of certain authors. Many of the publications feature the same authors, indicating, most likely, relationships between the writers and publishers. Names like Paulo Leminski, Mário de Almeida, Glauco Mattoso, Teresinka Pereira, Floriano Martins, and Marcelo Dolabela recur so often I have committed them to memory. We were able to connect with Leila Míccolis through social media, and many of her public internet interactions were with familiar names I encountered in the collection. This seems to support my speculation that many of these authors nurture social relationships with each other as well as working relationships.activist

The collection also contains some non-Portuguese language pieces, featuring writings in Spanish, Italian, French, and English, among others. A contributing poet from many of the Brazilian poetry zines in the collection, Teresinka Pereira, is also the editor of The Activist and Alternative, publications from Bluffton, Ohio, and editor of two publications from Boulder, Colorado, International Poetry and Poema Convidado. She also served as president of International Writers Association based out of Bluffton.

afrodite

Although much of the collection is heavily literary, there are a vast variety of other topics, the predominant ones being ecology and environmentalism, politics, music, cinema, anarchism, women’s rights, racism, and LGBTQ concerns. Some of the pieces I found most interesting were those concerning human rights issues, namely ones concerning race (Afrodite Perdeu o Rumo, Nzinga, 1˚ Encontro Nacional da Mulher Negra, Cadernos Estudos Afro-Asiáticos, Revista África-Brasil, Extravia), gender (Escritos Sobre Feminismo, Feminismo: Uma Questão Politica?, Mulher-Libertação, Sempre Viva, Força Mulher, Nexo, Voz de Mulher) and LGBTQ sexualities (Chanacomchana, Jornal Gay Internacional, Nós Também, Previna-se, Suplemento G, Atobá, Lampião da Esquina).

The comics are undoubtedly the most fun, as they have politically conscious and/or often humorously atypical themes (such as Aventuras de Glaucomix o Pedólatra by Glauco Mattoso, featuring a largely autobiographical character who loves feet).

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centopelha

The art in these comics is admirable and detailed, as is the art in some of the more text-based pieces. Many of the poetry volumes contain hand-drawn illustrations that either connect to the text or structure the text. A perfect example of this is a piece entitled Centopêlha, with a large caterpillar encasing short poems and quotations.

Overall, the Leila Míccolis Collection is fantastic for anyone with an interest in Brazilian politics, literature, social issues, and culture. The non-Portuguese speaker should not be daunted, considering the number of international pieces with work in various languages and the highly visual nature of many of the pieces. The collection is an extensive study in the history, culture, and development of Brazil.



A Welcome Addition to the World Wings International Records

In addition to the records of Pan American World Airways, UM Libraries Special Collections is home to the records of World Wings International, the philanthropic organization of former Pan Am Flight Attendants.

Their most recent donation includes uniforms, scrapbooks and the World Wings 50th Anniversary DVD, “World Wings Presents.” The DVD is a nice complement to the collection as it captures the elegance, grace and meticulousness of Pan Am flight attendants that set the industry standard.

The DVD consists of Pan Am training and public relations videos. “Roses for Routine”, a Henry Strauss production, is a flight attendant training video with a twist. “Food for Thought” will make you crave the days when in-flight meals were served on china… for Pan Am’s glory days when Pan Am stock sold for seventy-five dollars and people made reservations for space clipper flights to the moon, as described in “2001: The Sky Is No Longer the Limit”.

(Please note that it is the patron’s obligation to determine and satisfy copyright or other use restrictions when reproducing materials from the University of Miami Libraries.)

Food for Thought:

Roses for Routine:

The Sky is No Longer the Limit: