Category Archives: Special Collections

D-Day Veterans Oral History Additions

In commemoration of World War II’s D-Day 75th anniversary, the State Archives of North Carolina has digitized 25 military veterans’ oral histories and made them available through Internet Archive. Access to the oral histories is also available through North Carolina Digital Collections Veterans Oral History collection.

The veterans listed below all participated in D-Day, whether through land, sea, or logistics. For more information on each veteran, check out NC Stories of Service, where Military Archivist Matthew Peek has been providing in-depth histories of the D-Day veterans.

Walter G. Atkinson Jr., Interview, 2000-02-24 [MilColl OH 32]
Duncan C. Blue Interview, 2009-08-12 [MilColl OH 85]
Heath H. Carriker Interview, 2009-11 [MilColl OH 152]
Thomas E. Carson Jr. Interview, 1999-10-12 [MilColl OH 157]
Hugh B. Cherry Interview, 2006-11-14 [MilColl OH 171]
John C. Clark Interview, 1997-12-04 [MilColl OH 178]
Douglas F. Dickerson Interview, 1999-12-20 [MilColl OH 228]
Willie R. Etheridge Jr. Interview, 2001-10-20 [MilColl OH 268]
James E. Ferrell Interview, 2001-09-08 [MilColl OH 281]
Aaron E. Fussell Sr. Interview, 2010-07-07 [MilColl OH 301]
Grady R. Galloway Interview, 1998-03-25 [MilColl OH 304]
Herman T. Harden Jr. Interview, 1998-11 [MilColl OH 358]
Willie J. King Interview, 2010-01-29 [MilColl OH 470]
James O. Lawson Interview, 2002-06-13 [MilColl OH 502]
Charles H. Outlaw Interview, 2013-08-07 [MilColl OH 646]
Ward R. Robinson Interview, 2003-08-23 [MilColl OH 724]
Robert W. Ryals Sr. Interview, 2010-01-27 [MilColl OH 738]
Ralph R. Todd Interview, 2008-04-08 [MilColl OH 873]
Earl H. Tyndall Jr. Interview, 1999-12-10 [MilColl OH 886]
Earl R. Weatherly Interview, 2006-07-06 [MilColl OH 910]
Ellis W. Williamson Interview, 1999-08-06 [MilColl OH 940]
Jeremiah Wolfe Interview, 2009-08-15 [MilColl OH 948]
Harold L. Frank Interview, 2006-12 [MilColl OH 975]
Howard B. Greene Interview, 2014-08-09 [MilColl OH 1015]
Clarence A. Call Interview, 2006-12-04 [MilColl OH 977]

Engaging with Archives Using “Wayne’s Famous Pooter Dip”

[This blog post was written by Samantha Crisp, Director of the Outer Banks History Center.]

Have you ever thought about your community’s food history? What about your ancestors’ relationships to food—what did they eat? Why did they eat it? How did they get it?

Public interest in historical foodways has really taken off in the past decade, particularly relating to vintage recipes. In 2014, Duke University’s Rubenstein Library launched the Rubenstein Library Test Kitchen, a blog featuring historical recipes from the Rubenstein’s collections recreated by archivists. It was immediately popular among history lovers and foodies alike. Even popular web content producers like Buzzfeed and its subsidiary, Tasty, have made forays into experimenting with historical food, preparing recipes for 350-year-old ice cream and oyster and chicken pie, and even curating a list of “truly upsetting” vintage recipes.

A recent collaboration between the Outer Banks History Center and the Dare County Arts Council prompted my own foray into “vintage” food. We worked with a local food author, Amy Gaw, to curate a juried art show based on historical recipes from the OBHC’s cookbook collection and recipes collected by Amy for her new book, Lost Restaurants of the Outer Banks with their Recipes. About 30 local artists were each given a recipe and instructed to use it as inspiration to create a piece of art in their preferred medium, culminating in an awards ceremony and reception in which we passed out tastings of each dish recreated by local cooks. The show was called The Art of the Recipe.

Each recipe was carefully selected based on its age, ties to the local community, ease of reproduction, and availability of ingredients, except for one. My earliest contribution to the list wasn’t meant to be a contribution at all, but rather a snapshot sent to Amy of a recipe I stumbled upon and simply thought was hilarious: Wayne’s Famous Pooter Dip. As the weeks went by and the list of candidates whittled down to our favorites, Wayne’s Pooter Dip never really left our minds, and we eventually decided that it had to be included in the show, and I would be the one to recreate it for the reception. It was kismet.

Recipe

Wayne’s Famous Pooter Dip appears in the Town of Nags Head’s 50th anniversary cookbook, Fifty Years and Still Cookin’, published in 2011. Unfortunately, despite a great deal of searching and asking around, I was unable to find out who Wayne was or what prompted him to contribute this recipe to the cookbook. While this recipe was less “historical” than most of the others in the show, its irreverent humor, conversational tone, and performative elements resonated with me in a way that the other recipes didn’t.

I started by gathering all the ingredients, including Colby Jack cheese (“no substitute”), Pace picante sauce, and two “your choice” beers, which in my case turned out to be two of my husband’s leftover Landshark Lagers. And, of course, “pooters,” or refried beans.

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After preheating your pan, Wayne first instructs you to “open up one of the beers and take at least one drink, two if the skillet is heating up slow.” Then, add sausage and chop as fine as possible. Wayne advises that “it takes a little work but it’s worth it in the end.”

Chop, chop, chop!

Next, chop and add your onions, and take another swig of beer.

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Add the Pace picante sauce, rinse the can with water, and finish off beer number 1. Then, open beer number 2 and spread your “pooters” in a Pyrex dish, making sure that you “try to be neat with the pooters as folks tend to judge you harshly if they are smeared all over the baking dish.” I’ll take Wayne’s word for it.

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At this point, as can often happen with historical recipes, Wayne and I had a breakdown in communication. He states that the sausage mixture should simmer “for at least 30 minutes. Longer is better but 2 hours is too much.” I was suddenly reminded of my mother’s and grandmother’s favorite recipes, which frequently include less-than-helpful descriptors such as “a moderate oven” or “make a sauce” or “bake until it looks done.” One of the most enjoyable and sometimes frustrating aspects of recreating old recipes is attempting to decipher the cook’s bad handwriting, odd turns of phrase, or forgotten ingredients, all of which likely result from having to write down a recipe for the first time that one has known by heart for decades. I settled on an hour. I felt like Wayne would appreciate a nice, round number.

While the pooter dip was simmering, I tried to imagine what Wayne must be like. I know nothing about him other than what I can glean from this recipe. He was probably a lover of beer and simple, cheap food to enjoy with it. I suspect he was the class clown and preferred to make his home in Nags Head due to the laid-back, relaxing atmosphere on the beach. Perhaps he was a surfer. I couldn’t help but picture him standing at his stove in his tiny beach box home, wearing Rainbow sandals and an unbuttoned Hawaiian shirt, casually stirring pooter dip and sipping beer while keeping an eye on the condition of the waves through his kitchen window. I wondered how Wayne’s dip became “famous.” I wondered how he’d feel knowing that his name will be immortalized in art, or that his recipe will be preserved in the archival record in perpetuity. Perhaps he anticipated this, and the “famous” descriptor portended this very moment.

After simmering for an hour and “having beer at will,” I pulled the steaming pan off the stove and “gingerly” spread a generous amount of cheese on top. Wayne recommends melting the cheese in an oven “at low heat,” another vague descriptor that I interpreted to mean 325°. Per Wayne, “don’t burn it.” Fifteen minutes later, a pan full of spicy, cheesy pooter dip was cooling on my kitchen counter.

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At the reception, Wayne’s Famous Pooter Dip was sampled by young and old alike, and I heard numerous attendees joke about it being the funniest recipe they’d ever read. Local photographer Jim Trotman’s entry, “A Pooter Tower of Power,” was even awarded an honorable mention. By the end of the night, our attendees had scarfed down almost two whole batches of the dip. Over 100 people attended our reception, and I think I overheard just about every one of them remark that it was one of the most enjoyable shows they’d ever participated in, and how much they loved the concept. I left that evening knowing I had succeeded in sharing my love of Wayne and his cheeky pooter dip recipe with the world.

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Archivists know that archives change lives. We see it every day in our reading rooms, and share stories about our observations with each other. But it’s not every day that an entire room full of people can have their lives changed together by engaging with archives in a way they’d never imagined before. Archives are essential, inspirational, and powerful, but they can also be quirky, unpredictable, and fun. Projects like The Art of the Recipe encourage folks from all walks of life to come together and seek out the joy in archives, somewhere at the intersection of art, history, and pooter dip.

The Rumley Family Papers: A New Collection Featuring Resources for Researchers Seeking Enslaved Ancestors

[This blog post was written by Elizabeth Crowder, contract archivist with Private Collections of the Special Collections Branch. This position is overseen by Fran Tracy-Walls and is supported by funds bequeathed to the North Carolina Genealogical Society by the estate of the late Frances Holloway Wynne.]

Private manuscript collections, part of the State Archives’ Special Collections Section, can provide useful source material for researchers seeking information about enslaved ancestors. In many cases, these collections organize records concerning slaves and freedmen into dedicated series. The accompanying finding aids often identify those slaves who can be tentatively traced in federal census records dating from 1870 and later. Such is the case with the Rumley Family Papers (PC.1969). This collection contains correspondence, bills of sale, promissory notes, mortgages, receipts, and a warrant concerning enslaved and free African Americans.

Among these documents is an 1837 bill of sale for William, an approximately fifty-year-old slave whom Gibbons Bell (1807–1875) sold to his brother-in-law William Jones (1807–1850) in Carteret County, N.C. In attempting to find more information about the slave named William, I worked from three assumptions: that he was born around 1787 and lived at least until 1860, that he called himself either William Bell or William Jones after emancipation and the Civil War, and that he settled in Carteret County or an adjacent county once he was free. William might well have died earlier, used an entirely different name, and/or moved elsewhere. However, I needed a starting point for my search.

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Apply for the Outer Banks History Center’s David Stick Internship!

The Outer Banks History Center (OBHC) is excited to announce the second iteration of its annual summer internship. The David Stick Internship, sponsored by the Friends of the Outer Banks History Center, is a fully-funded summer position with the Outer Banks History Center (OBHC) in Manteo, N.C. This is a 10-week, full time position performing archival work for the OBHC. The intern will be paid a $4,000 stipend. Additionally, local housing can be arranged for the intern at a minimal cost.

The David Stick Intern will assist the archivists of the OBHC in completing a variety of projects. Duties may include:

  • Arranging and describing archival collections
  • Assisting with intake and establishing initial intellectual control of new archival accessions
  • Identifying, numbering, and sleeving historical photographs
  • Cataloging books and published items
  • Transcribing and indexing oral histories
  • Assisting patrons and providing reference services in the OBHC reading room
  • Scanning and providing metadata for historical documents and photographs
  • Planning and fabricating exhibits using OBHC materials
  • Contributing to OBHC outreach efforts (such as social media or public programming)
  • Designing promotional materials
  • Assisting OBHC staff members on individual projects

Eligibility: The application is open to current and admitted graduate students in archives and records management, library and information science, public history, museum studies, or a related field; and recent graduates of such a program who will have received their master’s degree no earlier than December 2018.

Required Qualifications: This position requires attention to detail, curiosity, creativity, and excellent writing and research skills. Prior coursework (at the graduate or undergraduate level) in archives and records management, library science, public history, or a related field, OR prior experience working in an archival repository is required. Applicants should demonstrate an ability to communicate effectively with members of the public, and prior customer service experience is strongly preferred. The ideal applicant will excel at working both independently and as part of a team.

Preferred Qualifications: Prior experience arranging, describing, and encoding finding aids for archival collections. Substantial coursework in archives and records management, library science, or public history. Knowledge of current library and archival standards and best practices (especially DACS).  Experience working with one or more archival content management systems (Archivist’s Toolkit, ArchivesSpace, Archon, AXAEM, etc.). Knowledge of North Carolina’s coastal history and/or familiarity with the coastal region.

About the Outer Banks History Center (OBHC): The OBHC is a regional archival facility administered by the State Archives of North Carolina. The mission of the OBHC is to collect, preserve, and provide public access to historical and documentary materials relating to coastal North Carolina, and to serve as an accessible, service-oriented center for historical research and inquiry. For more information, visit the OBHC website at https://archives.ncdcr.gov/researchers/outer-banks-history-center.

How to Apply: Complete the application for the 2019 David Stick Internship here. The application closes Thursday, February 28th, at 5pm.

Explore the Outer Banks Hispanic Community with the Mano al Hermano Records

[This blog post was written by Samantha Crisp, Director of the Outer Banks History Center.]

In recognition and celebration of the contributions and culture of Hispanic and Latinx Americans to our nation and society, Gov. Roy Cooper has proclaimed September 15, 2018 to October 15, 2018 as Hispanic Heritage Month for the state of North Carolina. In conjunction with Governor Cooper’s announcement, we would like to share one of our recently processed collections that directly relates to North Carolina’s Latinx community, the Mano al Hermano Records.

Clipping from the Outer Banks Sentinel, 23 March 2011, announcing grant funding for Mano al Hermano. From ORG.5284 Mano al Hermano Records, Outer Banks History Center.

Mano al Hermano (“My Hand to My Brother”) was envisioned as early as 2003, when
a Latinx support group for the Outer Banks community was founded by Sister Arcadia Rivera. After dying out, this group was revived by Ginger Candelora in 2010 as an affiliate with Interfaith Community Outreach. Candelora’s group was given 501(c)(3) status in April 2011 under a new name, Mano al Hermano.

Mano al Hermano’s mission is to serve the Hispanic and Latinx community of the Outer Banks by supporting literacy and education initiatives, offering English language classes, providing guidance on immigration and other legal issues, and encouraging collaboration between the Latinx and Anglo communities of Dare County. From 2013 to 2017, Mano al Hermano organized an annual celebration in honor of Hispanic Heritage Month, first called the Hispanic Heritage Festival, and later called the OBX Latin Festival. The organization offers regular workshops and presentations on developing issues affecting the Latin American community as a whole and the Latinx community of the Outer Banks specifically, including changes in federal immigration policies (for example, Deferred Action for Childhood Arrivals, or DACA), local resolutions relating to undocumented immigrants, and guidance on dealing with Immigration and Customs Enforcement (ICE) officials.

Program for OBX Hispanic Heritage Festival, 2014. From ORG.5284 Mano al Hermano Records, Outer Banks History Center.

One of Mano al Hermano’s early initiatives was to establish a community garden on Roanoke Island with the assistance of the Dare County Airport Authority. The goal of the community garden was “to provide affordable and accessible healthy food to locals while encouraging community involvement and interaction.” Mano al Hermano still operates this community garden today, with a special plot set aside for children affiliated with the organization to participate in a 4-H club called the “Mini Dirt Diggers.”

Another major initiative led by the group is the Family Literacy Program. This program involves home-based volunteer tutoring for elementary school children on a weekly basis as well as English language lessons for parents. The project is supported by community volunteers who act as tutors. The program also includes a special eight-week summer program culminating in and a field trip for participants hosted by the North Carolina Coastal Federation.

ORG.5284 MAH DACA Flyer

Flyer for DACA workshop, 2017. From ORG.5284 Mano al Hermano Records, Outer Banks History Center.

The Outer Banks History Center’s Mano al Hermano Records, 2010-2018, contains newspaper clippings, event flyers and programs, photographs, a scrapbook, and other papers created and collected by the organization from the time of its inception. Photographs in the collection mainly depict groups of children participating in various activities as part of Mano al Hermano’s Family Literacy Program and working in the community garden. For more details about the collection, researchers can view its finding aid, which is accessible in both English and Spanish.

Unfortunately, significant documentation of the Hispanic/Latinx community is lacking in many archives, including the State Archives of North Carolina and its regional units. Collections like the Mano al Hermano Records are indispensable to researchers attempting to understand the experiences, contributions, and stories of Hispanic North Carolinians. If you have original materials documenting the Hispanic community in North Carolina, are affiliated with a Latinx advocacy group, or would be willing to record an oral history interview about your role in the Latinx community, please reach out to us today to discuss donating your materials to our repository. We must act now to ensure that this important history is not lost!

Document Facsimiles Relating to Blackbeard and the Queen Anne’s Revenge on Display at the State Archives of North Carolina

[This blog post comes from Donna E. Kelly, head of the Special Collections Section of the State Archives of North Carolina.]

A page of handwritten text of Court minutes for men accused of storing Blackbeard's booty.

Part of the General Court minutes for men accused of storing Blackbeard’s booty. Colonial Court Records. State Archives of North Carolina [call number: C.C.R. 103]

To commemorate the 300th anniversary of Blackbeard’s death, the State Archives of North Carolina is displaying several facsimiles of documents relating to his exploits along the coast, including his capture and death. The display, “Gone Out a Pirateing”: Blackbeard and the Queen Anne’s Revenge, is currently on display in the State Archives’ Search Room and will run through early October.

“Gone Out a Pirateing” features a 1709 map of North Carolina and pages from the Chowan General Court Papers and the Executive Council Journal, both dated 1719. They include descriptive testimony against Edward Thatch, otherwise known as Blackbeard. The display also includes photocopies of four documents from the British National Archives (formerly the Public Record Office [PRO]). They were obtained through the Colonial Records Project, an initiative in the 1960s to copy all documents pertaining to North Carolina that were filed in the PRO.

From September 18 through October 1, this small exhibit will be displayed on the second floor of the Archives and History/State Library Building (109 East Jones St., Raleigh). It will run Tuesdays through Fridays, 8:00 a.m. to 5:30 p.m. and on Saturdays, 9:00 a.m. to 2:00 p.m. A digitized version of the document, with additional pages, is available for viewing 24/7 in the North Carolina Digital Collections.

Rare Irving Berlin WWII Play Photographs Online

[This blog post was written by Matthew Peek, Military Collection Archivist for the State Archives of North Carolina.]

Photograph of songwriter Irving Berlin, wearing his U.S. Army uniform, standing against a wall next to a poster advertising the only civilian performance of Berlin’s traveling U.S. military play This Is The Army at the Teatro Reale dell’Opera in Rome, Italy, in June 1944. The play was in Rome performing for U.S. military personnel during an international tour in World War II (June 1944) [Photograph by: Zinn Arthur].

The State Archives of North Carolina’s Military Collection is excited to announce the availability online of 416 original photographs documenting the international tour of American songwriter Irving Berlin’s traveling U.S. Army play This Is The Army was performed from October 1943 through October 1945 during World War II. Developed from the 1942 Broadway musical play and the 1943 Hollywood film of the same name, This Is The Army (abbreviated by the cast and crew as “TITA”) was initially designed to raise money for the war effort in the United States, and featured one of the most famous wartime songs of the 1940s “This Is The Army, Mister Jones.” TITA became the biggest and best-known morale-boosting show of World War II in the U.S.

Beginning in October 1943, TITA left the U.S. for England, where it remained through February 1944. From there, they traveled to North Africa, Italy, Egypt, Iran, India, Papua New Guinea, the Philippines, Guam, Mogmog Island, Okinawa, Iwo Jima, Hawaii, and numerous other locations in the Pacific Theater. The play traveled with makeshift stages that they set up on numerous locations and U.S. military installations/camps. The play’s cast played to hundreds of thousands of U.S. service individuals, including women’s bases and camps such as the Women’s Army Corps (WAC) camps in the Pacific. They traveled by troop transport ships, rented cargo ships, and landing crafts.

View of African-American dancer, soloist, and comedian James “Stumpy” Cross introducing the song “Shoo Shoo Baby” during a performance by cast members of Irving Berlin’s traveling U.S. military play This Is The Army the hospital at Camp Huckstep in Cairo, Egypt, in August 1944. Part of the play’s “jam band” is pictured playing in the background. Photograph taken while the cast was stationed at Camp Huckstep to perform for U.S. military personnel in Cairo, Egypt, during an international tour (August 1944) [Photograph by: Zinn Arthur].

This Is The Army was the only full-integrated military unit in the U.S. Armed Forces during WWII, with African American men eating, performing, and traveling with their fellow white cast and crew members. Many of the men were not just performers before the war, but also recruited to perform in the cast from the U.S. Army ranks in 1943. The cast was all-male, which required the men to dress as women in drag for the women sketches in the play. In all, the play would prove to be the beginning of the eventual desegregation of the U.S. Armed Forces under President Harry S. Truman’s 1948 Executive Order 9981.

This particular collection of photographs was mostly taken by singer and later celebrity photographer Zinn Arthur. Arthur would select and send these photographs to fellow cast member and singer Robert Summerlin of Tarboro, N.C. Both men would add identifications to the images over the years, resulting in the collection currently held at the State Archives. This collection of the This Is The Army photographs is the only known, publicly-available collection of these images in the United States.

The complete set of photographs is available online in an album through the State Archives’ Flickr page. Original programs and tickets for the play are available for viewing in-house in the State Archives’ public Search Room.

Photograph of singer Robert Summerlin from the cast of Irving Berlin’s traveling U.S. military play This Is The Army, standing in front of a lifeboat on the deck of the small freighter El Libertador, which carried the cast and crew of the play around the South Pacific in May 1945 during World War II. The ship was in Manila, the Philippines, when the photograph was taken. Photograph taken while the play was traveling throughout the South Pacific to perform for U.S. military personnel during their international tour [May 1945] [Photograph by: Zinn Arthur].