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                <text> Myron Gray</text>
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                <text>"So yeah, we could get together, and not just the youths but the parents as well, when it came to school issues of course they were always focused on that. You heard the saying of course, it takes a community to raise a kid. Well, the same community raised a lot of kids. "</text>
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                <text>Lakeland Digital Archive - Lakeland Community Heritage Project (LCHP)&#13;
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                <text>&lt;iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1497571219&amp;amp;color=%23ff5500&amp;amp;auto_play=true&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;show_teaser=true&amp;amp;visual=true"&gt;&lt;/iframe&gt;&#13;
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                <text>Timestamp: 44:57</text>
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                <text>"'Ousting Rumors' cause Lakeland Uproar"</text>
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                <text>Black Explosion, p. 5</text>
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                <text>The newspaper above showcases the black community’s effort to bring awareness to the displacement of Lakeland residents caused by UMD. While the UMD community may not have known about it then or now, it caused a huge disruption for black lakelanders. Using their voice and autonomy, the Lakeland resisted the displacement vehemently and took every effort to maintain ownership of their community.</text>
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                <text>"Apologies demanded for coeds' rejection"</text>
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                <text>In 1968, four students were rejected from a home economics experiment based on their race. The article in the Diamondback and the archival photo showcase demands made and actions taken by the Black Student Union against these discriminatory practices. In the article, you can read their list of five demands. The photo allows you to witness their resistance in action. For more on this important period of Black student activism on campus, please visit Claiming Their Space: Black Student Activism at the University of Maryland, a digital exhibition created Spring 2020 by students in the Museum Research Seminar of the Museum Scholarship and Material Culture program.</text>
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                <text>Diamondback, p. 1</text>
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                <text> October 17, 1968</text>
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                <text>"Under Construction"</text>
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                <text>University of Maryland Archives </text>
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                <text>Detail from Calvert Hall under construction, University of Maryland, circa 1916</text>
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                <text>“Around the Campus”&#13;
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                <text>UMD &amp; Systemic Racism</text>
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                <text>As is evident from the many pictures in this case from the Reveille, the Maryland Agricultural College’s yearbook, and, once the institution became the University of Maryland, the Terrapin Yearbook, White students on campus engaged broadly and frequently in racist tropes and language in their activities deemed worthy of preservation in their annual publication.&#13;
At times this casual racism and focus extended to individual African Americans well-known to students on campus, individuals for whom a measure of affection is evident alongside and with tone, language, and imagery that is dehumanizing. One scholar [Stewart – can you remind me of this scholar?] characterizes such language used by Whites towards Black individuals as “puppy speak,” a tendency simultaneously to both show affection and assume a position of superiority towards the subject of address.&#13;
Mr. Charles “Charlie” Dory was a most frequent target of students’ attention. The campus kitchen frequently was referred to as “Charlie Dory’s Health Resort,” innocuous enough, but in these pages from two of the Reveille yearbooks (1913 and 1916), Mr. Dory and two other Lakelanders are subjected to dehumanizing racialization. “Ode to Charley: A Drinking Song” is “dedicated to the Big Chief, by one of his tormentors.” While written in jest, the torment had to have been real for Mr. Dory and others from Lakeland and other Black communities who worked on campus. Mr. Dory’s cooking exploits are regaled, but others in the kitchen are named – Tom, Sid, and Chesley Mack – and “others, hid, but all as black As our well-known Minstrel Clown.”&#13;
A minstrel clown is exactly how a student cartoonist depicted Mr. Dory in the 1916 pages of Reveille. Mr. Dory is depicted as a blackface minstrel (Coon) character in livery carrying a tray of food and drink and with napkin draped over his left arm. In the register below this one in the cartoon, a “Sam” in blackface and polka-dot shirt and check-pocketed breeches and cap is shown furiously sweeping a cloud of dust, with a can and dead rat among the detritus. This Sam is Samuel Stewart, who worked at the Maryland Agricultural College at this time and lived in Lakeland. His father, also Samuel Stewart, and mother, Georgianna Stewart, founded Embry AME Church in 1903. That their son would be represented in this racist manner is particularly galling, especially for Lakelanders who to this day honor and revere the Stewarts for their role in building the community.&#13;
We intentionally present the 1916 cartoon from Reveille with the vignettes of “Charlie Dory” and “Sam” greyed out because the visual racist tropes are powerful and triggering. We also want to honor the desire of Mr. Dory’s descendants to “not see [their} granddaddy” portrayed this way. That said, it is important that we all are aware of the depths and depravity of the racism endemic at Maryland Agricultural College and later the University of Maryland in which the generations of Dory family members and other Lakelanders worked. To strike a balance, we provide here a QR code to the relevant page of the 1916 Reveille yearbook.&#13;
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                <text>Reveille, 1916, p.46&#13;
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                <text>May Day festivities were a prominent celebration each year at the Maryland State College and the University of Maryland. University Archives retain photographs of such celebrations including maypole dances, diaphanous costumes reminiscent of Roman antiquity, and the awarding of the “May Queen” title with a triumphal march from the Main Administration Building. Other activities, such as those shown here–“Southern ‘fried’”–reflect the disparaging realities that align with such celebrations in a school just south of the Mason-Dixon line. Black communities along the Route 1 corridor less than five miles from campus, including Lakeland, North Brentwood, and Muirkirk, celebrated May Day as a celebration of the coming of spring, rather than as a moment to reinforce racist biases at the core of contemporary society.</text>
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                <text>The Terrapin Yearbook, p. 197</text>
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                <text>May Day festivities were a prominent celebration each year at the Maryland State College and the University of Maryland. University Archives retain photographs of such celebrations including maypole dances, diaphanous costumes reminiscent of Roman antiquity, and the awarding of the “May Queen” title with a triumphal march from the Main Administration Building. Other activities, such as those shown here–“Southern ‘fried’”–reflect the disparaging realities that align with such celebrations in a school just south of the Mason-Dixon line. Black communities along the Route 1 corridor less than five miles from campus, including Lakeland, North Brentwood, and Muirkirk, celebrated May Day as a celebration of the coming of spring, rather than as a moment to reinforce racist biases at the core of contemporary society.</text>
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                <text>The Terrapin Yearbook,1947, p.197&#13;
Courtesy of University of Maryland archives</text>
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                <text>As is evident from the many pictures in this case from the Reveille, the Maryland Agricultural College’s yearbook, and, once the institution became the University of Maryland, the Terrapin Yearbook, White students on campus engaged broadly and frequently in racist tropes and language in their activities deemed worthy of preservation in their annual publication.&#13;
At times this casual racism and focus extended to individual African Americans well-known to students on campus, individuals for whom a measure of affection is evident alongside and with tone, language, and imagery that is dehumanizing. One scholar [Stewart – can you remind me of this scholar?] characterizes such language used by Whites towards Black individuals as “puppy speak,” a tendency simultaneously to both show affection and assume a position of superiority towards the subject of address.&#13;
Mr. Charles “Charlie” Dory was a most frequent target of students’ attention. The campus kitchen frequently was referred to as “Charlie Dory’s Health Resort,” innocuous enough, but in these pages from two of the Reveille yearbooks (1913 and 1916), Mr. Dory and two other Lakelanders are subjected to dehumanizing racialization. “Ode to Charley: A Drinking Song” is “dedicated to the Big Chief, by one of his tormentors.” While written in jest, the torment had to have been real for Mr. Dory and others from Lakeland and other Black communities who worked on campus. Mr. Dory’s cooking exploits are regaled, but others in the kitchen are named – Tom, Sid, and Chesley Mack – and “others, hid, but all as black As our well-known Minstrel Clown.”&#13;
A minstrel clown is exactly how a student cartoonist depicted Mr. Dory in the 1916 pages of Reveille. Mr. Dory is depicted as a blackface minstrel (Coon) character in livery carrying a tray of food and drink and with napkin draped over his left arm. In the register below this one in the cartoon, a “Sam” in blackface and polka-dot shirt and check-pocketed breeches and cap is shown furiously sweeping a cloud of dust, with a can and dead rat among the detritus. This Sam is Samuel Stewart, who worked at the Maryland Agricultural College at this time and lived in Lakeland. His father, also Samuel Stewart, and mother, Georgianna Stewart, founded Embry AME Church in 1903. That their son would be represented in this racist manner is particularly galling, especially for Lakelanders who to this day honor and revere the Stewarts for their role in building the community.&#13;
We intentionally present the 1916 cartoon from Reveille with the vignettes of “Charlie Dory” and “Sam” greyed out because the visual racist tropes are powerful and triggering. We also want to honor the desire of Mr. Dory’s descendants to “not see [their} granddaddy” portrayed this way. That said, it is important that we all are aware of the depths and depravity of the racism endemic at Maryland Agricultural College and later the University of Maryland in which the generations of Dory family members and other Lakelanders worked. To strike a balance, we provide here a QR code to the relevant page of the 1916 Reveille yearbook.&#13;
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                <text>Reveille, 1913, p.106-107&#13;
 Courtesy of University of Maryland archives&#13;
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                <text>“Ode to Charley: A Drinking Song”</text>
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                <text>Reveille Yearbook, pp. 106-07</text>
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                <text>Special Collections and University Archives, University of Maryland Libraries</text>
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                <text>As is evident from the many pictures in this case from the Reveille, the Maryland Agricultural College’s yearbook, and, once the institution became the University of Maryland, the Terrapin Yearbook, White students on campus engaged broadly and frequently in racist tropes and language in activities then deemed worthy of preservation in their annual publication.&#13;
&#13;
At times this casual racism and focus extended to individual African Americans well-known to students on campus, individuals for whom a measure of affection is evident alongside and with tone, language, and imagery that is dehumanizing. Such language used by Whites towards Black individuals betrays a tendency simultaneously to both show affection and assume a position of superiority towards the subject of address.&#13;
&#13;
Mr. Charles “Charlie” Dory was a most frequent target of students’ attention. The campus kitchen frequently was referred to as “Charlie Dory’s Health Resort,” innocuous enough, but in these pages from two of the Reveille yearbooks (1913 and 1916), Mr. Dory and two other Lakelanders are subjected to dehumanizing racialization. “Ode to Charley: A Drinking Song” is “dedicated to the Big Chief, by one of his tormentors.” While written in jest, the torment had to have been real for Mr. Dory and others from Lakeland and other Black communities who worked on campus. Mr. Dory’s cooking exploits are regaled, but others in the kitchen are named – Tom, Sid, and Chesley Mack – and “others, hid, but all as black As our well-known Minstrel Clown.”&#13;
&#13;
A minstrel clown is exactly how a student cartoonist depicted Mr. Dory in the 1916 pages of Reveille. Mr. Dory is depicted as a blackface minstrel (Coon) character in livery carrying a tray of food and drink and with napkin draped over his left arm. In the register below this one in the cartoon, a “Sam” in blackface and polka-dot shirt and check-pocketed breeches and cap is shown furiously sweeping a cloud of dust, with a can and dead rat among the detritus. This Sam is Samuel Stewart, who worked at the Maryland Agricultural College at this time and lived in Lakeland. His father, also Samuel Stewart, and mother, Georgianna Stewart, founded Embry AME Church in 1903. That their son would be represented in this racist manner is particularly galling, especially for Lakelanders who to this day honor and revere the Stewarts for their role in building the community.</text>
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                <text>1880 Census Dory- Mechanicsville, MD</text>
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                <text>Dory Family 1880 Census Record</text>
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                <text>St. Mary's County Historical Society</text>
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