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                  <text>Bluegrass music, born in the Appalachian region in the 1940s, blends influences from old-time string bands, blues, jazz, and gospel. Pioneered by Bill Monroe and his Blue Grass Boys, the genre is defined by fast tempos, intricate instrumentation, and soulful harmonies. Rooted in tradition yet constantly evolving, bluegrass continues to inspire musicians and audiences worldwide. This exhibit explores its rich history, key figures, and enduring legacy.</text>
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                <text>Bill Munroe's Mandolin</text>
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                <text>This mandolin belonged to Bill Monroe, the “Father of Bluegrass.” With its sharp chop rhythm and soaring leads, Monroe’s mandolin shaped the sound of an entire genre. His playing combined Appalachian tradition with bold innovation, setting the standard for generations of bluegrass musicians to follow.</text>
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                <text>Earl Scruggs Playing The Banjo</text>
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                <text>Seen here in his signature three-finger picking style, Earl Scruggs transformed the banjo from a rhythmic background instrument into the driving force of bluegrass music. His technique, precision, and innovation redefined the genre and left an enduring mark on American music history.</text>
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                  <text>Collection of letters, reflections, diaries, and memorabilia from the American Civil War. Items were created during the war, but some were compiled into their final published form in the years and decades following. These stories give insight into various subtopics stemming from the war, such as the experience and thought processes of military surgeons in the mid 19th century, the nature of interaction of Union and Confederate soldiers in non-combative contexts, the perils of involvement even outside of battle, as well as methods utilized as means of historical preservation by actors in the conflict.</text>
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                  <text>Emma Kyber, Grear Boyd, Jacob Kim, Brian Viner</text>
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                <text>Letters From a Surgeon of the Civil War: Chapter I: In the Chesapeake Hospital, Fortress: May 28th to July 3rd, 1862 </text>
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                <text>This source gives insight into Dr. Perry's initial arrival at Chesapeake Hospital and his experience therein. He recalls interactions with captured Confederates as well as the large volume of wounded soldiers that regularly arrived at the hospital. The source also sheds light on interaction between Union and Confederate men and the mutual understanding that soldiers often had of each other, when off of the battle field. </text>
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                <text>Martha Derby Perry</text>
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                  <text>Bluegrass music, born in the Appalachian region in the 1940s, blends influences from old-time string bands, blues, jazz, and gospel. Pioneered by Bill Monroe and his Blue Grass Boys, the genre is defined by fast tempos, intricate instrumentation, and soulful harmonies. Rooted in tradition yet constantly evolving, bluegrass continues to inspire musicians and audiences worldwide. This exhibit explores its rich history, key figures, and enduring legacy.</text>
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                <text>"Globe Banjo"</text>
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                <text>Dominique Flemons is an American old-time music and neotraditional country instrumentalist, singer, and songwriter. He is a proficient player of the banjo, fife, guitar, and other instruments. Here is a handmade banjo he made from a globe and some bones along with other materials.</text>
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                <text>Don Flemmons</text>
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                <text>The Cleveland Museum of Art. rights@clevelandart.org</text>
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                  <text>Group 5-Nettie Hale Rand Collection </text>
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                  <text>The Nettie Hale Rand Collection of Fine Binding and Printing</text>
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              <description>A related resource from which the described resource is derived</description>
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                  <text>Vanderbilt University Special Collections</text>
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                  <text>Sean Stringfellow, Shanya Mirza, Cassie Li, Christina Li</text>
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                <text>The Chimes: A Goblin Story of Some Bells That Rang an Old Year Out and a New Year In</text>
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                <text>A novella by Charles Dickens, The Chimes was published in 1845 as the second of his Christmas books. This edition was published in London by Chapman and Hall. The book contains 175 pages, with two engraved plates, one of which serves as an additional title page. This engraved title page exists in two states, distinguished by the placement of the publisher’s name. The Sevier copy 1, a gift from Norman L. and Roselea J. Goldberg, is in state 2. Sevier copy 2 and the Rand copy are in state 1. Sevier copy 2 is housed in a calfskin dust jacket. Sevier copy 2 and the Rand copy are bound together with four other volumes in a red box titled Christmas Books.</text>
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                <text>Dickens, Charles, 1812-1870.</text>
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                <text>Vanderbilt University Library Catalog</text>
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                <text>Bound with Christmas Books (Sevier copy 2)</text>
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                <text>175 p., [2] leaves of plates : front., ill. ; 17 cm.</text>
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                  <text>Objects of Celebration: LGBTQ+ Ornamentation in the Twentieth Century</text>
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                  <text>The materiality of LGBTQ+ celebration in the mid-south during the twentieth century. </text>
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              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
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                  <text>Vanderbilt University Special Collections - Ron Sanford Papers </text>
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              <name>Publisher</name>
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                  <text>Vanderbilt University Special Collections</text>
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              <name>Date</name>
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                  <text>March 20, 2025</text>
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                  <text>Organized by Sara Jones, Nadia Maldonado, Logan Bartee, Jacob Ashby</text>
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                  <text>Ron Sanford - business owner, community organizer, and gay rights advocate - was born and raised in Nashville, but his life and work have left legacies all throughout the South. In particular, Ron's efforts to make space for LGBTQ+ individuals in the region have been made concrete through the numerous gay bars he has helped own and operate, in many cases serving as venues for drag pageants. In the foreword for James Sears' "Growing Up Gay in the South: Race, Gender, and Journeys of Spirit," Virginia Uribe wrote that, in the South, the stories of the LGBTQ+ are at their core "stories of courage and triumph in the face of defeat" (Sears 1991, xii). Vanderbilt Special Collections, largely under the initiative of Sarah Calise, has made a broad effort to make those stories visible and available for the public and scholars alike. The Ron Sanford Papers, a collection of items related to Sanford's life and career, form one pillar of this archival project. This collection, drawing on those papers, highlights the objects that defined LGBTQ+ celebration in the mid-south during the twentieth century and the material aspects of a pageantry tradition which Sanford himself was active in organizing throughout his career. </text>
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                  <text>10 linear feet of source material from the Ron Sanford Papers, digitized by the students of DHUM 1100 and Vanderbilt University Special Collections. </text>
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                  <text>Located within the Ron Sanford Papers, archived at the Vanderbilt University Special Collections. </text>
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                  <text>Group #1 as part of DHUM 1100 at Vanderbilt University, Spring 2025.</text>
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              <name>Rights</name>
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                  <text>Per Vanderbilt Special Collections: When publication is intended, an application for publication rights for any material quoted must be submitted.  These stipulations also apply to dissertations and research theses.</text>
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                  <text>https://collections.library.vanderbilt.edu/repositories/2/resources/2199</text>
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                  <text>Physically located in Nashville, TN. </text>
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                <text>Headshot of Diana Hutton</text>
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                <text>Headshot of Diana Hutton, winner of the 1987 Miss Gay USofA at-large pageant. </text>
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                <text>Diana Hutton was the winner of the 1987 Miss Gay USofA pageant, held at The Power Company in Durham, NC. Hutton was originally based out of Nashville, but began performing in drag competitions in Chicago. You can view her performance at the following link: https://www.youtube.com/watch?v=wL7Mz48_UKw</text>
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                <text>The Ron Sanford Papers at Vanderbilt University Special Collections</text>
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                <text>Vanderbilt University Special Collections</text>
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