Reflections- Georgia African American Historic Preservation Network, Vol. 10, no. 3 (May 2012)

Volume X, No. 3 May 2012
Jeanne Cyriaque, African American Programs Coordinator
Historic Preservation Division
continued on page 2
THE DOUGLASS THEATRE CELEBRATES 90 YEARS:
A HIDDEN TREASURE NO MORE
Charles H. Douglass was an African American businessman
who recognized the need for African Americans to have
their own entertainment venue and a decent place to stay
during segregation. Douglass lived in Macon during Jim Crow,
when separating the races was a part of southern culture. Just one
generation from slavery, Douglass quickly grasped the real estate
business, and realized there was a need for blacks to have their
own businesses.
By 1906, he opened the Colonial Hotel, Macon’s first hotel
for African American travelers, and in 1911 he opened his first
theatre. At that time, Macon had four “nickelodeons” that were
movie houses where white patrons could see movies for a nickel.
Charles Douglass saw the opportunity to augment his vaudeville
acts and minstrel shows
with the emerging movie
industry. Douglass
also kept a steady
stream of African
American entertainers
coming to his theatre
through his association
with the Theatre Operators
Booking Agency (TOBA).
Ma Rainey and Bessie
Smith got their start in
TOBA’s minstrel circuit.
Ma Rainey, a Columbus
native, performed at the
Douglass Theatre with
the Black Bottom Band
and the Rabbit Foot
Minstrels.
With growing
interest from Macon’s
African American community, as well as greater opportunities for
African Americans in vaudeville, Douglass opened a second theatre
for a few years. By the end of World War I, Douglass envisioned a
grander facility and opened the New Douglass Theatre in 1921. He
built the theatre in the Classical Revival design, and decided to
build it when he and his wife were ushered to the segregated balcony
at Macon’s Grand Opera House. The Douglass Theatre, then
considered a state-of-the-art movie house, expanded its seating
capacity to approximately 750-800 seats with a balcony trimmed
with Nubian masks.
After his death in 1940, his son Charles continued to
operate the Douglass Theatre through the 1950s. At that time, the
Douglass Theatre hosted talent shows and Otis Redding was
discovered when he
performed there. It
became a venue for local
talent like Macon’s own
Little Richard and James
Brown. The Douglass
family used offices on the
front of the theatre for
other businesses. When
integration came and
other facilities were open
to blacks, the theatre
closed its doors in 1972.
The Douglass
Theatre remained vacant
until concerned citizens
approached the City of
Macon to rescue it from
the wrecking ball in 1978.
The Douglass Theatre is a contributing resource in the Macon Historic District, and was
listed in the National Register of Historic Places in 1974. Photo by James R. Lockhart
2
Jeanne Cyriaque, continued from page 1
THE DOUGLASS THEATRE CELEBRATES 90 YEARS:
A HIDDEN TREASURE NO MORE
Former state representative
David Lucas contacted the
Historic Preservation Division
(HPD) for technical assistance.
The following year HPD
contributed a $40,000 Historic
Preservation Fund grant for a
feasibility study that led to
stabilizing the building and
exploring its possible adaptive
reuse as a performing arts
facility. The city sought other
funding streams for several
years, and the Douglass
Theatre finally reopened in
1997 with seating capacity of
nearly 400, and technology
that improved the theater with
IMAX capability, a performance/lecture stage, and a modern sound
system. An annex was added to the theatre for special events,
receptions and a gift shop. All this was done while maintaining the
Nubian masks and original African-influenced design elements of
the historic theater that Douglass had established.
When comparing the
Douglass Theatre to other
African American theatres,
Charles Douglass’s original
vision is similar to two other
black, early 20th century
entrepreneurs, Madam CJ
Walker and Monroe “Pink”
Morton of Athens. Madam CJ
Walker did not live to open her
theatre complex in Indianapolis,
but her daughter continued her
dream and opened her theatre
in 1927. Today, it is a National
Historic Landmark. Monroe
Morton opened his theatre and
business complex in 1910, and
today it is the only surviving,
intact 20th century theatre in
Athens. All three theaters are
recognized and listed in the
National Register of Historic
Places, but more importantly,
they say a lot about these cities
recognizing diversity and
preservation through public/private partnerships.
The Friends of the Douglass Theatre Complex, Inc.
sponsored the 90th anniversary of the Douglass Theatre on July
Ma Rainey was a frequent performer
at the Douglass Theatre while she
toured many southern venues on the
“Chitlin Circuit”.
Otis Redding was discovered at the
Douglass Theatre in 1958 by local
disc jockey Hamp Swain on a talent
show called “The Teenage Party”.
Photo by Jeanne Cyriaque
30, 2011 in partnership with the
City of Macon and the business
community. Kenneth Rollins,
vice chair of the Friends
organization, chaired the 90th
anniversary committee.
Inaugural awards were
given to partners who support
the Douglass in the name of
Mattie Dunn and James
Wimberly, two community
advocates who saved the
Douglass. Awards were
presented to the Peyton
Anderson Foundation, Bill
Lucado, Dr. Thelma Dillard
and the family of Charles
Henry Douglass.
Jasmine Guy was the
evening’s hostess for the
performance and awards
ceremony. Ms. Guy learned her
dancing skills at Atlanta’s Northside High School and the Atlanta
Ballet before she emerged on Broadway as a singer and actress.
Her television career resulted in numerous awards for her role as
Whitley Gilbert in A Different World. Georgia writer Tina McElroy
Ansa, a Macon native, shared memories of the Douglass from her
mom and neighbors, and signed her newest novel, Taking After
Mudear. The Douglass Youth Jazz Ensemble provided a concert
with tunes from the big band era of Cab Calloway and Duke Ellington.
Lily Douglass Hatchett is the daughter
of Charles H. Douglass. She operated
a beauty salon in the offices above the
theatre. Photo by Jeanne Cyriaque
The Georgia African American Historic Preservation
Network congratulates the Douglass Theatre on its 90th anniversary.
We applaud the City of Macon in ensuring the physical remembrance
of this place, its significance to Georgia’s African American past,
and its continuous use as a downtown performance facility for all
of Macon’s citizens.
Tina McElroy Ansa stands in front of a watercolor
painting of Little Richard in the theatre annex that
is currently used for receptions and exhibits.
Photo by Jeanne Cyriaque
3
NEW HARMONIES: CELEBRATING AMERICAN ROOTS MUSIC
THE SMITHSONIAN COMES TO GEORGIA
Georgia’s musical traditions are a great reason to celebrate! The
Georgia Humanities Council is hosting a traveling Smithsonian
exhibition, New Harmonies: Celebrating American Roots Music.
The exhibition will tour the state for the next two years, stopping in
12 Georgia communities, each place hosting the exhibit for six weeks.
Arden Williams, Senior Program Officer
Georgia Humanities Council
New Harmonies: Celebrating American Roots Music has
traveled to Georgia through a partnership between the Georgia
Humanities Council, the Atlanta Symphony Orchestra, Center for
Public History at the University of West Georgia, Georgia Council
for the Arts, and the Georgia Department of Economic Development.
The exhibition is part of Museum on Main Street, a
Smithsonian Institution collaboration with state humanities councils
nationwide. Support for Museum on Main Street has been provided
by the U.S. Congress.
The Georgia tour of New Harmonies is led by Honorary
Chair Sandra Deal, First Lady of Georgia, and Chair Rose Lane
White Leavell.
First Lady Sandra Deal welcomes the Calhoun
community to New Harmonies at the Harris
Arts Center.
Photo courtesy of the Georgia Humanities Council
New Harmonies highlights traditional American roots
music through a series of exhibit panels that highlight musical
themes. Themes include the blues, sacred, country, folk, and popular
music, with examples of notable performers, types of musical
instruments, and an interactive visitor listening station. Those who
visit the exhibit will notice that Georgia figures prominently in each
musical category. Georgians can be proud of the musical legacies
represented in the exhibition; some of the legacies were originated
in our state.
There is a lasting legacy of African-American musical
performers highlighted in the exhibition. A few of those who are
showcased are Thomas Dorsey, James Brown, Blind Willie McTell
and Ma Rainey. All of these notable performers impacted American
music and influenced generations of musicians who followed.
New Harmonies kicked off in Calhoun, on April 14th with
First Lady Sandra Deal cutting the ribbon at the grand opening,
and area performers entertaining the crowd at the Harris Arts Center.
The exhibition will remain in Calhoun until May 24th, before heading
to the next stop on the tour, Madison. The tour will eventually
make its way to: Darien, Perry, Moultrie, Toccoa, Bremen, Thomson,
Nashville, Americus, Waycross and LaGrange.
Each host community, along with displaying the exhibition,
has organized a series of programs centered on the theme of roots
music. Check the New Harmonies website for related programs and
performances. Visitors to the exhibition can also read about the
history of Georgia roots music and musical traditions in the exhibition
catalog that is free to every New Harmonies visitor.
The Georgia Humanities Council hopes that visitors will
bring the family to see the exhibit and then stay for at least one of
the scheduled events.
For a complete list of exhibit locations, featured events,
musical samples, partner organizations and additional details consult
the New Harmonies: Celebrating American Roots Music website
at: http://www.georgiahumanities.org/newharmonies.
Jamil Zainaldin, president of the Georgia Humanities Council,
First Lady Sandra Deal and Stanley Romanstein, president of
the Atlanta Symphony Orchestra, are partners in bringing New
Harmonies to Georgia. Photo by Jeanne Cyriaque
4
Patricia Carter Deveau, Board of Trustees
The Georgia Trust for Historic Preservation
JEANNE CYRIAQUE RECEIVES HIGHEST PRESERVATION AWARD
Last summer I exited I-95 and was idling at the traffic light on the
GA 25 Connector in Brunswick when to my left I spotted Jeanne
Cyriaque in her bright blue Nissan Cube. We waved and laughed,
as neither one of us was surprised that 350+ miles from our homes
we would be side-by-side in coastal Georgia. As a volunteer working
with African American communities in coastal Georgia, I have been
lucky to have Jeanne at my side often. No person has traveled to
more places in our state than Jeanne. And no one has done more
to give recognition, hope and encouragement to people across the
state when others did not see the value of “that old place.” Thanks
to her efforts, countless historic homes, schools, churches, and
farms have been documented and communities have rallied to save
them. That is why I was delighted when at our annual meeting
last month, The Georgia Trust for Historic Preservation gave
Jeanne Cyriaque the Mary Gregory Jewett Award for Lifetime
Preservation Service.
The Mary Gregory Jewett Award is the Georgia Trust’s
top honor given to an individual “whose dedication and service to
the field of historic preservation in the state of Georgia is
paramount.” Mary Gregory Jewett was the director of the Georgia
Historical Commission and the founding president of the Georgia
Trust. Under her leadership the commission gained national
recognition as a pioneer in state historic preservation.
Elizabeth Lyon, former director and state historic
preservation officer of Georgia’s Historic Preservation Division
(HPD), recalled the early days when she convened a meeting in
Macon to consider preservation of Georgia’s African American
heritage. This meeting resulted in the establishment of the Georgia
African American Historic Preservation Network (GAAHPN) in
1989. “Some significant public awareness projects were done, but
it was not until state funding was obtained for a staff coordinator
that a fuller technical assistance, research and public information
program could be established. Jeanne Cyriaque was the ideal
person to become the program coordinator. It has been most
rewarding for those of us who were there at the beginning to see
what she has accomplished. She is well-deserving of this award,
as well as of the national recognition that has occurred under her
leadership,” said Lyon.
Since 2000 Jeanne Cyriaque has served as the coordinator
of African American programs at HPD. She is the staff liaison to
GAAHPN and editor/writer of Reflections, an award-winning
publication “that has added greatly to our understanding and
awareness of African American cultural resources,” stated Tom
Wight, treasurer of the Georgia Trust, who presided at the awards
ceremony. “She has brought attention to many threatened resources,
leading strong local, state, and national efforts to preserve sites.”
Jeanne has built her reputation as a leader in the
preservation of African American sites, attending countless church
suppers, commission meetings, local historical society events,
regional and national conferences, and by-the-side-of-the road
meetings with former students next to their kudzu covered old
schoolhouses. Jeanne is a founding member of the Initiative to
Save Rosenwald Schools, a southern state consortium convened
by the National Trust for Historic Preservation. In June 2012 she
will lead several educational sessions at the National Rosenwald
Schools Conference at Tuskegee University. She was nominated by
the National Park Service to serve as a commissioner of the GullahGeechee Cultural Heritage Corridor. During her four-year term, she
served as the commission’s first secretary and aided the development
of a management plan for the corridor. She wrote articles for Georgia’s
African American Heritage Guide and the Guide to the Civil War –
both valuable contributions to our state’s heritage tourism efforts.
In 2012, she began service to the Georgia Humanities Council as a
member of their board of directors.
In summary, the Georgia Trust Rambler stated, “Her impact
on our awareness, understanding, and preservation of this important
cultural presence in our state is incomparable.”
We agree! Thank you, Jeanne! Founded in 1973, the
Georgia Trust for Historic Preservation is one of the country’s
largest statewide, non-profit preservation organizations. To learn
more about the Georgia Trust and the Preservation Awards, visit
www.georgiatrust.org.
Jeanne Cyriaque is an advocate for the preservation of the
Harrington School on St. Simons Island. Photo by Susan Durkes
Jeanne Cyriaque accepts the Mary Gregory Jewett Award from
Georgia Trust chairman Nat Hansford and president/CEO
Mark McDonald. Photo by Althea Sumpter
5
DECATUR’S AFRICAN AMERICAN HISTORIC LANDSCAPE
David S. Rotenstein, Ph.D.
Historian
continued on page 6
Elizabeth Wilson has lived in Decatur for most of her life. The
Decatur she remembers sometimes is at odds with the city
portrayed in the official historical record: published books and
other documents that discount and distort the city’s African
American contributions to Decatur’s development. As Decatur’s
first African American mayor and a key participant in the city’s civil
rights history, she recalls a city torn apart by urban renewal and
divided by discrimination.
Elizabeth Wilson stands in front of the remaining portion of the old Herring
Street School. Photo by David S. Rotenstein
In Wilson’s Decatur, African Americans lived in wood
shotgun shacks, duplexes, apartments, and cottages in a segregated
part of the city’s northwest quadrant. City garbage trucks rolled
through the neighborhood to the municipal trash incinerator which
was sandwiched between the backyards of single-family residences
and the “City of Decatur Colored School.”
Like many urban African American neighborhoods,
Decatur’s was centered in a low-lying area on the city’s periphery.
Blacks lived, worked, learned, played, and worshipped in the
community known first as the “Bottom” and, later, the Beacon
Community. Located southwest of the DeKalb County Courthouse,
the City declared the area a slum and urban renewal began in 1938;
it was expanded again in the 1960s; and, it is continuing in the
second decade of the twenty-first century.
One afternoon in February 2012, I interviewed Wilson as
she took me on a tour of Decatur’s former African American
community. “We are going over to the Beacon community where I
used to live,” she said as we pulled out of her Decatur driveway. “I
moved there in 1949.”
We drove around visiting the sites she considers most
significant in Decatur’s African American history. As Wilson drove,
I asked questions and recorded our conversation. Elizabeth Wilson
had recently turned 80. She and her family came to Decatur from
rural Greensboro when she was a teenager. She recalls arriving in
the city in the family’s truck. Their first encounter with official
Decatur came when their truck was stopped for going the wrong
way in the one-way streets around the county courthouse square.
A night in jail wasn’t in the original moving plans.
Sylvia Clark’s painting of Decatur’s African American community is called
“The Bottom.” Photo by David S. Rotenstein
Her family was bound for Decatur’s new African American
public housing. Built in the early 1940s in the core of the African
American neighborhood, the Allen Wilson Terrace Homes were
among the earliest public housing efforts in the United States. Inside
this area were the homes owned and rented by Decatur’s blacks.
These people were construction workers, barbers and hairstylists,
and storekeepers. They also cleaned white Decatur residents’ homes
and raised generations of white Decatur residents’ children.
Throughout much of the twentieth century, the
neighborhood had no formal name.”I’ve always known it as the
Beacon Community,” said Wilson. “Even though there are people
who don’t seem to think that it was always called that.”
Wilson’s first home in Decatur was in the 300 block of
Herring Street. Like many Atlanta area road networks, segments of
streets inside African American neighborhoods had different names
from other segments in white neighborhoods. In Decatur, once the
color line was crossed, Herring Street became Trinity Place.
Wilson explained how folks knew they were crossing
from the white part of town into the African American
neighborhood. “It was pretty obvious,” she said. “Houses
dictated it. Streets dictated it.”
The people, like Wilson, who lived in Decatur’s public
housing were envied by their neighbors living in the surrounding
black community. “I used to think, personally, that the kids that
lived in the project was rich,” explained Bobby Pierce, a Decatur
native who was raised inside the Bottom. “They had indoor hot
and cold running water and a bathroom. I didn’t have that. We
didn’t have that.” I had interviewed Pierce, Wilson, and more than
two dozen others as part of a research project on housing history in
South Decatur.
During our tour, Wilson underscored Pierce’s observation:
“Whatever their homes were, however other people saw them, it
was their home and they was doing the best they could do.”
Choice oftentimes wasn’t a factor in where Decatur’s
African Americans lived or even how long they lived in one place.
Deed restrictions and Jim Crow laws created the contours for
6
David S. Rotenstein, continued from page 5
DECATUR’S AFRICAN AMERICAN HISTORIC LANDSCAPE
Decatur’s black community’s geography and public policy was made
far from Atlanta Avenue and Herring Street. “We knew we was
living in a slum so and we found out we had to move,” recalled
Pierce, whose family was displaced in the 1960s. “They made
decisions at City Hall that we had to get out of there.”
As we drove through modern gated subdivisions that were
built where African American homes and businesses once were
located, Wilson amplified what Pierce had said in an earlier interview:
I think back in those days that the way the decisionmaking people saw it is the only way we could
fix the problem is we have to demolish the existing
structures and build new structures … That was
not anywhere, it seems to me, in the thinking of
keeping the town diverse or caring about how many
people are displaced because of this.
And, Wilson added,
But the landscape really did a good job of erasing
all of this… But again, I think in the minds of people
who moved out of the community, especially
the homeowners, if they moved back, this is what
they thought they would be moving back into.
We all lived here and it just seems to me, everybody
strived to sort of have the American dream, homes
and good education and you know, just sort of the
things that everybody else wanted. You know,
safe community for the kids to play in …
We all went to the same churches. You know, you
had the Baptist church and the Methodist church
and sometimes we would end up going with somebody
to their church and especially if they had some
social activity …
The church, without a doubt, the church was
the gathering place. So we didn’t have a lot of
places, like the social places. We always had the
church and we had the school. The school was
central for us, too. And we would have functions
that, you know, we would invite people to come.
Trinity High School and Beacon Elementary School were the schools
that replaced the Herring Street School in the 1950s.
Photo courtesy of Elizabeth Wilson
Life in Decatur’s African American neighborhood was all
about segregation’s externalities. Mostly these externalities were
social costs imposed on the people who lived there. One externality
remains raw in Wilson’s memory: the municipal trash incinerator’s
location. “The city dump used to be on part of where this building
is,” Wilson said as she pointed towards the Park Trace Apartments.
“Every day the city trucks would come and they’d call it the crematory
and they burned stuff and it was in the back yard, almost the complete
back yard of where people lived on Elizabeth Street and Robin Street.”
Other externalities were benefits. One was the tight-knit
business community and a network of churches and the African
American school:
This is an undated photo of the Herring Street School.
Photo courtesy of Elizabeth Wilson
Decatur’s segregated school system put African American
children in the Herring Street School, a brick elementary school at
the intersection of Herring and Atlanta streets. The old school was
replaced in the 1950s by a pair of equalization schools: an elementary
school (Beacon) and a high school (Trinity). The 1950s schools
and a few churches are the only surviving architectural ties to
Decatur’s historically black community.
As urban renewal progressed in the 1960s, the area to the
west was an established white neighborhood. Wilson recalls an
encounter with a young white boy who was moving into the area
on the Beacon Community’s margins. “Now this, all of this, was the
white area,” she said. “As a matter of fact, I remember before they
built that, this little boy talked about how they was getting rid of
N…..town here.”*
7
DECATUR’S AFRICAN AMERICAN HISTORIC LANDSCAPE
“Decatur Fights Decay” is a booklet published by the City
of Decatur. Photo courtesy of Elizabeth Wilson
Urban renewal tore the community’s fabric and scattered
its residents to other parts of Decatur and beyond. The
neighborhood that Decatur’s African Americans called home was
called a blighted slum — “Decatur’s chief eye-sore” — by city
leaders for much of the twentieth century. “This area has unpaved
alleys, substandard housing and demands more in police and fire
protection than it returns in taxes,” wrote the City in a 1960s booklet
titled Decatur Fights Decay.
Despite her intimacy with the landscape developed over
more than half a century of attachment, Wilson struggles in places
to connect what exists today to the buildings and spaces she vividly
remembers. Throughout our tour, she repeatedly points to places
where streets abruptly end in walls and fences. “This street is
Atlanta Avenue. It used to go all the way through and I’m going to
come around and show you sort of how they chopped it up,” she
said as we approached Hibernia Avenue, the location of a relocated
African American church.
The City of Decatur erected a historical marker that
describes the Beacon Community in front of the former
Trinity High School. Photo by David S. Rotenstein
As Wilson and I spoke about her old neighborhood, the
conversation veered towards how Decatur’s African American
history is preserved — in buildings and landscapes and in the
written record. In our earlier interviews she had shared with me
narratives written by various government agencies and newspapers
that in her opinion failed to capture the true social, economic, and
physical characteristics of Decatur’s African American community.
“I don’t think we tell it because I don’t think we know it,” she said.
“We know bits and pieces but I don’t think we’ve ever had anybody
to actually do any research or like the interviewing the families who
lived here.”
* The direct quotation from the oral history interview was
edited for the publication of this article.
Beacon Elementary School and the City of Decatur received a Historic
Preservation Fund grant through the Historic Preservation Division in
2010 that funded a conditions assessment by Rutledge Alcock Architects.
Photo by Jeanne Cyriaque
Trinity Presbyterian Church was once located in this building across
the street from the apartments that Elizabeth Wilson occupied in
the 1960s. Photo by David S. Rotenstein
The Georgia African American Historic Preservation Network (GAAHPN)
was established in January 1989. It is composed of representatives from
neighborhood organizations and preservation groups. GAAHPN was formed
in response to a growing interest in preserving the cultural and built diversity of Georgia’s
African American heritage. This interest has translated into a number of efforts which
emphasize greater recognition of African American culture and contributions to Georgia’s
history. The GAAHPN Steering Committee plans and implements ways to develop
programs that will foster heritage education, neighborhood revitalization, and support
community and economic development.
The Network is an informal group of over 3,000 people who have an interest in
preservation. Members are briefed on the status of current and planned projects and are
encouraged to offer ideas, comments and suggestions. The meetings provide an
opportunity to share and learn from the preservation experience of others and to receive
technical information through workshops. Members receive a newsletter, Reflections,
produced by the Network. Visit the Historic Preservation Division website at
www.georgiashpo.org. Preservation information and previous issues of Reflections are
available online. Membership in the Network is free and open to all.
ABOUT GAAHPN
This publication has been financed in part with federal
funds from the National Park Service, Department
of the Interior, through the Historic Preservation
Division, Georgia Department of Natural Resources.
The contents and opinions do not necessarily reflect
the views or policies of the Department of the
Interior, nor does the mention of trade names,
commercial products or consultants constitute
endorsement or recommendation by the
Department of the Interior or the Georgia
Department of Natural Resources. The
Department of the Interior prohibits
discrimination on the basis of race, color, national
origin, or disability in its federally assisted
programs. If you believe you have been discriminated
against in any program, activity, or facility, or if you
desire more information, write to: Office for Equal
Opportunity, National Park Service, 1849 C Street,
NW, Washington, D.C. 20240.
Published quarterly by the
Historic Preservation Division
Georgia Department of Natural Resources
Dr. David Crass, Division Director
Jeanne Cyriaque, Editor
Lillian Davis
Dr. Gerald C. & Barbara Golden
Terry & Cynthia Hayes
Richard Laub
Kenneth Rollins
Isaac Johnson, Chair
706/738-1901
Velmon Allen, Vice-Chair
GAAHPN Network
912/261-1898
STEERING COMMITTEE
Isaac Johnson
Chairman
Jeanne Cyriaque
African American
Programs Coordinator
Reflections Editor
Voice 404/656-4768
Fax 404/657-1368
jeanne.cyriaque@dnr.state.ga.us
STAFF
8
Since its first issue appeared in December 2000, Reflections has documented
hundreds of Georgia’s African American historic resources. Now all of these
articles are available on the Historic Preservation Division website
www.georgiashpo.org. Search for links to your topic by categories: cemeteries, churches,
districts, farms, lodges, medical, people, places, schools, and theatres. You can now
subscribe to Reflections from the homepage. Reflections is a recipient of a Leadership
in History Award from the American Association for State and Local History
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