{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcreators%5D%5B%5D=Max+Rambod\u0026f%5Blevel%5D%5B%5D=File\u0026view=compact","last":"https://arvasarchive.org/catalog.json?f%5Bcreators%5D%5B%5D=Max+Rambod\u0026f%5Blevel%5D%5B%5D=File\u0026page=1\u0026view=compact"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":2,"first_page?":true,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1551","type":"collection","attributes":{"title":"African American man tintype portrait","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1551","ead_ssi":"viu_repositories_3_resources_1551","_root_":"viu_repositories_3_resources_1551","_nest_parent_":"viu_repositories_3_resources_1551","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1551.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190885","title_filing_ssi":"African American man tintype portrait","title_ssm":["African American man tintype portrait"],"title_tesim":["African American man tintype portrait"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16795","Archival Resource Key","/repositories/3/resources/1551"],"text":["MSS 16795","Archival Resource Key","/repositories/3/resources/1551","African American man tintype portrait","African American young men","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. ","This collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. ","The tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century. ","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e\n","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e\n","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e\n","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e\n","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. "],"prefercite_html_tesm":["\u003cp\u003eMSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. \u003c/p\u003e\n","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century. \u003c/p\u003e\n","\u003cp\u003eThese portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. Photography was one way to commemorate freedom and memorialize prosperity.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. ","The tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century. ","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. Photography was one way to commemorate freedom and memorialize prosperity."],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:41:37.131Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1551","ead_ssi":"viu_repositories_3_resources_1551","_root_":"viu_repositories_3_resources_1551","_nest_parent_":"viu_repositories_3_resources_1551","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1551.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190885","title_filing_ssi":"African American man tintype portrait","title_ssm":["African American man tintype portrait"],"title_tesim":["African American man tintype portrait"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16795","Archival Resource Key","/repositories/3/resources/1551"],"text":["MSS 16795","Archival Resource Key","/repositories/3/resources/1551","African American man tintype portrait","African American young men","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. ","This collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. ","The tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century. ","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e\n","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e\n","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e\n","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e\n","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e\n","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. "],"prefercite_html_tesm":["\u003cp\u003eMSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. \u003c/p\u003e\n","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. 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","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. Photography was one way to commemorate freedom and memorialize prosperity."],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:41:37.131Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551"}},{"id":"viu_repositories_3_resources_1645","type":"collection","attributes":{"title":"Jean Schroeder papers","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1645#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1645#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1645#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1645","ead_ssi":"viu_repositories_3_resources_1645","_root_":"viu_repositories_3_resources_1645","_nest_parent_":"viu_repositories_3_resources_1645","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1645.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/196328","title_filing_ssi":"Schroeder, Jean, papers","title_ssm":["Jean Schroeder papers"],"title_tesim":["Jean Schroeder papers"],"unitdate_ssm":["ca. 1939-1951"],"unitdate_bulk_ssim":["ca. 1939-1951"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16836","Archival Resource Key","/repositories/3/resources/1645"],"text":["MSS 16836","Archival Resource Key","/repositories/3/resources/1645","Jean Schroeder papers","Interracial marriage","Interracial marriage -- United States","History of Childhood, Parenting and Family Building (UVA)","African Americans","The collection is open for research use.","Jeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).","Related to the UVA Collection of the History of Parenting, Childhood, and Family Building.","This collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. 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Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included. 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Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jeanie Schroeder (Married names:Boston, [McCoy], [Shearer??] was born in 1921  to Theophil R. 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Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis)."],"prefercite_html_tesm":["\u003cp\u003eMSS 16836, Jean Schroeder papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16836, Jean Schroeder papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"relatedmaterial_html_tesm":["\u003cp\u003eRelated to the UVA Collection of the History of Parenting, Childhood, and Family Building.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Related to the UVA Collection of the History of Parenting, Childhood, and Family Building."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. 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The bulk of the collection dates from the 1940s to the 1950s. The content centers Jeanie Schroeder's courage in facing the difficulties of being seen as an unwed mother in the 1940's; young men going off to World War II, and women obtaining new careers and exploring the work place that was previously unavailable to them.","It contains 130 handwritten letters, thirty typed letters, and 115 pieces of paper ephemera, including identification cards, handwritten poetry, and illustrations by Blair,  their child, drawn for his mother. ","The archive includes letters from Jeannie's father, Theophile R. Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included. 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Schroeder (1898-1973) and Goldie Margaret Halliday Schroeder (1893-1959) and graduated from NorthWestern University. She also worked as a personnel manager for the Billy Wright Orchestra (known as a pre-cursor to the famous musician Little Richard-- William Wright (1918-1991) was an African American singer who was openly Gay. He is considered one of Little Richard's greatest influences in his formative years.) Jeanie's boyfriend  and secret husband was a musician named Kenny Leighton. She had many friends who were musicians in Chicago and in the United States Navy Band. When she became pregnant, her mother wanted her to marry someone (not Kenny Leighton) just to obtain what Mrs. Schroeder considered acceptable married status. Mrs. Schroeder wanted to take care of her daughter and Miss Schroeder showed much courage in exploring an interacial marriage with Kenny \"Tiny\" Leighton and raising her son on her own while trying to earn money and attend college. Her grandmother was Mary Halliday (1874-1969) and she had many aunts including, Opal Wycoff, Edith Blackhurst, Elsie Chowning, Clara Falk, and a [great] aunt Eva Viola Halliday Mapletoft. From them she received many letters with advice, most of it to follow the wishes of her parents, but her Aunt Elsie wanted her to follow Jeanie's own dreams and encouraged her writing abilities.Miss Schroeder also had letters from some close girl friends (Doris Reiman Gorman who became a doctor in California) and many boy friends who were very fond of her. She also had a brother, Frank Schroeder, who lived with his parents, was not well and who died in 1943. Her parents felt that they could not leave him alone because he was frequently in pain (possibly from Rheumatoid Arthitis).","Related to the UVA Collection of the History of Parenting, Childhood, and Family Building.","This collection contains letters and paper ephemera written to Jeanie Schroeder, a young, white woman who fell in love, got pregnant during her pre-med studies at Northwestern University, and secretly married a young Black musician identified as Keith \"Tiny\" Leighton in the letters. The bulk of the collection dates from the 1940s to the 1950s. 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Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included. 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Schroeder, a Chicago business owner, demanding to know the baby's father, from Jeannie's mother, Goldie Halliday Schroeder, begging her daughter to hide her condition, from a girlfriend, Doris Reiman Gorman, urging Jeannie to move to Mexico where her \"sociological problems\" won't be an issue, and from a friend (George Nesbitt) of Tiny's family with advice for the courage an interracial marriage would require of her, as well as letters from Jeannie and Keith's son. Blair. He wrote letters to his mother while he attended the Williams Military Academy. An envelope with some of the boy's hair is included. 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