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                  <text>Vintage Books &amp;amp; Periodicals</text>
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                <text>La Sac Next Exit</text>
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                <text>Roselyn Salmon </text>
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                <text>Subject: Assault, Masking, History, Art, Poetry</text>
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                <text>A collage of images of a Man and a Women in a car. The women has no eyes, the man is chasing the women beside the car. Underneath a poem says “Reminding us all the while that when driving down the highway with a friend who says he wants to get off at the next exit we should be very careful about the decision we make”.&#13;
&#13;
ID: Collage of people and a vintage car above a poem about making careful decisions when traveling with a friend who wants to take the next highway exit.&#13;
&#13;
Physical Dimensions: 33'' x 44 1/2''</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>March-April 1969</text>
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                <text>Savannah Blalock</text>
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        <name>Stereotypes</name>
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        <name>Women’s Rights</name>
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                  <text>Vintage Books &amp;amp; Periodicals</text>
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                <text>An Interview With Mr. and Mrs. Strangelove</text>
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                <text>Maude, MOTIVE Inc.</text>
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                <text>Gender &amp; Women’s Studies</text>
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                <text>A hand-drawn vintage comic, featuring panels about a heterosexual couple being interviewed as though their sexuality is unusual, akin to how queer couples are ridiculed typically. The comic uses exaggerated expressions and satirical dialogue to reverse the stereotypes that are typically applied to queer people to show how unusual and invasive they are. Several panels depict a talk-show setting with awkward questions and playful commentary about relationships and identity, showing just how strange the invasive and inappropriate the questions directed at queer people can be. The overall tone of the comic is comedic and ironic, and those themes are used to be intentionally critical of social norms.&#13;
&#13;
ID:  A vintage comic strip drawn in a caricature style, with panels filled with exaggerated characters in a talk-show format. It is a satire that reverses the stereotypes used towards queer people by depicting a heterosexual couple being interrogated as though their orientation is unusual.&#13;
&#13;
Physical Dimensions: 16” x 11”</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>MOTIVE Inc.</text>
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            <name>Date</name>
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                <text>1972</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Weaver, Sydney</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>his material is subject to copyright law and is made available for private study, scholarship, and research purposes only.</text>
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            <name>Title</name>
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                <text>The Greatest Bonus (Good) for our veterans is a STEADY JOB </text>
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                <text>Veteran Ad, Job, American Legion</text>
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                <text>Magazine advertisement promoting that the Greatest Bonus ("Good") for veterans is a steady job. This 1922 ad is from the pro-veteran American Legion Employment Bureau, which started following WW1. The ad suggests the idea of a steady job was uncommon at the time, but insists the American Legion Employment Bureau can provide one. As an organization that derives its origin from veterans, they want to ensure veterans themselves are employed. &#13;
&#13;
ID: An piece of a paper magazine used for an ad which pushes for the best bonus for veterans being a steady job which may be hard to find but the American legion says they can. There’s a board drawing to the left which has Latin above and below that is Bonus equals good in reference to jobs. Lastly, there is a text below the ad which goes into depth about how the Kansas city legion helps the jobless-man's plight. &#13;
&#13;
Physical Dimensions: 4.00 (H) x 2.50 (W) in </text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="2208">
                <text>American Legion Weekly </text>
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                <text>March 24, 1922 </text>
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                <text>Aidan McGeever</text>
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                <text>This material is subject to copyright law and is made available for private study, scholarship, and research purposes only.  </text>
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                <text>American Legion Employment Bureau</text>
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        <name>employment</name>
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        <name>government program</name>
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        <name>Magazine</name>
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        <name>post-war</name>
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        <name>post-war employment</name>
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        <name>veteran association</name>
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        <name>Veterans</name>
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            <description>A name given to the resource</description>
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                <text>America Listens In</text>
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                <text>Edwin Teale</text>
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                <text>World History, U.S. History, Propaganda, War, WWII, Radio</text>
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                <text>This is an article that was written in 1941, a time where the U.S. had joined in the battle of World War II, the title reading "America Listens IN", indicating recording of European Radio Program, revealing propaganda in Germany. This article is only 4 pages in the month magazines named Popular Science, where it also includes ads and information on automobiles, home &amp; shops. and mechanics.&#13;
&#13;
ID: On the 1st page, it includes text describing the process of recording war propaganda, while showing a graph titled "Nazi propaganda Barometer" showing different level of propaganda at different points in the war. It goes on to show 2 images of recording machines being used by at least 2 people, having only one identified as Isotta Masoni, a translator, and also a third photo of 2 mean identified as Harold N. Graves, who is hunched over but standing to the left of J.R. Snedeker, who is sitting with headphones on listening and recording broadcasts. &#13;
&#13;
Physical Dimensions: 6.5 inches wide x 9.5 inches tall</text>
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                <text>June 1941</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Aguirre Martinez, Katherine </text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="2095">
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