Michael Dukakis is not only the former governor of Massachusetts, but he is also a well-known and beloved professor emeritus of political science in the College of Social Sciences and Humanities. In 2024, he became the subject of the documentary Dukakis: Recipe for Democracy.
Northeastern University will be hosting a screening on Tuesday, March 11.
Michael Dukakis and his wife Kitty wave from the Duke Express during his presidential campaign. Michael S. Dukakis Presidential Campaign records, Northeastern University Archive and Special Collections
The Northeastern University Archives and Special Collections (NUASC) had the pleasure of providing archival resources for the film. The documentary features selections from Michael Dukakis’ Presidential Campaign records held at NUASC. The Dukakis collection spans from administrative campaign records to memorabilia like bumper stickers. Archives staff parsed through the collection’s correspondence on the hunt for information about the use of Neil Diamond’s “America” as the Dukakis campaign song and photos of Dukakis from his schoolboy days in Brookline.
Michael Dukakis speaks at a rally in 1988. Michael S. Dukakis Presidential Campaign records, Northeastern University Archives and Special Collections
Final selections for use in the documentary include a photo of Dukakis and his wife Kitty on the back of a train called “The Duke Express,” and a photo of a rally in support of Dukakis’ presidential bid. Though these photos portray Dukakis with the essence of celebrity, the letters in the collection reflect an approachability that remains today, as evidenced in the film. The correspondence files are filled with letters from constituents and citizens outside of Massachusetts, wishing Dukakis good luck, bringing up issues they want to know about, and asking him to visit their hometowns.
The film premiered in October 2024 at the Coolidge Corner Theater in Dukakis’ hometown of Brookline.
If you’re interested in learning more about Michael Dukakis’ presidential campaign, the collection has been partially digitized and added to the Digital Repository Service. You can also contact the NUASC at archives@northeastern.edu to schedule an appointment or consultation.
Two recently processed collections document the organizing power of everyday Bostonians who fought development proposals that would have negatively impacted their neighborhoods.
Roxbury Tenants of Harvard records (Jeane Neville)
The Tenants’ View newsletter, May 7, 1970. Roxbury Tenants of Harvard (Jeane Neville) records, Northeastern University Archives and Special Collections
The Roxbury Tenants of Harvard (RTH) formed in 1969 to oppose Harvard University’s proposed expansion into the Mission Hill neighborhood, which would have displaced residents. RTH was successful in pressuring Harvard to build a relocation housing development instead of a teaching hospital complex.
The RTH collection captures the unfolding of events, and the negotiations between RTH and Harvard University, over the course of the 1960s and ’70s through meeting minutes and agendas, notes, reports, flyers, canvas sheets, writings, correspondence, and media coverage. Jeane Neville, a Radcliffe student in the late ’60s, became involved in organizing the Mission Hill residents; these records were retained by her and donated to the Northeastern University Archives and Special Collections by her brother Padraic Neville after her death.
To learn more about the Roxbury Tenants of Harvard (Jeane Neville) records, explore the finding aid.
Ken Kruckemeyer papers
Cover illustration by D. Chandler Jr. of bilingual “Stop Turnpikes Over People” informational resource, undated. Ken Kruckemeyer papers, Northeastern University Archives and Special Collections
An architect by training, Ken Kruckemeyer began organizing around issues such as transit and housing in the 1960s after moving to the South End. He soon became involved in the local anti-highway movement of that period. His papers document anti-highway activism, as well as activism around Tent City and Melnea Cass Boulevard. They also document the planning, environmental impact studies, and construction of the Southwest Corridor Project, for which Kruckemeyer served as project manager.
Explore meeting materials, reports, studies, notes, correspondence, newsletters, flyers, and more in Kruckemeyer’s papers. To learn more about what’s in the collection, check out the finding aid.
To access the Roxbury Tenants of Harvard (Jeane Neville) records or the Ken Kruckemeyer papers, email Northeastern University Archives and Special Collections at archives@northeastern.edu.
The New England Regional Fellowship Consortium’s (NERFC)fellowship program is designed to promote research across the 30-member consortium of institutions and repositories in metropolitan areas throughout New England, including NUASC. NERFC grants two dozen awards every year and fellows receive a stipend of $5,000 with the requirement that they conduct their research in at least three of the participating institutions for periods of two weeks each. Applications are due February 1, 2025, and can be submitted through NERFC’s page on the Massachusetts Historical Society website.
The Reckonings Project invites applications for artist(s)-in-residence to engage with hidden histories of Boston and/or the New England region. The artist or team of artists selected will co-design interactions with Reckonings and community partners and archives—and, as feasible, with local community arts organizations or libraries. Selected artists will receive $10,000 for individuals and $12,000 for a team. Artists have the option to submit a budget of up to $5,000. NUASC will provide archival support and collaboration for artists working with Reckonings. Applications are due February 24, 2025, and can be submitted on the Reckonings website.
The Boston Public Library (BPL) is offering a new four-week fellowship in collaboration with NUASC this year. The “Telling Boston Stories Fellowship” is intended to support research projects that focus on the Boston people and communities often left out of the historical narrative. This fellowship can support many types of projects, both academic and artistic. Fellows will receive a $4,500 stipend and will be expected to spend four weeks working with collections, primarily at the BPL and Northeastern University, though trips to other Boston cultural heritage institutions or research centers may be included. The weeks do not have to be consecutive. Applications are due March 3, 2025. For more information and to apply, visit the BPL’s fellowship page.
For any questions about these fellowships, using our collections, or what other types of collaborations and research projects are possible, email Molly Brown at mo.brown@northeastern.edu.
Since last fall, the processing team has been focused on inventorying unprocessed collections. Inventories allow staff and researchers to learn more about what’s in a collection, help locate materials of interest, and help staff strategize further processing or digitization work, as resources allow. A previous blog post described inventorying the Stull & Lee records. Currently, processing assistants are inventorying more recent donations to the archives. Over the next few months, we will be featuring collections our staff has found particularly interesting to inventory in their own words.
Cambridge Women’s Center Records
By Aleks Renerts, Processing Assistant
I recently worked on the creation of an inventory for the Cambridge Women’s Center records. The Center was founded after a group of female protestors occupied an underutilized Harvard-owned building on International Women’s Day on March 8, 1971. They demanded affordable housing, child care, and equal access to education. The movement gained local publicity and heightened awareness, and donations in support of the sit-in allowed the group to purchase a property at 46 Pleasant Street in Cambridge, from which the Center still operates.
The Cambridge Women’s Center records offer a picture of how the policies, goals, and actions of the Center have changed over time. Volunteers at the Center established programs to address domestic violence, racism, access to healthcare, housing and job opportunities, sexual abuse, and other issues affecting women. The records include newsletters, flyers, calendars, meeting notes and memos, and planning documents for activities that demonstrate the impact the Center has had on the community, and offer valuable perspective on feminist thought and activism from the 1970s to the present.
An example I found particularly interesting were the documents pertaining to the inclusion of transgender women at the Center. A changing perspective on trans individuals can be read through meeting minutes and updated policies. At its inception, the Center was not open to transgender women who had not “completed” medical transition, fearing that the presence of non-passing trans women might negatively impact other women at the Center. As these beliefs were challenged and discussed over time, the Center adopted a trans-inclusive policy as early as the 2000s, realigning the mission of the Center to be supportive and welcoming to all women regardless of personal histories.
Below is a glimpse at some of the records.
A brief history of the Cambridge Women’s Center and its relation to broader feminist mobilization, circa 1980s. It links the founding moment of the Center to social and labor movements from the 19th century to the present, and discusses early initiatives by the Center’s founders.
Shift journal, 2005. Women who answered the phone for the Cambridge Women’s Center helpline would take notes here. There are many fascinating entries discussing who called and for what reason, and a general sense of the internal functioning of the Center. Although the majority of callers were recorded as anonymous, there are a few entries that include names. Those names have been redacted to protect privacy.
Transgender Committee meeting notes, early 2000s. This summary discusses the evolution of a trans-inclusionary mindset at the Cambridge Women’s Center.
To find out more about accessing the Cambridge Women’s Center records, email the Northeastern University Archives and Special Collections at archives@northeastern.edu.
Aleks Renert (he/him) is a graduate student at Simmons University in the dual MA degree program in History and Library and Information Science, with a concentration in Archives Management. His academic background is history, with a focus on the Hispanic world and histories of class, gender, and colonialism. He received his BA in History from McGill University.
One of my recent projects was to digitize the very first issues of Tastemakers, Northeastern’s student-run music magazine, which began in 2007 and is still running today. Since the 2010-11 academic year, all issues were created in a born-digital format, so they were easy to add to the Digital Repository Service earlier this year. However, the first 19 issues were not, so it was my job to scan them on our Bookeye scanner and turn them into PDFs ready to be made accessible.
Since the issues in question date from 2007 to mid-2010, they fall exactly in the transitional moment of the music industry when legal streaming was still a novel concept, but CDs had fallen largely out of fashion in favor of iPods and other portable mp3 players. Consequently, as I was going through the magazines, I found an assortment of pieces that are retrospectively funny because we, in 2024, know the outcomes of all their speculations (most of which didn’t happen).
The articles I found fell into two broad categories: devices and streaming, both of which provide an interesting (as well as amusing) look at the future we imagined music would have at that time.
Let’s start with devices. The two pieces I found are on the potentiality of USB sticks and microSD cards as the dominant form of physical media to replace CDs. The USB article discusses a few bands and artists circa 2008, including Matchbox Twenty and Jennifer Lopez, who released albums on USB sticks embedded in rubber bracelets, primarily as a marketing gimmick. The author wonders whether if the technology will catch on in earnest or remain a ploy. At the time, vinyl was already starting to make a resurgence as the go-to medium for people who want their music on a physical object, and that group is comprised primarily of people who care deeply about the auditory and visual technical details of their music. So, I think the bracelets were never really going to work, since a group of mp3 files on a rubber bracelet couldn’t match up to either the quality or experience of vinyl on a record player, and thus eliminated their theoretical primary market. (It’s also funny to imagine collectors’ storage for a bunch of rubber bracelets. Would you keep them in a basket? Individual cases? One of those divider boxes for sorting hardware? On a pegboard on your wall?)
Meanwhile, the microSD card piece talks about an attempt in late 2008 by major record labels to supplant (or at least supplement) CDs with pre-loaded microSD cards, branding as slotMusic, that can go into any phone or mp3 player with a corresponding card slot. This one is interesting because it could have possibly been successful, but only in a universe where Apple wasn’t already the dominant force in the portable music player market. iPods were well established as everyone’s favorite internet-based mp3 player, and the iPhone was already becoming the most popular phone, which combined the two via a built-in iTunes app and completely removed the need to even have a separate device for music. Even if they had managed to carve out a market around Apple, rapid increases in storage capacity would have also rendered them useless within a handful of years. While 1GB was a significant amount of storage for the size of a microSD in 2008, 128GB microSDs were introduced in 2014, which is a 127,000% increase in about five years. They didn’t stop there. Today, microSD cards are available in sizes up to 1TB, which is big enough to fit 1,000 slotMusic cards on a single item. So, slotMusic never really stood a chance.
Now, on to streaming. Over the course of three years, Tastemakers published five different pieces about then-current and upcoming streaming services, effectively culminating (though not knowingly at the time) in a piece about the European launch of Spotify. Nearly all of the platforms mentioned are now entirely defunct, with some exceptions including Spotify and Amazon mp3 (now Amazon Music). The other remaining platforms now provide internet radio and recommendation sites, rather than streaming music, a fact that does not seem coincidental. Here’s a breakdown:
It’s also amusing now to think of Spotify as the hip new platform from Europe. Their article quotes other American journalists who had received early-access press accounts describing Spotify as “the world’s biggest iTunes collection” and “an almost infinite jukebox.” It sounds quaint in today’s world, but then you can’t describe something with words that don’t yet exist. Reading their predictions from 2009 about whether Spotify will be successful while others failed is like listening to someone try to predict the ending of a TV show that you’ve already finished.
I sat for about 30 minutes trying to think of something to speculate for the future the way that these articles speculated about streaming. The conclusion I came to is that I don’t think there are any more technological advancements that music needs to make; you can get a device that fits in your pocket with up to 1TB of space and provides access to anything on Spotify, iTunes, and YouTube. Either that, or, like the writes of Tastemakers in 2007-2010, I cannot even conceive of what is yet to come, exactly because it has not come yet.
