Archives and Special Collections

Adding Archival Materials to the Digital Repository

During the 2024-25 academic year, the Northeastern University Archives and Special Collections (NUASC) scanned 24,608 pages of archival materials for both in-person and remote researchers. This output has allowed NUASC to serve more researchers and broaden access to these primary sources by uploading them into the Digital Repository Service (DRS).

Black and white image of a woman wearing a dress and with her hair in a bun watching three dancers in a dance room. The dancers are visible behind her in a mirror
A photo from the National Center of Afro-American Artists records

Work to put these reference scans into the DRS began in 2023 with a backlog of scans from NUASC’s remote reference program. Archives staff understood the research value of readily available scans and wanted to make them more accessible to anyone, regardless of institutional affiliation or research goals. Uploading these files into the DRS was a collaborative effort between Metadata and Digital Projects Supervisor Drew Facklam, Reference and Outreach Archivist Molly Brown, and Reference and Reproductions Archivist Grace Millet.

Once a workflow was developed to clean up and provide information about the files, collections were identified based on community and researcher needs, as well as the quantity of scans. As of June 2025, 14,226 pages of digitized materials have been ingested into the DRS. Reference scans have come from the:

Reference scans are completed at a lower resolution than scans used for publication, though they are still entirely legible and usable for research purposes. Another important difference between reference scans and other digitized materials in the DRS is the format of reference scans’ titles, which allow users a glimpse into the inner workings of archival organization.

The titles of these files contain the collection number, box number, folder number, and folder title.

File name of "M042_B019_F001_ElmaLewis2" Red arrows point to each section. "M042" is labeled "Collection #"; "B019" is labeled "Box #"; "F001" is labeled "Folder #"; and "ElmaLewis1" is labeled "Folder Title"

With this knowledge, anyone viewing these files can discern where they are located within NUASC’s collections. This allows for easy reference if a researcher might need to request a higher-quality scan of a specific item.

To learn more about what is available in the Digital Repository Service from NUASC, you can search our digitized collections or reach out to us at archives@northeastern.edu. The public services team is looking forward to continuing this expansion of access to collections stewarded by NUASC!

Gathering the Red Record: A Two-Day Convening on Linking Racial Violence Archives

Last month, an interdisciplinary group of over 100 archivists, legal professionals, and historians gathered at Northeastern University’s Snell Library for Gathering the Red Record: Linking Racial Violence Archives. Presented by the Civil Rights and Restorative Justice Project (CRRJ) and the Northeastern University Library, the two-day convening served to highlight the Version 2.0 update of the Burnham-Nobles Digital Archive (BNDA), the launch of a new research project, and the development of its first white paper.

A smiling woman stands behind a podium holding a piece of paper
Gina Nortonsmith, the African American history archivist at Northeastern University. Photo courtesy of Michael Manning.

The Racial Violence Interoperability White Paper Project will serve as a roadmap exploring the possibility of a national project linking various collections of racial violence into a united, interoperable dataset.

Simultaneously a celebration, a launch, and a call to action, Gathering the Red Record highlighted the newest achievements of the BNDA and asked participants for their input and feedback to design future shared goals.

On the first day of the conference, panelists and attendees were introduced to the extensive expansion of the BNDA and the restorative justice milestones the CRRJ have achieved. Since its initial launch in 2022, the BNDA has established itself as one of the most comprehensive digital records of racially motivated homicides collected to date. The archive serves as an open-source repository and database dedicated to identifying, classifying, and providing documentation on anti-Black killings the mid-20th century South. Version 2.0 introduces 290 new victims to the database, along with their corresponding case files, which resulted in over 5,000 new records becoming publicly available. In addition to a massive expansion in records available, Version 2.0 expands the geographic scope of the archive, adding Maryland, Delaware, Washington D.C., Missouri, West Virginia, Indiana, Kentucky, and Oklahoma to the original 11 formerly Confederate states.

Two women sit in front of a large screen. One is holding a microphone and speaking
Co-founder of the Burnham-Nobles Digital Archive Melissa Nobles and Monica Martinez, project lead for Mapping Violence, speak on The Road to Interoperability White Paper Project. Photo courtesy of Michael Manning.

Day two of the event was dedicated to introducing attendees to The Racial Violence Interoperability White Paper Project and asking for feedback, putting researchers, librarians, and archivists who document historical violence into conversation. Participants were given an early draft, which included instructions on how a national digital project might emerge. Developed in collaboration with eight similar ‘sister’ projects, the paper outlines strategies for aligning data dictionaries, establishing governance, securing funding, and ensuring ethical hosting. Participants then divided into working groups to address project planning and data collection, technology alignment, funding and resources, and federal initiatives on cold case records. The day concluded with conference attendees engaging in guided discussions that explored the feasibility of a national project as described in the White Paper.

As the conference finished, participants were left with possibilities for new collaborations, ideas for funding resources, project design suggestions, and digital publishing possibilities. The fruitful discussions also continue to contribute to the White Paper Project, which is scheduled to be finalized in September.

Special Collections Featured in ICA Boston Watershed Art Installation

A series of red and black threads hanging from the ceiling with folded papers suspended within. Two chairs also sit within the threads
Chiharu Shiota’s “Home Less Home” exhibit featuring reproductions of materials from the Archives & Special Collections. Photo courtesy of Molly Brown.

Reproductions from the Northeastern University Archives and Special Collections are featured as a part of artist Chiharu Shiota’s “Home Less Home” exhibit at the Institute of Contemporary Art (ICA) Boston’s Watershed.

The installations will be on display until September 1.

“Home Less Home” creates the shape of a house with many red and black ropes hung from the ceiling. Suspended within the ropes are records of immigration, such as passports and immigration papers. ICA Boston’s iteration of the installation also draws specifically on Boston history, featuring archival records from institutions across the city that speak to the theme of home and the actions around home: finding a home, leaving home, protecting home, and creating a new home.

Northeastern’s archives brought a unique organizational activism component to the exhibit through our Special Collections’ focus on neighborhood social justice movements. Reference staff worked with ICA Boston curators to find records addressing housing activism and advocacy in Boston’s neighborhoods. The exhibit features records from the following collections:

Paper suspended amid red threads reading "Servicios Humanos"
Records from the Inquilinos Boricuas en Acción. Photo courtesy of Molly Brown.
Papers suspended within hanging red threads
Records from the Phyllis Ryan papers. Photo courtesy of Molly Brown.

















This installation is Shiota’s first in New England and is featured as part of the Boston Public Art Triennial 2025. Check it out before September 1!

Box By Box: Inventorying the Boston Globe Big Dig Records

The Big Dig, a major infrastructure project that aimed to improve traffic flow, dominated the Boston area throughout its construction for 15 years and led to countless articles and columns in the Boston Globe. Former Globe reporters and editors Tom Palmer and Sean Murphy, who both worked at the newspaper for over 30 years, donated their extensive records to the Northeastern University Archives and Special Collections, providing a glimpse into the planning and construction of the Big Dig project. (NUASC holds multiple other collections relating to the Big Dig, as well.)

Aries Peralta, wearing a black jacket, gray baseball cap, and glasses, pulls a box off a shelf in the archives
Aries Peralta works in the Archives and Special Collections. Photo courtesy of Molly Brown

The initial planning of the Big Dig, officially named the Central Artery/Tunnel Project, began in 1982 and actual construction occurred from 1991-2006. The donated records contained articles by both Palmer and Murphy, as well as a third reporter, Charles Sennott.

I find this collection interesting because it is not just a compilation of articles published in the Boston Globe; it consists of the research and reference materials amassed for use in reporting on the issues surrounding the Big Dig. The records reveal the vast context and information a journalist would need to know in order to write cohesive articles, including contracts, technical reports, financial statements, photographs, maps, articles from other news sources, and more.

Below are some selected items to highlight the extent of the collection.

Big Dig Contract Map

Map of Boston with different colored lines representing streets and highways. Various area are labeled with contract numbers


The contracts in progress map is a snapshot of the various contracts happening at one time in downtown Boston and serves as a great visualization of the contracts’ physical locations. It also helps associate the technical contract number with the more publicly known name of any given section of the project, such as the Ted Williams Tunnel identified as contract number C07A1.

The Big Dig Blame Game

Illustrated graphic of a man standing behind a podium, with the neck and tongue of a snake. He is holding a megaphone and is surrounded by a red curtain and creepy clowns driving bumper cars, one of which is holding a shovel. A yellow banner at the top reads "The BIG Dig"


As Massachusetts Governor from 1997-2001, Paul Cellucci was the subject of countless voiced opinions about his tenure and leadership during the Big Dig project. This image of Cellucci as a snake accompanied an article published in a 2000 issue of Boston Magazine that suggested cost overruns were caused by a collective failure of key players, including Cellucci, for not properly managing the project.

A Fifth-Grader’s Opinion on the Big Dig

A piece of notebook paper with a letter written in a child's handwriting: "9/15/97 Dear Globe, I've never seen the big dig but I think it should help Boston. It is horrible traffic in Boston. If the big dig dosn't help it will seem like a wast of 10 billion dollars. Joey LeBlanc Medfield Ma. Dale St. School Grade 5"


Often stuck in traffic with their parents or simply by living in nearby neighborhoods, local students were also affected by the Big Dig project. The Student Newsline section in the Boston Globe presented an opportunity for students to send in their own opinions about the project. Many students offered their own ideas to quickly finish and reduce the costs of the project.

2006 Ceiling Collapse

A gloved hand holds a tape measure to a concrete ceiling, measuring the length of screws sticking down.
A worker stands in a crawlspace above the ceiling of a tunnel, surrounded by concrete and bars.












Reporting on the construction of the Big Dig included documenting tragedies. In 2006, a ceiling panel fell on a car in the Fort Point Channel Tunnel, killing a passenger and injuring the driver. Their family and the public wanted answers as to how the incident could have occurred. As a result, the Boston Globe undertook an in-depth investigation to report and provide answers. These photographs may have been taken to document the other ceiling panels in the rest of the tunnel after the accident occurred.

To learn more about accessing the Boston Globe Big Dig records, email the Northeastern University Archives and Special Collections at archives@northeastern.edu.

Aries Peralta (he/him) recently graduated from Simmons University with an MS in Library and Information Science with a concentration in archives management. He received his BA in history from the University of Connecticut.

Issue and Inquiry and Urban Confrontation: Two Radio Programs Covering Urban Issues in Uncertain Times

Two radio program collections available in the Digital Repository Service (DRS) — Issue and Inquiry and Urban Confrontation — document social progress and unrelenting difficulties within American cities in 1970-71. Airing on Northeastern University’s radio station WRBB, the programs were produced the university’s now-defunct Division of Instructional Communication. (Urban Confrontation noted that it ended in 1971 for financial reasons.)

Black and white image of two students sitting in a recording studio. They are wearing headphones and sitting at a table while surrounded by 1960s-era recording equipment
Students working in the WRBB (then WNEU) radio station in 1969. Photo courtesy of Northeastern University Archives and Special Collections.

Episodes were primarily hosted by Joseph R. Baylor and feature interviewees from across the United States discussing wide-ranging topics. From the threat of nuclear warfare to the farm labor rights movement, from the “longhair” youth subculture to de-facto school segregation, these episodes present a sweeping view of both common anxieties and optimistic ideas about the future of city life.

As a metadata assistant in Digital Production Services, I performed a survey of the episodes and their associated metadata records. This helped me understand how descriptive information should appear in the DRS. For example, I investigated how titles, creators, subjects, and abstracts should be recorded for each episode. Next, I created an editing plan, performed batch edits, and carefully listened to each episode. As I listened, I recorded accurate information about the episodes so it could be updated in the DRS.

I selected two interesting episodes to highlight here, but be sure to check out the full collection for more episodes.

Oil in Santa Barbara: The Pollution Tragedy (Issue and Inquiry, Episode 10)

In this episode from 1970, Al Weingand, Bob Solan, and Dick Smith discuss a Union Oil offshore drilling well explosion that occurred on January 28, 1969, expelling two million gallons of uncontrolled oil into Santa Barbara Channel off the coast of California. Topics include the oil’s effect on tourism, local economy, wildlife, fishing, and environmental safety concerns.

Weingand, a Santa Barbara resident and former California legislative member, explains that no other disasters can compare to the devastation of the oil pollution. Smith, a reporter for the Santa Barbara News Press, calls for greater investment in tourist value of beaches, saying that offshore oil well spills are dangerous both environmentally and economically. Solan, another reporter for the News Press, covers the psychological benefits of beautiful surroundings for Santa Barbara residents.

This episode was produced in a time of evolving standards for environmental safety and presents an intimate view of lives affected by oil pollution.

Afro-American Culture: The Black Artist Unchained (Urban Confrontation, Episode 11)
Elma Lewis, a Black woman with dark hair in a bun, stands in front of flowers with a huge smile on her face. Her hands are clasped over her chest.
Elma Lewis candid. Courtesy of the National Center of Afro-American Artists records (M42) at Northeastern University Archives and Special Collections.

“The business that I am about is resurrecting that dormant conscious pride that Black people have had and should have.” — Elma Lewis (4:57)

In this episode, airing in 1970, arts educator and activist Elma Lewis discusses the intertwined histories of Black labor and Black cultural impact in America. She speaks critically of modern art because she says it lacks a basis in life experience. This, Lewis explains, is why Black contributions to American culture transcend art and extend to labor and life experience, which has formed the basis of American society. Throughout the program, Baylor asks Lewis to respond to common racist comments about Black culture. Despite Baylor’s insistence that Lewis speak to his white audience, she intentionally denies this request. Laughing, she replies, “I don’t answer nonsense. I’m not in the business of answering nonsense.”

For more information on Elma Lewis, explore the DRS. More materials from the Elma Lewis collections (Elma Ina Lewis papers, Elma Lewis School of Fine Arts records) are expected to be available in the DRS in 2026.

I wanted to highlight these two episodes because they made me think deeply about both everyday problems and large socio-political injustices which continue to affect us today. “Oil in Santa Barbara” presents opinions from concerned community members in California. It focuses on their reaction to environmental pollution, showing common anxieties about business success, health, and the beauty of their local natural environment. By contrast, “Afro-American Culture” features distinguished Black arts educator Elma Lewis. She discusses fine arts movements, while also celebrating Black joy and artistry in the face of wide-scale systemic racism.

I greatly enjoyed the opportunity to help make these shows available in the DRS. Both Issue and Inquiry and Urban Confrontation hold potential research value for those interested in viewing snapshots of American life in the early 1970s.

Chelsea McNeil served as a part-time metadata assistant in Digital Production Services.