Books have been banned, challenged, censored, or even burned by organizations, schools, and parent organizations for a number of reasons. What defines a banned or a challenged book? A banned book is one that has been removed from the shelves completely. Books that have been challenged are an attempt by a person or group to remove or restrict materials to protect others. Books have been challenged for being considered “sexually explicit,” for having “offensive language,” or for being “unsuited to any age group.” At Rutgers Special Collections and University Archives, we have a collection of over 53,000 books, pamphlets, and broadside. With that many books in our collections, we have a number of books that have been banned over the years. Here are a few books from our collections and why they were banned.
The Adventures of Huckleberry Finn by Mark Twain
The Adventures of Huckleberry Finn has been a controversial book since its first printing in 1884. The Concord Public Library banned the book in 1885 for its “coarse language” and today it continues to be challenged/banned for its use of racial stereotypes and slurs.
Animal Farm by George Orwell
The book was completed in 1943 but could not find a publisher because of its criticism of the USSR, an important ally during WWII. It was finally published, but was banned in the USSR and other communist countries. The book is still banned today in North Korea, and censored in Vietnam.
Areopagitica; A speech of Mr. John Milton for the Liberty of Unlicenc’d Printing, to the Parlament of England by John Milton
John Milton wrote Areopagitica in 1644 to argued for the freedom of speech and expression and opposing the licensing and censorship by the English Parlament.
Brave New World by Aldous Huxley
According to The Guardian, Brave New World is among the top ten books Americans want banned for its contempt for religion, marriage and family, as well as its references to sex and drugs.
Candide by Voltaire
Candide was another book which was banned upon its release in 1759 by the Great Council of Geneva and the administrators of Paris. It was later banned in the United States in 1930 for obscenity.
The Communist Manifesto by Karl Marx and Friedrich Engels
The Communist Manifesto was banned by many countries around the world to prevent the spread of communism.
Howl by Allen Ginsberg
The poem was part of a 1957 obscenity trial for the topics of illegal drugs and sexual practices. A California State Superior Court ruled that the poem was of “social importance,” and dismissed the case.
Leaves of Grass by Walt Whitman
This poetry collection was considered obscene upon its release in 1855. Libraries refused to buy the book, and the poem was legally banned in Boston in the 1880s and informally banned elsewhere.
The Jungle by Upton Sinclair
The Jungle was banned in a number of counties around the world including Yugoslavia, South Korea and East Germany. The Nazi party in Germany actually burning the book in 1933 because of the socialist views.
Of Mice and Men by John Steinbeck
Of Mice and Men is often found on the American Library Association’s list of banned books for its use of racial slurs, profanity, vulgarity, and offensive language.
Scary Stories to Tell in the Dark by Alvin Schwartz
This series of children’s books based on folklore and urban legend is on the American Library Association’s list of most challenged series of books from 1990–1999 and is listed as the seventh most challenged from 2000–2009 for violence.
Tiger Eyes and Are You There God? It’s Me, Margaret both by Judy Blume
Tiger Eyes was challenged for its depiction of violence, alcoholism, and discussion of suicide. Whereas, Are You There God? It’s Me, Margaret was challenged for sexual references and alleged anti-Christian sentiment. Judy Blume is the second most challenged author, only following Stephen King. Her books are often challenged by parents and religious groups for her writings about puberty, masturbation, birth control, and teenage sexuality.
Ulysses by James Joyce
Ulysses was banned in the U.S. until 1934 because of obscenity. That would be this 1924 fifth printing of the first edition of Ulysses owned by Selman Waksman.
Uncle Tom’s Cabin by Harriet Beecher Stowe
Uncle Tom’s Cabin was banned in the American south preceding the Civil War for holding pro-abolitionist views and arousing debates on slavery.
For the past few years, Special Collections and University Archives has been creating coloring book pages based on our collections. The annual #ColorOurCollections week (usually the first full week of February) was created by The New York Academy of Medicine Library (NYAM) in 2016 and is a way for libraries, museums, archives, and other cultural institutions around the world to share their coloring pages. In 2018, the NYAM created a website to bring together all of the pages and allow people to download images throughout the year.
This year Special Collection and University Archives decided to focus our coloring pages on the work of the New Jersey Digital Newspaper Project (NJDNP). The NJDNP is a collaboration of the Rutgers University Libraries, the New Jersey State Archives, and the New Jersey State Library to make New Jersey Newspapers available as part of the Library of Congress’s Chronicling America project. This project is funded by a grant for the National Digital Newspaper Program, supported by the National Endowment for the Humanities.
You can download our NJDNP inspired 2021 Color Our Collections. You can also check out our other coloring page here or you can check out the coloring pages from other New Jersey institutions:
In these uncertain times, can I offer you Douglass College Arts History from 1945-1975?
I want to start with a story called “Cumberland Street,” which was published in the Anthologist literary magazine in 1950. I believe that the controversy surrounding this short fiction underscores how different Rutgers culture was at the beginning of this period. Reflective of American culture of the time, Rutgers in 1950 had strict standards for the behavior of its students. For many years, the Douglass College student handbook (the Red Book), listed “willfully breaking social code” as grounds for suspension or expulsion. “Cumberland Street” follows three students who are not just breaking rules but laws, and doing so to commit what some New Jerseyans felt was an obscene attack on morality: abortion. The correspondence between angry New Jerseyans, religious leaders, and reporters spanned three university presidencies, and resulted in a few pauses in publication. Rutgers President Mason Gross was the one to put a stop to it by issuing an official endorsement of the magazine on September 11, 1960. In his letters to business leaders and reporters, Gross was respectful but emphasized his duty to defend students’ freedom of expression. Although the focus of my research has been to illustrate the impact of women artists on the university’s arts programming, I felt like this story was worth retelling because it portrays Mason Gross as a supporter of the arts and free speech. Supporting one without the other, I think he would agree, is insufficient.
Therefore, his name is rightfully attached to Rutgers’ school of the arts. However, the foundation that Mason Gross School of the Arts (MGSA) was built upon is quite literally dependent on female artists, and one microbiologist, Mary Ingraham Bunting. During Bunting’s tenure as dean of Douglass College from 1955 to1960, she made several important changes to the curriculum. Prior to Bunting, Margaret Trumbull Corwin had been the dean of what was then known as New Jersey College for Women (NJC) for 21 years, from1934 to 1955. Some accounts of her tenure portray her negatively; however, her focus on internal improvements to the college through the World War II era laid the foundation for the vibrant Bunting years. Here are some of Corwin’s contributions:
Developing an annual lecture series that would lead to renowned figures in all fields visiting Douglass, including artists.
Expanding experiential learning so that by 1937 one third of all courses had field trips.
Dissolving the clothing major and replacing it with Costume Design housed in the Fine Arts Department.
Expanding interdisciplinary study opportunities by allowing students to create their own majors.
Developing a recruitment program to draw students during and after the war.
Using connections between NJC and Rutgers to have a university-funded student center built.
Holding showcases of faculty work, specifically within the Fine Arts Department.
These showcases continued after her tenure. In 1956, Douglass art professor Robert Watts, then in his third year at the college, displayed his work to a crowd that included a chemist from Johnson & Johnson named George Brecht. Brecht, who had been exploring “the art of chance,” approached Watts, and soon was introduced to Allan Kaprow, a Rutgers College art professor who also began teaching in 1953. A key influence on Brecht and Kaprow was John Dewey. Dewey’s theories of education were also part of the ideology of Black Mountain College (BMC), a short lived but progressive institution that emphasized the importance of art-making in a liberal arts education. Following the 1950s, Dewey’s ideas of a democratic, individually-driven education were growing in popularity as social codes were also changing. At Douglass, Kaprow, Watts, Brecht, and their cohorts continued the legacy of BMC by using the college’s space for inter-media art installations, one of the first of which took place taking place in College Hall, the administration building.
The genre largely associated with these artists is Fluxus, an interdisciplinary movement including composers and performers,which focused on the artistic process rather than the supposed quality of the final product. Fluxus played a large part in changing how art was being taught and practiced at Douglass. The events that resulted from this movement, Happenings, expanded the importance of art in campus culture, attracting students who were not just interested in art, but radical art. Taking over for Corwin in 1955, Mary Bunting’s time at Douglass, as one author put it “saw the glitter and flamboyance of the [Dean] Douglass years return.” In 1960, her successor Ruth Adams worked closely with President Gross to develop the precursor to the school of fine arts. With these women at the helm, Douglass was able to provide an equitable arts education to women who would go on to become innovative artists themselves.
Well into the sixties, art courses took place on the top floors of Recitation Hall, now the Ruth Adams Building. These courses became increasingly popular as the college grew. In 1961, the Mabel Smith Douglass Library was built, freeing up space in Recitation Hall for more courses. In 1964, liberal arts courses moved to the newly built Hickman Hall, and in 1965 Recitation Hall was renamed the Arts Building. Among the Douglass women studying there were Rutgers MFA students. This period was one of exciting growth at Douglass. One of Bunting’s early goals had been for the student body to reach 3,000 by 1968, which it did, expanding from only 600 students in 1942. With these new students came more diversity and therefore a need for more collaborative and progressive approaches.
These developments occurred both from the ground up and from the top down. While coeducation was never the priority of Douglass College, it started to become a university necessity to accommodate the growing student body. By the late sixties, although men’s degrees were from Rutgers and women’s degrees from Douglass, men and women could attend classes at either campus and in 1969, at the new “urban” Livingston College. One of the ways the University began to integrate was through the “Arts Section” created by Ruth Adams and Mason Gross in 1960. The section consisted of members of Douglass, Rutgers, and Newark visual arts programs and was the official precursor of the School of Fine Arts, as stated in Section II of the document. Section I outlines the primary intent: to paraphrase, the Arts Section was created to strengthen and unify the visual arts curriculum at the university and guide the development of arts programming at other Rutgers’ colleges, including Livingston and Camden. In a letter to the members of the Art Section dated March 10, 1960, Gross writes that “unnecessary duplication must be eliminated,” and that “Douglass and Rutgers can no longer operate separately.”
Touching on a common cultural connection, Gross acknowledged the proximity of New Brunswick to the art scene in New York and cited it as advantageous to Rutgers arts programming. He did make it clear, however, that he wanted Rutgers to have an arts program of its own significance. Gross also expressed a desire for the arts to be integrated into academics and the New Brunswick community at large, seeing the university as a cultural center, and Rutgers having an obligation to the state of New Jersey to develop its own cultural output. With growing interest in Fluxus/Happenings and the“New Jersey School” of art, Brecht and Kaprow began taking classes at the New School for Social Research in 1959. This marked a turning point for the artists. By the mid-sixties, they were well known outside of Rutgers for the movements they pioneered, and therefore became “New York Artists,” no longer associated with New Brunswick. As it turned out, New Jersey influenced New York arts rather than the other way around. In 1965 Brecht stopped working as a chemist, using his education at the New School to inform his art career. Kaprow worked at Rutgers until 1961. Watts would continue at Douglass until 1984, alongside artists Geoffrey Hendricks (1956-2003) and Roy Lichtenstein (1960-1964). The first female faculty member, artist Carolee Schneemann, wasn’t hired until 1976, as an adjunct.
The arts section had a number of policies. I will focus on two. The first is policy number four–that art museums, exhibition programs, and galleries will be integrated into buildings, no longer as separate spaces. The second, policy number seven, called for an expansion of facilities for the arts. These policies are still being enacted university–wide, especially on the Douglass Campus. An example of how these policies manifested on campus is the Mary H. Dana Women Artist Series housed in the Douglass library. The series, which is the oldest continuous exhibition series showcasing women artists in the United States,remains a fixture of the Mabel Smith Douglass Library.
Prior to the founding of the Women Artist Series, Douglass students participated in events and installations on the campus. By the 1950s, there was no shortage of women artists at Douglass, just a shortage of female role models. According to Women Artist Series founder Joan Snyder in a 1992 article, “the faculty consisted of some old blood, some new blood–all male blood. The irony of this was inescapable for the MFA program which was on the Douglass Campus, a women’s college never having had a woman teaching a studio course. These were the years right before the dawning of the women’s/feminist art movement.” Snyder is one of the many Douglass graduates who eventually got MFAs from the co-ed master’s program. Another is Letty Lou Eisenhauer, who graduated from Douglass in 1957 and Rutgers in 1962. Eisenhauer is one of the earliest students who gained prominence in the art world particularly in performance art. She first appeared in Kaprow’s Spring Happening,which subverted an old Douglass tradition of the Maypole dance. Eisenhauer continued performing in Happenings through the sixties while building her own Pop Art career. While attending the MFA program from 1961 to 1962, she also acted as the department secretary.
Loretta Dunkleman (DC ‘58) would go on to get her MFA from Hunter College in New York City and, like Eisenhauer, became a prominent figure in the New York art scene. Dunkleman was also important in the feminist art movement of the seventies. In 1972, Dunkleman co-founded A.I.R. Gallery, the first all–female artist-run gallery in the United States. At this time, the need for female-exclusive spaces, especially in the arts, began being filled. Especially in New York, many of the women who initiated these changes were Douglass women, once again illustrating the symbiotic relationship between the New York and New Jersey art scenes. Dunkleman sat on the board of the Ad Hoc Committee of Women Artists with fellow alumna Joan Snyder in 1972. The Ad Hoc Committee was founded two years prior as a coalition of feminist artist groups such as Women Students and Artists for Black Liberation, Women Artists in Revolution, and Art Worker’s Coalition. The group’s primary purpose was to protest under-representation at the Whitney Museum’s Annual Exhibition. While Snyder and Dunkleman both sat on the Ad Hoc Committee, a prompt was sent to 800 artists asking about their experiences with gender-based discrimination. The result was a series of letters called “the Rip Off File,” which was displayed at the Douglass Library the following year. The exhibit was in good company, as the space showed the work of 31 artists during the 1973-1974 school year.
“The Rip Off File,” was displayed at the library as part of the newly established Women Artists Series. This ongoing series began as a result of Snyder’s frustration with the marginalization of women in the gallery system. The series was founded in 1971 through Snyder’s collaboration with Douglass librarians, and was a solution to a variety of issues that Snyder, her classmates, and colleagues identified. First, the series provided gallery space to women artists, and secondly the gallery space provided female role models to students. She recounts the story of the series founding in her article “It Wasn’t Neo to Us,” for the Journal of the Rutgers University Libraries. Sandwiched between Ad Hoc and AIR, the founding of the Mary H. Dana Women’s Artist Series is an important part of feminist art history. The seriescontinues to represent the values Mason Gross advocated as the president of Rutgers. It integrates art into academic space, uplifts the community beyond New Brunswick, and showcases diversity in artistic voice. Thanks to Snyder and ongoing support of the Center for Women in the Arts and Humanities, Rutgers University Libraries, and Douglass College, the Mary H. Dana Women Artist Series maintains these values at Douglass today and reminds us of its history as the place for women in radical art.
Rachel Ferrante, DRC ‘19, has a degree in American Studies from Rutgers and currently serves as the Historic and Architectural Preservation intern for Histoury, a subsidiary of On Location Tours a nonprofit heritage tourism company.
With all campuses closed, students sent home from their dorms, classes migrated online, and the cancellation of commencement activities due to the global pandemic of COVID-19, 2020 is turning out to be a memorable year in Rutgers history. But this is not the first time Rutgers has endured hardships that have altered the ways students lived and learned on campus.
A little over a hundred years ago 1918 took Rutgers by storm.
By 1917 Europe was deep in the throes of World War I. On April 6th, 1917 the United States joined its allies Britain, France, and Russia, to fight on the battlefields in France. Back home in New Jersey, Rutgers was beginning to feel the changes brought on by the unresting war.
The 1917-1918 academic year saw a substantial reduction in attendance at Rutgers, as 67 men had already left college to join troops overseas at the end of the previous year.
At the start of the 1918 fall term, the total number of undergraduates had dropped from 513 to 286 undergraduate students. Now, over 200 men were enlisted in the War effort.
Rutgers became a part of the War Department’s Students Army Training Corps (SATC), which prepared men from Rutgers and other institutions, including Princeton and Harvard, to be trained for officers’ positions with the directive that in a few month’s time they would take their places in the command of companies stationed in the fight abroad. (William Henry Steele Demarest, A History of Rutgers College, 1766-1924 (New Brunswick: Rutgers College, 1924, 536-38.)
The SATC instituted a new order of college life. Dormitories and fraternity houses were outfitted barrack style to house the men. Military regulations overtook daily activities, instruction in military procedure and training took the place of normal college life. Though studies were reconfigured to fit within the regime of military training, the usual curriculum was largely sustained. (ibid.)
A formal ceremony was held on October 1, 1918 instituting the SATC and swearing in about 400 college men as soldiers of the United States.
To maintain contact with Rutgers men fighting abroad, President William H.S. Demarest and assistant Earl Reed Silvers, “Sil”, implemented the War Service Bureau of Rutgers College in August of 1917 with the aim to keep Rutgers alumni in contact with the college and each other during the war. As acting director of the Bureau, Silvers sent letters to Rutgers men serving in the armed forces, soliciting responses about the experiences in the service. Silvers also sent out issues of Rutgers Alumni Quarterly and notified Rutgers alumni of government job openings. The Bureau resulted in a collection of over four thousand letters documenting the experience of Rutgers alumni during World War I (http://www2.scc.rutgers.edu/ead/uarchives/warservicebureauf.html).
This adjustment to normal college life was not long lasting. On November 11, the armistice was signed. Shortly after, the SATC was disbanded and student soldiers were discharged on December 14. (Demarest, A History, 539)
Rutgers felt the effects of the disturbances of war for a year or two after the student soldiers returned. Many men took a long time to return to attain credits for a degree. Undergraduates who were active in the service received half a year’s credit towards a degree upon their return to their studies. Some, however, never returned. (ibid.)
After this brief period of disruption in the fall of 1918, Rutgers was prepared to return to the regular curriculum, but the semester found itself marked again by the epidemic influenza, known as the “Spanish Flu,” “the grippe,” “Spanish Influe,” and “the bug.”
The influenza of 1918 ranked as one of the deadliest epidemics in history- exacting a higher toll in a year than in four years of the Black Death or the Bubonic Plague. Between spring of 1918 and winter of 1919, the influenza killed as many as one in every eighteen people.
One theory is that the influenza began in Haskell County Kansas. An outbreak in the county was recorded in January 1918. The direct cause of the influenza is still unknown, although two potential influences have been identified: Haskell County was a prevalent hog farming community. The county also sits on a major migratory flyway for 17 bird species, including sand hill cranes and mallards. “Scientists today understand that bird influenza viruses, like human influenza viruses, can also infect hogs, and when a bird virus and a human virus infect the same pig cell, their different genes can be shuffled and exchanged like playing cards, resulting in a new, perhaps especially lethal, virus.” (John M. Barry, “How the Horrific 1918 Flu Spread Across America,” National Geographic (November 2017), accessed April 2020, https://www.smithsonianmag.com/history/journal-plague-year-180965222/.)
The first reported cases of the influenza virus were documented in Haskell County. Haskell men who had been exposed to the virus went to Camp Funston in central Kansas to train for World War I. Within two weeks, 1,000 soldiers from the camp were admitted to the hospital, while many remained sick in the barracks. Thirty eight men from Camp Funston died. It is believed that infected soldiers from Funston transmitted the virus to other Army camps across the United States; out of the 36 US camps, 24 reported outbreaks. The soldiers continued to spread the virus across the nation and eventually overseas at their arrival in France. (Barry)
At the height of America’s involvement in World War I, between September and November 1918, nearly 40 percent of American servicemen were infected. (“Heaven, Hell, or Hoboken!”, 23)
The influenza was dubbed the Spanish Flu, not because it originated in Spain, but because Spain was a neutral country during the War. While the Allied and Central Powers suppressed any mention of the influenza in the news as to not weaken morale, the Spanish press freely reported on its progression. Many other countries underwent a media blackout, so their only sources of detailed information came from the Spanish media. This led to the assumption that the influenza began in Spain. In Spain, however, believed the virus had come to them from France (which may be partially true given the American Army’s stations in France), and they called it the “French Flu.” (Evan Andrews. “Why was it Called the ‘Spanish Flu’?” History, January 12, 2016, https://www.history.com/news/why-was-it-called-the-spanish-flu)
Even those spared the influenza during the war in Europe were not free on their return to the United States. Elmer. G Bracher, stationed at a convalescent camp in France wrote to Earl Reed Silvers as part of Rutgers’ War Service Bureau. In one letter from 1918, Bracher expresses the “hard luck” about a mutual acquaintance, Jill Jackson. Despite all the chances of catching some infectious disease while serving aboard, Jackson had returned home unscathed, only to catch “the ‘flu’” upon arriving home. (https://rucore.libraries.rutgers.edu/rutgers-lib/52450/JPEG/read/#page/46/mode/2up)
Indeed, the influenza of 1918 was the most serious and wide-spread sickness the student body of America had ever known. It affected almost all colleges and universities, some experienced large numbers of student illness and death. William H.S. Demarest, President of Rutgers College from 1906-1924, only includes a small mention of the influenza in his 1924 book, A History of Rutgers College, 1766-1924. Demarest reports that only about seventy-five students fell ill from the influenza in the fall of 1918, all at various points in time. Despite these low numbers, Rutgers responded to the epidemic by transforming the Ivy Club (“Fraternity Houses Being Used,” The Targum, October 23, 1918, https://rucore.libraries.rutgers.edu/rutgers-lib/63506/JPEG/read/#page/74/mode/2up.) into an infirmary where one student died. (Demarest, A History, 539) Three other Rutgers students died in their homes. (Demarest, A History, 539)
Various campus activities were cancelled due to the influenza. Rutgers was set for a football match against Lafayette College on October 12, 1918. Earlier that week, there was an outbreak of the influenza at Lafayette and the college went into quarantine, ceasing all athletic activities. (“Lafayette Game Cancelled,” The Targum, October 9, 1918, https://rucore.libraries.rutgers.edu/rutgers-lib/63506/JPEG/read/#page/42/mode/2up.)
On October 16th, 1918 Rutgers published an article in The Targum advising students on how to best weather the storm of the influenza. Their advice for preventing the spread of the 1918 influenza are similar to the practices we must follow in the wake of COVID-19, including covering mouths when you cough or sneeze (though The Targum suggests one should cover their mouth with their ubiquitous handkerchief. We’d be hard pressed to find a student who carries a handkerchief today! Maybe we should bring them back?) and to avoid contact with anyone with symptoms including, fever, sneezing, a bad cough or cold, sore throat, pain in the chest, or general weakness or chills. Most importantly, the article in The Targum reminds students to limit their time spent in crowds– social distancing 1.0! The article asserts that “if we all observe these precautions, the epidemic will soon be a thing of the past.” (“Spanish Influenza.”) A student’s poem submitted to the “Targumdrops” section of The Targumprovided a bit of levity during this hard time:
Rutgers University has weathered many storms over the 250+ years of its existence. The bonds of Rutgers’s students, faculty, staff, and alumni have never wavered and times of disruption have only made us stronger. Undoubtedly, the year 2020 will go down in the annals of Rutgers history. We must keep the enduring spirit of our Rutgers predecessors in mind as we continue to adjust to learning and living away from campus and remember that as Rutgers has persevered through the hardships of war and influenza, we too shall forge our way through the COVID-19 pandemic.
Bracher, Elmer G. Letter to Earl Reed Silvers. December 1918. Box 9, Folder 5, RG 33/C0/01 Records of the Rutgers College War Service Bureau. Special Collections & University Archives, Rutgers University Archives.
Demarest, William Henry Steele. A History of Rutgers College, 1766-1924. New Brunswick: Rutgers College, 1924.
On November 6th, 2019, football fans celebrated the 150th anniversary of the first college football game, which was played by Rutgers and Princeton University. It was University Archivist Erika Gorder’s and my pleasure to assemble an exhibit celebrating not just college football, but also the game’s evolution alongside the growth of Rutgers University.
For myself, this exhibit was match made in heaven! My father is a longtime Rutgers employee, so going to Rutgers football games and other athletic events filled my childhood. I attended St. Joseph’s High School (Metuchen) and had the privilege to play varsity football with a plethora of talented young men, a handful of whom went on to play for the Scarlet Knights. I had the opportunity to pursue my love of history at Rutgers, obtaining my bachelors’ degree in 2018. I had the unique viewpoint of being a Rutgers football superfan while having a background in historical research. The stars were aligned.
The exhibit captures the spirit of event, the essence of the birth of a national pastime, and the meaning of college football in relation to Rutgers’ prestigious legacy. To encompass a 150 years of history, the archives were thoroughly investigated for any items that interconnected with history of Rutgers with its football program.
The 1st collegiate football game was played differently than how we witness the pastime of football today. Rutgers’ squad of 27 players – only 25 took the field at a time – defeated Princeton 6-4 in the first intercollegiate football game, more like soccer than the modern sport. The game was played on the property that the College Avenue Gym parking lot now inhabits. Princeton won a second match that year, allowing both schools to claim the sport’s first national championship. A third match between the two New Jersey rivals was canceled, because professors said studies were disrupted by the uproar.
Rutgers’s George Dixon and Stephen Gano are accredited for the game’s first score. William J. Leggett, ’72, elected by his teammates as captain of the 1869 Rutgers team. Leggett and his counterpart from Princeton, William S. Gummere ’70, met prior to the starting time of the game to discuss and agree upon the rules of the game. Both men went on to distinguished careers, Leggett as a Reformed clergyman, and Gummere as Chief Justice of the Supreme Court of New Jersey.
Boyd’s depiction, as well as other depictions, of the game were done several years after it had taken place. Therefore, these depictions are not 100% accurate to how the game was played. The only first person account we have of the game comes from a copy of the Targum, currently on display at University Special Collections and University Archives in Alexander Library.
Princeton players took a train to play against Rutgers in New Brunswick. These tracks are now inhabited by NJ Transit.
This helmet is typical of ones players wore in the 1920s. The exhibit features a whole uniform from a 1920s lineman.
The 1918 team coached by George Stanford featured Paul Robeson, Rutgers’ first All-American. Robeson would go on to be known as a true Renaissance man, renowned as a musician, actor, and political activist. He was forced to sit out one game due to a request from the University of Washington and Lee due to their apprehensiveness to play against an African American player. That was the only game Rutgers lost that season.
Rutgers’ fullback Steve Simms officially says goodbye to the Chanticleer as the mascot of Rutgers during a ceremony to mark the end of his reign. The Scarlet Knight then took over as the mascot we now know and love.
Publication sold at Rutgers Vs Princeton Game to celebrate the 100th Anniversary of College Football.
Photograph of Rutgers playing University of Alabama, which Alabama won 28-25. Of the game, Alabama coach Bear Bryant gave the famous quote, “We won, but we didn’t beat them.”
Ticket from Rutgers Football’s greatest victory under Greg Schiano’s tenure. The 15th ranked Scarlet Knights upset the 3rd Ranked Louisville Cardinals.
The project was a collaborative undertaking. Memorabilia displayed in the exhibit was provided by collection here at the University Archives and Special Collections along with some items from Steve Green, and Stephen M. Dalina (My Father).
While we are sad we are not able to enjoy Rutgers Day together, we are happy we get to celebrate virtually. To help you celebrate Rutgers Special Collections and University Archives has a few things to help your virtual Rutgers Day.
I was recently asked what resources Special Collections and University Archives has for Rutgers School of Environmental and Biological Sciences (SEBS) students. Here are some of our digital items and some lists of things that are physically in the archives that may be interesting.
While we are not able to physically able to provide access to these collections (or any of our collections right now), we are working to get more of our finding aids online! This allows us to share with you what we have in our collections. Here are some of the new finding aids we have put online. Check them out!