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                  <text>A collection of five archival items documenting the launch of Mirabella magazine, by Grace Mirabella, and the netional press coverage surrounding her return to publishing following her dismissal from Vogue in 1988. Items include feature and news articles from the Wall Street Journal, Rocky Mountain News, Asbury Park Press (via the Chicago Tribune), and American Way magazine, as well as the first issue of the UK edition of Mirabella. Together, these items trace how Grace Mirabella rebuilt her platform on her own terms and model how women can transform the spaces that tried to silence them.</text>
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                  <text>These resources are made available for research through the Dolph Briscoe Center for American History at The University of Texas.</text>
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              <text>Newspaper article reporting on the launch of Mirabella magazine, framing Grace Mirabella's return to publishing as a vindication following her public dismissal from Vogue in 1988.</text>
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                <text>"Former Editor of Vogue Is Back — in a Big Way" Rocky Mountain News (Denver, CO), 1989-06-05</text>
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                <text>Grace Mirabella Cahan Papers, 1948–2000, Box 4Ad74, Dolph Briscoe Center for American History, The University of Texas at Austin</text>
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                <text>Newspaper article by Mandy Behbehani, originally published in the San Francisco Examiner, syndicated via Scripps Howard News Service, and reprinted in the Rocky Mountain News (Denver, CO) on June 5, 1989, page 60. The article covers the launch of Mirabella magazine, framing it as the next chapter in a dramatic saga that had made Grace Mirabella more famous than Vogue ever did. Behbehani reports that Mirabella grew Vogue's circulation from 400,000 in 1971 to more than 1.2 million over 17 years before being dismissed in 1988. The premiere issue of Mirabella was printed on thicker stock than other fashion magazines, and Mirabella is quoted denying revenge as motivation: "I don't feel the need for revenge," and "We really want it to be a richer, fuller experience for a woman, and therefore it has to have a little journalistic edge to it."</text>
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&#13;
This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue.&#13;
&#13;
Conditions Governing Use&#13;
There are no use restrictions on this collection. The publisher is responsible for complying with copyright law.&#13;
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This resource is made available for research through the Dolph Briscoe Center for American History at The University of Texas. </text>
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                  <text>Benson Latin American Collection, Raul Valdez Online Portfolio, Austin History Center, William Newton</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                <elementText elementTextId="256">
                  <text>This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study.&#13;
&#13;
This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material.  Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue.</text>
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                <text>"Gentrification" (El Centro Chicano Mural)</text>
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                <text>First Image: Photograph of a mural titled "Gentrification" on the El Centro Chicano building &#13;
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                <text>This mural was painted by Raul Valdez on the outside of the El Centro Chicano building, located on East 1st Street Austin, TX in 1977.  The building was destroyed by arson in 1978.&#13;
&#13;
The mural depicts (L to R) four (4) protesters with signs in the background with a crying child in the foreground, a house being demolished by a machine in the background and a mother cradling a child with a woman in a white t-shirt kneeling next to her in the foreground, a line of police in riot gear, a billboard that reads "City of Austin," and behind the police, a white man in a suit at a table with a pile of money surrounded by three (3) white figures. Behind this group is a man of color and the Texas State Capitol Building in the distance. Another man of color is pictured in the foreground gathering coins that have fallen from the table. </text>
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1979</text>
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                <text>East Austin&#13;
Austin, Texas</text>
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                <text>First Image: Raul Valdez Murals Portfolio&#13;
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                <text>http://www.raulvaldez.net/page2/files/page2-1052-full.html</text>
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        <name>Austin</name>
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        <name>Austin, Texas</name>
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        <name>Gentrification</name>
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                  <text>Grace Mirabella and the Launch of Mirabella Magazine</text>
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                  <text>Grace Mirabella; Fashion Journalism -- United States; Women's Periodicals -- United States; Women in Journalism; Mirabella (periodical)</text>
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                  <text>Greco, Stephen; Behbehani, Mandy; Anderson, Lisa; Kaufman, Joanne; Mirabella, Grace</text>
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                  <text>Grace Mirabella Cahan Papers, Dolph Briscoe Center for American History, University of Texas at Austin</text>
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                  <text>Collection of newspaper clippings, magazine articles, and periodical cover; print on newspaper and glossy paper; 1989-1990</text>
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                <elementText elementTextId="8346">
                  <text>These resources are made available for research through the Dolph Briscoe Center for American History at The University of Texas.</text>
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              <text>Newspaper article reporting on the launch of Mirabella magazine and the national news attention surrounding Grace Mirabella's return to publishing after her dismissal from Vogue. </text>
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                <text>"Grace Mirabella: People Are Talking" Asbury Park Press (Asbury Park, NJ), 1989-06-19 </text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Anderson, Lisa</text>
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            <name>Source</name>
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              <elementText elementTextId="7060">
                <text>Grace Mirabella Cahan Papers, 1948–2000, Box 4Ad74, Dolph Briscoe Center for American History, The University of Texas at Austin</text>
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Asbury Park, New Jersey; United States; 1989</text>
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                <text>Newspaper article by Lisa Anderson, originally published in the Chicago Tribune, and reprinted in the Asbury Park Press (Asbury Park, NJ) on June 19, 1989, page A8, under the column heading "Top of the Day." The article covers the launch of Mirabella magazine and the widespread media attention surrounding Grace Mirabella's return to publishing following her dismissal from Vogue in 1988. Anderson reports that the debut issue contained 123 pages of advertising, was projected to reach a circulation base of 275,000, and was priced at $1 for the first issue. The article quotes Mirabella saying, "I can't believe this experience."</text>
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                <text>Mirabella magazine, Vol. 1 (debut issue, June 1989)</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="8344">
                <text>This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study.&#13;
&#13;
This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue.&#13;
&#13;
Conditions Governing Use&#13;
There are no use restrictions on this collection. The publisher is responsible for complying with copyright law.&#13;
&#13;
This resource is made available for research through the Dolph Briscoe Center for American History at The University of Texas. </text>
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                  <text>The Poetry of Madeline Mason</text>
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                  <text>Madeline Mason papers, 1867-1992, Dolph Briscoe Center for American History, The University of Texas at Austin</text>
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                  <text>A collection of items relating to the poet Madeline Mason, 1908-1990. Included are images of five of her published works, manuscripts, literary reviews, photographs, and miscellaneous materials relating to Mason's accomplishments as a poet, author, translator, critic, and lecturer.</text>
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[page 1]&#13;
Hill Fragments.&#13;
By&#13;
Madeline Mason-Manheim&#13;
&#13;
With five drawings by&#13;
Kahlil Gibran&#13;
&#13;
[page 2]&#13;
CONTENTS&#13;
[column 1]&#13;
Frontispiece&#13;
Invocation&#13;
Creation                                                 &#13;
Aspiration                                             &#13;
Parting                                                     &#13;
Sleep                                                         &#13;
Prayer                                                      &#13;
Moods                                                      &#13;
Music                                                        &#13;
*Silence                                                   &#13;
Narcissus                                                &#13;
Pastorale                                                 &#13;
The Ocean                                             &#13;
Above the Valley                                 &#13;
The Mountain                                       &#13;
The Desert                                              &#13;
Night and the Mountain                 &#13;
The River                                                 &#13;
The Forest                                               &#13;
Christmas                                                &#13;
*Compensation                                   &#13;
Plaint&#13;
&#13;
[column 2]&#13;
Love Hidden&#13;
Elegy&#13;
The Pool&#13;
Disillusion&#13;
Silences&#13;
I Walk Alone&#13;
Shadows&#13;
Letters&#13;
To a Poet&#13;
To My Mother&#13;
To My Mother on Her Birthday&#13;
*Loneliness&#13;
Dead Stars&#13;
Moon Thought&#13;
Swallows at Dawn&#13;
The Cripple&#13;
The Mummy&#13;
Speech&#13;
The Uttermost&#13;
*Life Answers&#13;
&#13;
DRAWINGS&#13;
as [illegible]</text>
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                  <text>From the O'Rourke (James) Crystal City Internment Camp Papers, box 2.325/B101b, 1937-1950, undated, Dolph Briscoe Center for American History, University of Texas at Austin. </text>
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                <text>The following is a report about the camp by James O'Rourke, officer in charge at Crystal City. An important resource for understanding the history of the camp from the administration's perspective, the document reveals the different challenges of running a family internment camp. One challenge was figuring out how to establish a school for the children since they came from multiple different states that each had different curriculum requirements and many students lacked transcripts. Another challenge was building the hospital, situated in a muddy part of the camp, which made it more difficult for doctors and nurses to go to work until weather-proof roads were built. One other problem worth mentioning was the heat, which sometimes reached 112 degrees Fahrenheit in the summer. The report also describes different activities that occurred at the camp, such as excursions to the nearby Nueces River, a football match between the Federal high school and the camp adults, and moving picture films. Interestingly, O'Rourke writes that "it is the general opinion of our staff that voluntary [family] internment should not be permitted" due to the "attitude changes on the part of American-born women and children while interned" (pdf pg. 35). He also writes that little conflict occurred at the camp and that there were no attempted escapes. </text>
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                <text>O’Rourke, Joseph L. Historical Narrative of the Crystal City Internment Camp, a report to W.F. Kelly, Assistant Commissioner for Alien Control Office, Immigration and Naturalization Service, Crystal City Internment Camp, RG 85, 101/161, 32, National Archives.</text>
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                <text>Frances Jalet-Cruz. A Guide to the Frances Jalet-Cruz Papers, 1966-1986. Box 94-042/15, Frances Jalet-Cruz Papers, 1966-1986, The Dolph Briscoe Center for American History, The University of Texas at Austin.</text>
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                <text>This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue.</text>
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This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue.</text>
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