The Texas Ranger (magazine)
The Texas Ranger was the undergraduate humor publication of the University of Texas at Austin, published from 1923–1972. A number of people who went on to become key members of the underground comix scene — including Frank Stack, Gilbert Shelton, Jaxon — were Texas Ranger editors and contributors during the period 1959–1965. Other notable contributors to The Texas Ranger over the years included Robert C. Eckhardt, John Canaday, Rowland B. Wilson, Harvey Schmidt, Bill Yates, Liz Smith, Robert Benton, Bill Helmer, Robert A. Burns and Wick Allison; the Texas Ranger was founded in 1923. Seeing itself as a complement to the campus newspaper The Daily Texan, the Ranger focused on humor and images of young women on its covers. Gag cartoons and comic strips were a staple of the magazine from its inception. From early on until late in its run, the magazine featured a female UT student on the cover as the so-called "Girl of the Month" or "GOM." For a number of years The Texas Ranger ran a Playboy parody in its March issue.
Over the years The Texas Ranger drew the ire of UT's administration for its targeted satire and risqué content. Staff members called themselves the "Rangeroos" and were known for their bacchanalian parties in the 1960s during Gilbert Shelton's reign as editor; the Ranger's offices were in the School of Journalism building. The magazine's affairs were administered first by the Student Association and by Texas Student Publications, Inc; the magazine published 10 issues annually, skipping August. A new editor was elected by the staff every September; the magazine's mascot, created c. 1950 by Rowland B. Wilson, was a fat, mustachioed outlaw-type called "Hairy Ranger." Antecedents to The Texas Ranger were UT humor publications the Coyote and The Scalper, which published from Oct. 1919 to Nov. 1922. Contributors to The Scalper included Ralph Jester; the Texas Ranger was first published in November 1923. One of its earliest contributors was cartoonist John Canaday, who became a leading art critic and art historian.
The Texas Ranger ran afoul of Texas Student Publications in May 1929, when it was banned for a short time, re-emerging in the fall of 1929 — merged with the UT literary magazine, The Longhorn — as University of Texas Longhorn with, Combined with Texas Ranger. It kept this lengthy title until c. 1931, when it reverted to The Texas Ranger. Future Texas Representative Robert C. Eckhardt was editor in 1936–1937; the Texas Ranger was again censured by Texas Student Publications in early 1947, subsequently profiled in the February 17, 1947, issue of Life magazine related to an article published in the Ranger telling students "how to cheat." This controversy led to more biting work by the Ranger in the half-decade to follow. As a post-war journalism student at UT in 1949–1950, cartoonist Bill Yates edited the magazine. Gag cartoonist Rowland B. Wilson drew cartoons for The Texas Ranger during this same period, a number of which were reprinted by Dell's 1000 Jokes in an ongoing feature, "Varsity Varieties".
Liz Smith, Robert Benton, Harvey Schmidt were staffers for The Texas Ranger during the period 1949-1953. The Texas Ranger and its sensibility were an important expression of American humor and comedy from the late 1950s through the 1960s. A line of demarcation came when cartoonist Frank Stack was The Texas Ranger editor from 1958 to 1959, during which time he published comic strips by fellow UT student Gilbert Shelton; as editor, Stack aspired for the Ranger to emulate the humor exemplified by The New Yorker and Punch. Although Stack graduated in 1959, starting in 1962, he published his strip The Adventures of Jesus in The Texas Ranger. During this same period, cartoonist Jack "Jaxon" Jackson was on staff at the Ranger, until he and the others were fired in 1962 over what Jaxon called "a petty censorship violation"; the magazine recovered in 1962–1964, under the editorship of Gilbert Shelton, his girlfriend Pat Brown, Shelton collaborator Lieuen Adkins. Shelton's superhero parody Wonder Wart-Hog began appearing in the magazine in 1962.
Singer Janis Joplin, at that point a freshman art student at UT, hooked up with the Rangeroos and was listed on the masthead of a few issues of the Ranger, although she never contributed to any articles. Other staff members during this period were cartoonist Tony Bell and Joe E. Brown, Jr. both of whom collaborated with Shelton on Wonder Wart-Hog stories. Subsequent to their involvement with the Ranger, both Stack and Jaxon published collections which were important first works in the history of underground comix, with Stack's 1962 Adventures of Jesus and Jaxon's 1964 God Nose, and by 1968–1969, with Feds'N' Heads, The Fabulous Furry Freak Brothers, the formation of Rip Off Press, Shelton had become an important figure in underground comix. The mid-to-late 1960s brought more student engagement with, protests about, the Vietnam War; the magazine responded by becoming more topical. Robert A. Burns, editor twice during the late 1960s, went on to become art director of the cult horror film The Texas Chain Saw Massacre.
Due to poor sales, The Ranger was closed down by TSP in Jan. 1972. The Texas Ranger was revived in 1977 but only last
Rip Off Comix
Rip Off Comix was a underground comix anthology published between 1977 and 1991 by Rip Off Press. For much of its run, the series served as a vehicle for Gilbert Shelton's work Wonder Wart-Hog. For a period the title billed itself "the International Journal of Humor and Cartoon Art" and showcased the work of European cartoonists from a variety of countries; as time passed, the sensibility of the anthology changed from underground to alternative comics. For many years, the series was edited by Rip Off Press co-publisher Kathe Todd; the first ten issues of Rip Off Comix were standard comic book size and were published every 6 months. From issue # 11 onward; the title suffered a four-year hiatus between issue #12 and the next issue, #14. From that point forward the title was published quarterly until it was cancelled in 1991; as a result of skipping issue #13 though the series ended with issue #31, only 30 issues were published in total. Running for 14 years, Rip Off Comix was the second-longest-running title of any published by Rip Off Press.
Gilbert Shelton's Wonder Wart-Hog was a recurring character in issues #1-12. Shelton, Tony Bell, Joe E. Brown, Jr. collaborated on the Wonder Wart-Hog storyline "Battle of the Titans," chapters 1–5, in issues #8-12, a collaboration that spanned 20 years from the start to the finish of the story. Shelton's The Fabulous Furry Freak Brothers were frequently featured in early issues, appearing in issues #1–14, skipping only issue #7. Along with Shelton, Bill Griffith, Ted Richards, Frank Stack, Joel Beck, Harry Driggs were frequent contributors to early issues. One of Fred Schrier's last comics pieces appeared in issue #3. Dave Sheridan was a regular contributor from issues #3–9. With issue #8, Rip Off Comix opened the doors of the anthology to European contributors with a new feature called "Cartoonists of the World"; that issue featured a section on British cartoonists, including Alan Moore, Leo Baxendale, Edwin Pouncey, Steve Moore, Edward Barker, Terry Gilliam. Issue #9 highlighted "comix from France," including Jean-Marc Reiser, Bernard Willem Holtrop, Florence Cestac, Charlie Schlingo.
Issue #10 had a special section on Spanish cartoonists, including Guillem Cifré, Juan Mediavilla, Miguel Gallardo, Marti Riera Ferrer, Francesc Capdevila, Joaquim Aubert Puigarnau, Nazario Luque, Javier Montesol, Simonides. Issue #11 devoted a section to Dutch cartoonists, including Joost Swarte, Peter Pontiac, Evert Geradts. Shelton edited issues #11–12. With issue # 11, Rip Off Comix converted to magazine format, it began billing itself as "the International Journal of Humor and Cartoon Art." Shelton and Paul Mavrides began serializing "The Fabulous Furry Freak Brothers in The Idiots Abroad" in issues #11 and 12. Issue #12 featured Danish cartoonists, including Storm Petersen, Fred Milton, Claus Deleuran, Ole Pihl, Peter Kielland-Brandt, Mardon Smet, Henning Kure, Sussi Bech, Joergen Nielsen. Spain Rodriguez and Larry Todd contributed to issue #14. Larry Marder and Don Simpson contributed a story to issue #17. Gilbert Shelton and the French cartoonist Pic's Not Quite Dead characters first appeared on the cover of issue #19, with their first adventure occurring in issue #25.
Regular contributors in the late 1980s-early 1990s included such notable names as Mary Fleener, Dennis Worden, Trina Robbins, Larry Welz, Mark Bodé, Joshua Quagmire, J. R. Williams, Carol Lay, Nina Paley, as well as R. L. Crabb, Ace Backwards, Ronn Foss, Bruce Bolinger, Wayne Honath, Douglas Michael, Lindsay Arnold, Paul Ollswang, The Pizz, George Parsons, Lyndal Ferguson. Mack White's first professionally published story, "El Bandito Muerto," appeared in issue #26. Raw Rip Off Comix at the Grand Comics Database Rip Off Comix at the Comic Book DB Rip Off Comix section of ComixJoint, including reviews of all 30 issues
Underground Press Syndicate
The Underground Press Syndicate known as the Alternative Press Syndicate, was a network of countercultural newspapers and magazines formed in mid-1966 by the publishers of five early underground papers: the East Village Other, the Los Angeles Free Press, the Berkeley Barb, The Paper, Fifth Estate. As it evolved, the Underground Press Syndicate created an Underground Press Service, its own magazine. For many years the Underground Press Syndicate was run by Tom Forcade, who founded High Times magazine. A UPS roster published in November 1966 listed 14 underground papers, but within a few years the number had mushroomed. A 1971 roster, published in Abbie Hoffman's Steal This Book, listed 271 UPS-affiliated papers in the United States and Europe. According to historian John McMillian, writing in his 2010 book Smoking Typewriters, the underground press' combined readership reached into the millions. UPS members agreed to allow all other members to reprint their contents, to exchange gratis subscriptions with each other, to print a listing of all UPS newspapers with their addresses.
And anyone who agreed to those terms was allowed to join the syndicate. As a result, countercultural news stories and cartoons were disseminated, a wealth of content was available to the most modest start-up paper. First-hand coverage of the 1967 Detroit riots in Fifth Estate was one example of material, copied in other papers of the syndicate, it was hoped that the syndicate would sell national advertising space that would run in all five papers, but this never happened. The early papers varied in visual style, in basic concept — and emerged from different kinds of communities. Many were decidedly rough-hewn; some were militantly political while others, like the San Francisco Oracle, featured spiritual content and were graphically sophisticated and adventuresome. According to historian Abe Peck, The Rag in Austin was the first to merge countercultural content with radical politics, "to represent the participatory democracy, community organizing and synthesis of politics and culture that the New Left of the midsixties was trying to develop."
Shortly after the formation of the UPS, the number of "underground" papers throughout North America expanded dramatically. Walter Bowart and John Wilcock of the East Village Other, with Michael Kindman of The Paper, in East Lansing, took the lead in inviting the other papers to join; the San Francisco Oracle, The Rag, the Illustrated Paper joined soon afterward, membership grew in 1967 as new papers were founded and joined. The first paper in the deep South to join was The Inquisition. "Fluxus West," a Fluxus offshoot engaged in mail art and self-publishing activities, founded by Ken Friedman, was one of the founding publishers in 1967. The first gathering of underground papers, sponsored by UPS, was held at the home of the San Francisco Oracle's Walter Bowart in Stinson Beach, California, in March 1967, with some 30 people representing a half dozen papers in attendance; the meeting was chaotic and symbolic, the concept amorphous. As Thorne Dreyer and Victoria Smith wrote for Liberation News Service, the formation of UPS was designed "to create the illusion of a giant coordinated network of freaky papers, poised for the kill."
But, they added, "this mythical value was to be important: the shoes could be grown into," and the emergence of UPS helped to create a sense of national community and to make the papers feel less isolated in their efforts. By June 1967, a UPS conference in Iowa City hosted by Middle Earth drew 80 newspaper editors from US and Canada, including representatives of Liberation News Service. LNS, founded by Marshall Bloom and Ray Mungo that summer, would play an important and complementary role in the growth and evolution of the underground press in the United States. An attempt that summer to coordinate and centralize the UPS at the offices of the East Village Other in New York City by Bob Rudnick failed; the explosive growth of the underground press began to subside, however, by 1970, by 1973 the boom was over. After a 1973 meeting of underground and alternative newspapers in Boulder, the name of the syndicate was changed to the Alternative Press Syndicate. APS was a failed attempt to reinvent the syndicate to compete with the growing network of alternative weeklies networked by the Association of Alternative Newsweeklies.
APS members sorely needed revenues and in 1973, "Richard Lasky, ex-Rolling Stone Magazine Advertising Director of the successful San Francisco-based weekly and Sheldon Schorr of Concert Magazine, published in several cities," created a national advertising media selling company, APSmedia. APSmedia placed advertising from record and stereo companies with success, placing more than 350 pages of advertising for many of the publications in the bigger markets in the first year; as cities were in the major markets, it sold ads into publications without the advertisers knowing anything more than the names of the client papers. In 1976 APSmedia dissolved. By 1974 most underground newspapers in the U. S. had ceased publication. Although many of the members of the UPS and its successors were founded when the legendary urban underground papers were dead or dying, their influence resonated through the 1970s and beyond, in scores of eclectic papers founded in small towns and suburbs, such as Long Island's Moniebogue Press and Suffolk StreetPapers, offering general audiences alternat
A zine is a small-circulation self-published work of original or appropriated texts and images reproduced via photocopier. Zines are either the product of a single person, or of a small group and are popularly photocopied into physical prints for circulation. A fanzine is a non-professional and non-official publication produced by enthusiasts of a particular cultural phenomenon for the pleasure of others who share their interest; the term was coined in an October 1940 science fiction fanzine by Russ Chauvenet and popularized within science fiction fandom, entering the Oxford English Dictionary in 1949. Popularly defined within a circulation of 1,000 or fewer copies, in practice many zines are produced in editions of fewer than 100. Among the various intentions for creation and publication are developing one's identity, sharing a niche-skill or art, or developing a story, as opposed to seeking profit. Zines have served as a significant medium of communication in various subcultures, draw inspiration from a "do-it-yourself" philosophy that disregard the traditional conventions of professional design and publishing houses proposing an alternative and self-aware contribution.
Handwrittenzines, or carbon zines are individually made, emphasizing personal connection between creator and reader, turning imagined communities into embodied ones. Written in a variety of formats from desktop-published text to comics and stories, zines cover broad topics including fanfiction, poetry, art & design, personal journals, social theory, intersectional feminism, single-topic obsession, or sexual content far outside the mainstream enough to be prohibitive of inclusion in more traditional media. Although there are a few eras associated with zine-making, this "wave" narrative proposes a limited view of the vast range of topics and environments zines occupied. Dissidents and members of marginalized groups have published their own opinions in leaflet and pamphlet form for as long as such technology has been available; the concept of zines had an ancestor in the amateur press movement of the late 19th and early 20th century, which would in its turn cross-pollinate with the subculture of science fiction fandom in the 1930s.
The popular graphic-style associated with zines is influenced artistically and politically by the subcultures of Dada, Fluxus and Situationism. Many trace zine's' lineage from as far back as Thomas Paine's exceptionally popular 1775 pamphlet Common Sense, Benjamin Franklin's literary magazine for psychiatric patients at a Pennsylvania hospital and The Dial by Margaret Fuller and Ralph Waldo Emerson. During and after the Great Depression, editors of "pulp" science fiction magazines became frustrated with letters detailing the impossibilities of their science fiction stories. Over time they began to publish these overly-scrutinizing letters, complete with their return addresses. Hugo Gernsback published the first science fiction magazine, Amazing Stories in 1926, allowed for a large letter column which printed reader's addresses. By 1927 readers young adults, would write to each other, bypassing the magazine; this allowed these fans to begin writing to each other, now complete with a mailing list for their own science fiction fanzines that allowed them to write not only about science fiction but about fandom itself and, in self-proclaimed perzines, about themselves.
Science fiction fanzines vary in content, from short stories to convention reports to fanfiction were one of the earliest incarnations of the zine and influenced subsequent publications. "Zinesters" like Lisa Ben and Jim Kepner honed their talents in the science fiction fandom before tackling gay rights, creating zines such as "Vice Versa" and "ONE" that drew networking and distribution ideas from their SF roots. A number of leading science fiction and fantasy authors rose through the ranks of fandom, creating "pro-zines" such as Frederik Pohl and Isaac Asimov; the first science fiction fanzine, The Comet, was published in 1930 by the Science Correspondence Club in Chicago and edited by Raymond A. Palmer and Walter Dennis; the first version of Superman appeared in the third issue of Jerry Siegel and Joe Shuster's 1933 fanzine Science Fiction. The first media fanzine was a Star Trek fan publication called Spockanalia, published in September 1967 by members of the Lunarians; some of the earliest examples of academic fandom were written on Star Trek zines K/S slash zines, which displayed a gay relationship between the two.
Author Joanna Russ wrote in her 1985 analysis of K/S zines that slash fandom at the time consisted of around 500 core fans and was 100% female. Russ observed that while SF fans looked down on Star Trek fans, Star Trek fans looked down on K/S writers. Kirk/Spock zines contained fanfiction and poetry created by fans. Zines were sent to fans on a mailing list or sold at conventions. Many had high production values and some were sold at convention auctions for hundreds of dollars."K/S not only speaks to my condition. It is written in Female. I don't mean that of course. What I mean is that I can read it without translating it from the consensual, public world, sexist, unconcerned with women per se, managing to make it make sense to me and my condition." Janus called Aurora, was a science fiction feminist zine created by Janice Bogstad and Jeanne Gomoll in 1975. It contained short stories and film reviews. Among its contributors were authors such as Octavia Butler, Jo
Harvey Lawrence Pekar was an American underground comic book writer, music critic, media personality, best known for his autobiographical American Splendor comic series. In 2003, the series inspired a well-received film adaptation of the same name. Described as the "poet laureate of Cleveland", Pekar "helped change the appreciation for, perceptions of, the graphic novel, the drawn memoir, the autobiographical comic narrative." Pekar described his work as "autobiography written. The theme is about staying alive, getting a job, finding a mate, having a place to live, finding a creative outlet. Life is a war of attrition. You have to stay active on all fronts. It's one thing after another. I've tried to control a chaotic universe, and it's a losing battle. But I can't let go. I've tried, but I can't." Harvey Pekar and his younger brother Allen were born in Ohio, to a Jewish family. Their parents were immigrants from Białystok, Poland. Saul Pekar was a Talmudic scholar who owned a grocery store on Kinsman Avenue, with the family living above the store.
Although Pekar said he wasn't close to his parents due to their dissimilar backgrounds and because they worked all the time, he still "marveled at how devoted they were to each other. They had so much love and admiration for one another."Pekar's first language as a child was Yiddish and he learned to read and appreciate novels in the language. Pekar said; the neighborhood he lived in had once been all white but became black by the 1940s. One of the only white kids still living there, Pekar was beaten up, he believed this instilled in him "a profound sense of inferiority." This experience, however taught him to become a "respected street scrapper."Pekar graduated from Shaker Heights High School in 1957 attended Case Western Reserve University, where he dropped out after a year. He served in the United States Navy. After being discharged, he returned to Cleveland and worked odd jobs before he was hired as file clerk at the Veteran's Administration Hospital, he held this job after becoming famous, refusing all promotions, until he retired in 2001.
Pekar was married from 1960 to 1972 to Karen Delaney. His second wife was Helen Lark Hall. Pekar's third wife was writer Joyce Brabner with whom he collaborated on Our Cancer Year, a graphic novel autobiography of his harrowing yet successful treatment for lymphoma, he lived in Cleveland Ohio with Brabner and their foster daughter Danielle Batone. Pekar's friendship with Robert Crumb led to the creation of the self-published, autobiographical comic book series American Splendor. Crumb and Pekar became friends through their mutual love of jazz records when Crumb was living in Cleveland in the mid-1960s. Crumb's work in underground comics led Pekar to see the form's possibilities, saying, "Comics could do anything that film could do, and I wanted in on it." It took Pekar a decade to do so: "I theorized for maybe ten years about doing comics."Around 1972, Pekar laid out some stories with crude stick figures and showed them to Crumb and another artist, Robert Armstrong. Impressed, they both offered to illustrate.
Pekar & Crumb's one-pager "Crazy Ed" was published as the back cover of Crumb's The People's Comics, becoming Pekar's first published work of comics. Including "Crazy Ed" and before the publication of American Splendor #1, Pekar wrote a number of other comic stories that were published in a variety of outlets: "Crazy Ed", with Robert Crumb, in The People's Comics "A Mexican Tale," with Greg Budgett and Munan, in Flaming Baloney X "It Pays to Advertise" with Willy Murphy, in Flamed-out Funnies #1 "Ain' It the Truth" with Willy Murphy, in Flamed-out Funnies #1 "The Boys on the Corner: A Good Shit Is Best" with Willy Murphy, in Flamed-out Funnies #1 "The Kinsman Cowboys: How'd Ya Get Inta This Bizness Ennyway?" with Greg Budgett & Gary Dumm, in Bizarre Sex #4 "Famous Street Fights: The Champ" with Robert Armstrong in Comix Book #4 "Don't Rain on My Parade" with Robert Armstrong in Snarf #6 The first issue of Pekar's self-published American Splendor series appeared in May 1976, with stories illustrated by the likes of Crumb, Dumm and Brian Bram.
American Splendor documented Pekar's daily life in the aging neighborhoods of his native Cleveland. Pekar's best-known and longest-running collaborators include Crumb, Budgett, Spain Rodriguez, Joe Zabel, Gerry Shamray, Frank Stack, Mark Zingarelli, Joe Sacco. In the 2000s, he teamed with artists Dean Haspiel and Josh Neufeld. Other cartoonists who worked with him include Jim Woodring, Chester Brown, Alison Bechdel, Gilbert Hernandez, Eddie Campbell, David Collier, Drew Friedman, Ho Che Anderson, Rick Geary, Ed Piskor, Hunt Emerson, Bob Fingerman, Brian Bram, Alex Wald. Stories from the American Splendor comics have been collected in many anthologies. A film adaptation of American Splendor was released in 2003, directed by Robert Pulcini and Shari Springer Berman, it starred Paul Giamatti as Pekar, as well as appearances by Pekar himself. Pekar wrote about the effects of the film in American Splendor: Our Movie Year. In 2006, Pekar released a four-issue American Splendor miniseries through the DC Comics imprint Vertigo.
This was collected in the American Splendor: Another Day paperback. In 2008 Vertigo released a secon
State Historical Society of Missouri
The State Historical Society of Missouri, a private membership and state funded organization, is a comprehensive research facility located in Columbia, Missouri specializing in the preservation and study of Missouri's cultural heritage. Established in 1898 by the Missouri Press Association and made a trustee of the state in 1901, the Society is the official historical society of the state of Missouri and is located on the campus of the University of Missouri in Ellis Library; the Society publishes the quarterly Missouri Historical Review, the only scholarly academic journal produced in the state. The Society engages in a number of outreach programs to bring Missouri's history to the public; such programs are the Missouri History in Performance theatre, the Missouri History Speakers' Bureau, the Missouri Conference on History. The collection of the Society, concerning pamphlets and state publications, is over 460,000 items. In addition, the Society has over 500,000 manuscript items, 2,900 maps, over 150,000 state archival records, over 57,000 reels of microfilm.
In 2011, the Western Manuscript Collection, accessible in Columbia, Kansas City, St. Louis, specializing in the preservation and collection of Missouri and Middle West history, was absorbed into the Society. Established in 1898, discussion of founding an official state historical society had begun a few years earlier but did not gain substantial backing until the topic was raised at a January 1898, meeting of the Missouri Press Association. Two of the chief supporters were Edwin W. Stephens first president of the Society, Walter Williams, founder of the Missouri School of Journalism, a third, Isidor Loeb, a member of the University of Missouri's history and political science faculty. At the January meeting, the proposal met with support of the members and a committee was established to draw up a constitution and bylaws for a historical society that would serve the state of Missouri. In this formative period of the Society's underpinnings and Williams sought and received great support from the University of Missouri.
Such was the support. Progress advanced and only four months at the association's annual meeting on May 26, the Missouri Press Association voted to create the State Historical Society of Missouri, named Stephens as its president, as well, Williams as its secretary. Never intended to exist outside of the state's governance, the Society's leaders sought to see the formal adoption of the historical society by the state. In just under a year, their lobbying efforts were awarded by the passage of a bill by the Fortieth General Assembly, signed into law on May 4, 1899, by Governor Lon Stephens, which established the Society as a trustee of the state. However, the Society did not receive its first appropriation until 1901; that amount was $4,500 dollars, intended to service the Society from 1901 to 1902. The 1899 bill stated the duties of the new state historical society: It shall be the duty of the Society to collect books and other papers and material for the study of history of this state and of the middle west.
Newspapers formed the nucleus of the Society's collection, due in fact to the close relationship with the state's newspaper editors. Membership could be gained for such men by the annual donation of their papers, after ten years, a lifetime membership granted. Secretary Loeb sought to expand the collection further, putting out a request to citizens of the state for all types of items, both public and private, including "Indian relics." The collection received a noted boost in 1901 by the donations of the new secretary, Francis Asbury Sampson, which consisted of nearly 2,000 books and just over 14,000 pamphlets. Additionally, he convinced the Sedalia Natural History Society to donate an considerable collection of books and pamphlets, as well maps and charts. In the same time period, the Society prepared an exhibit on the state's newspapers for the 1904 St. Louis World's Fair and began the first publications of the Missouri Historical Review; the growing collection necessitated the need for more space to store it.
The society had expanded its presence in Jesse Hall, storing much of its collection in its basement, while taking over the first floor of the building. By 1902, the Society had begun looking for the resources for a new facility, going so far as attempting to lobby library philanthropist Andrew Carnegie. Just over a dozen years in 1915, the Society moved into the newly built Ellis Library, its home since. At the same time, Floyd C. Shoemaker began a forty-five year career with the institution. In his time, Shoemaker accomplished a number of milestones under the Society. One such accomplishment was a campaign to establish the Society's membership as the largest in the nation, with the membership expanding from 1,285 in 1916 to 3,356 in 1936. While the Great Depression did not affect the Society, it did become involved in several ways with the New Deal programs. For a couple years, it hired men from the National Youth Administration to assist in the moving books and newspapers; as well as hiring women from the Civil Works Administration to complete needed tasks about the Society such as updating the Society's "Who's Who" files for the state and indexing selected newspapers.
The Society assisted the Federal Writers' Project and the Works Progress Admi