Typed descriptions of Akha death ritual recitations and practices divided into 22 chapters including English translations, handwritten notes, diacritics, and page numbering, and a table of contents summarizing each chapter. Original Akha clauses appear in a numbered list with corresponding English clause-level translations on the following page.

Pre-print of a manuscript and dataset later published as a journal article comparing the cognate forms and phoneme inventories of 4 Lolo-Burmese languages: Akha, Hani, Khàtú, and Pìj̀ɔ̀. Includes handwritten notes, examples, and word lists comparing modern forms and Proto-Lolo-Burmese reconstructions.

Playbill for North Texas State College's production of Rigoletto.

An official letter from Riding Unlimited addressed to the Denton Convention and Business Bureau, referring a qualified administrative assistant for the Clubs and Organizations department. Accompanying the letter is the most recent newsletter from Riding Unlimited, providing insights into the organization's activities and accomplishments.

A detailed compilation of documents centered around Lake Ray Roberts, featuring an inventory of sports equipment and related news articles. This comprehensive archive provides insights into the recreational activities, equipment availability, and noteworthy events surrounding the lake.

The National Museum of the Pacific War presents an interview with Forrest Biard. Biard graduated from the Naval Academy in 1934. From 1939 through September 1941, he completed full immersion in Japanese language and culture training in Tokyo. Biard was a cryptologic linguist, serving in all three Navy codebreaking units during World War II. In September, Biard was stationed at Pearl Harbor as a senior linguist for Station HYPO, the codebreaking unit at Pearl Harbor where he served as a language officer until August 1943. From February to May 1942, he was assigned to USS Yorktown (CV-5) as the radio intelligence officer under Admiral Frank Jack Fletcher. Biard’s translation and decryption work on JN-25 contributed to Allied efforts in the battles of the Coral Sea and Midway. From August to October 1943, he was sent to the codebreaking unit OP-20-G in Washington, also known as Station Negat. From November 1943 to April 1945, he was sent to the Station Cast codebreaking unit at Melbourne, Australia. While in Melbourne he deployed on several ships operating in the South Pacific. He worked in Melbourne to decrypt and translate captured Japanese Army code books for Douglas MacArthur, then used to accelerate the island-hopping …

The National Museum of the Pacific War presents an oral interview with Leonard W. Tate. Tate was born in Perry, Oklahoma 16 May 1918. He enlisted in the Naval Reserve while attending Oklahoma State College. After graduation he reported to midshipman’s school at Columbia University. After completing the four month course, Tate was commissioned and reported to the Amphibious Force at Little Creek, Virginia, where he trained as a boat officer of landing craft. He volunteered for the scouts and rangers program and received four months of intense training. In December 1943 the unit boarded a freighter for Bizerte, Tunisia and reported to the Special Operations Group of the Mediterranean Fleet. The commanding officer was Douglas Fairbanks, Jr. He describes several of the missions the unit made into Italy and his participation in planning for Operation Dragoon. Prior to Dragoon, Tate was reassigned to the Amphibious Force as a scout officer and describes his participation in the invasion. Tate was ordered back to the US and comments on situations he encountered during his return. In December 1944, Tate reported to the Chief of Naval Operations and received orders to Kunming, China. He gives a detailed account of his experiences in …

The National Museum of the Pacific War presents an interview with Wallace Short. Short entered the Naval Academy in 1920 and upon graduating, went aboard the USS Texas (BB-35). Later, Short joined the Civil Engineer Corps and worked with the Naval Construction Battalions during WWII. He recalls several anecdotes about their work on Manus Island and Okinawa. He describes the destruction caused by typhoons at Okinawa. Short covers several aspects of his career in naval construction after World War II: the US, Spain, Thailand, Western Pacific, etc.

Handwritten notes and transcriptions of narratives recited by njí-phà Sjhí ə about Akha history, relations with the Shan people, snakes, and monkeys with partial English glossing.

Recitation of a njíphà (shaman) describing traditional healing and ritual practices.

Transcript for an interview with Pedro J. Gonzalez. A wide column of paragraphed text is printed across the fronts of five pages. On the first two pages, handwritten words sit between each page's left edge and printed text.

Transcript for an interview with Pedro J. Gonzalez. A wide column of paragraphed text is printed across the fronts of three pages. Handwritten words sit between the printed text and each page's left edge.

Proclamation from Los Angeles mayor Tom Bradley. At the top of the page, "City of Los Angeles" is printed in a flowing typeface over an icon of a building and above a seal. "Proclamation" is printed in small letters below the sign, as is "Pedro G. Gonzalez Day" in a larger, stylized font. Five paragraphs printed above a seal and Tom Bradley's signature occupy the rest of the page.

Proclamation in Spanish from San Diego Mayor Roger Hedgecock. "Proclamation" and the mayor's name are printed at the top of the paper next to an image of a building. Seven paragraphs that each start with "Por tanto que" extend further down the page and end above a large seal, a closing statement, and a signature.

Proclamation from San Diego Mayor Roger Hedgecock. "Proclamation" and the mayor's name are printed at the top of the paper next to an image of a building. Seven paragraphs that each start with "Wheareas" extend further down the page and end above a large seal, a closing statement, and a signature.

Contract between Cinewest and Lorena M. Parlee for Ballad of an Unsung Hero. The contract has sixteen numbered paragraphs followed by a concluding statement containing a date. Below the date are signatures from Isaac Artenstein, Lorena M. Parlee, Jude Eberhard.

Legal agreement document between Pedro J. Gonzalez and Isaac Artenstein (Cinewest Productions). The first page is titled "Agreement" and has two introductory paragraphs followed by a single wide column of text containing two paragraphs numbered "1" and "2." The paragraph labeled "2" continues onto a second page and is followed by a paragraph numbered as "3" and a finishing statement containing a date. Gonzalez's and Artenstein's signatures sit at the bottom of the page.

Legal assignment between Pedro J. Gonzalez and Isaac Artenstein (Cinewest Productions). At the top of the page is the title "Assignment" followed by an introductory paragraph and three paragraphs numbered "1," 2," and "3." At the bottom of the page is a closing statement containing a date, below which is Gonzalez's signature.

Letter from Lorena M. Parlee to Hal Roach Sr. At the top of the letter is the text "University of California, Irving," above a horizontal list of cities and a crest. "Department of History" is printed below the cities, across from a zip code in California and a date. Following this information is an address in Los Angeles, California and multiple paragraphs of Lorena M. Parlee discussing Spanish-language broadcasting.

"AIDS - A New Reason to Regulate Homosexuality?"

Document of two pages detailing the 1984 Black Tie Dinner "Vis a Vis." The article is summarizing the highlights of the event and notifying the readers what organizations the proceeds will go to.

Document of a table arrangement for the Human Rights Campaign Fund Dinner. The map is drawn in pen, and the tables are numbered and highlighted in red.

Document of the second page of a report about a dinner event. The report is a summary of the event and its highlights, along with the amount of money that was raised, which will be donated to numerous charities.

A document containing information on constructing questions for dialogue within fine arts education written by Karen A. Hamblen, including lesson plans and an article titled, "'Don't You Think Some Brighter Colors Would Improve Your Painting?'--Or, Constructing Questions for Art Dialogues."