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                    <text>A scanned image of a two-sided business card. The front reads, "Jane B. Golightly, Assistant Superintendent, Composing. The Washington Post, 1150 15th Street, NW, Washington, DC 20071." Phone numbers are given for TTY, Fax, and Pager. </text>
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                    <text>A scanned image of a two-sided business card.  The back reads, "I use a TTY (text telephone) to communicate over the telephone. If you do not have a TTY please call." The card lists relay numbers for DC, Maryland, and Virginia and gives instructions for placing a call using a relay operator.</text>
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                <text>Business Card of Jane Golightly</text>
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                <text>A small paper business card for Jane B. Golightly, Assistant Superintendent, Composing.</text>
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                <text>As a supervisor, Janie Golightly distributed business cards to her work contacts. Her card includes information for contacting via TTY, fax, and pager. The reverse card includes instructions for placing a call through a TTY relay operator. </text>
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                <text>Janie Golightly Collection</text>
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                <text>This Item has been made available for educational and research purposes by the Drs. John S. and Betty J. Schuchman Deaf Documentary Center at Gallaudet University. This Item is protected by copyright and/or related rights. You may need to obtain permission for your intended use if your use is otherwise not permitted by the copyright and applicable related rights legislation. For specific information about the copyright and reproduction rights for this Item, please contact the Schuchman Deaf Documentary Center: &lt;a href="https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center"&gt;https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center&lt;/a&gt;</text>
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                <text>undated</text>
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                    <text>A scanned image of two pages of the newsletter &lt;em&gt;ShopTalk&lt;/em&gt;. The article features black and white photographs. The first of a white middle aged woman, the other two of groups of people standing on stage in front of a crowd.</text>
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              <text>Deaf Festival ' 95.&#13;
Deaf Festival ‘95. A few weeks ago, the Washington, D.C. area enjoyed its first Deaf Culture Festival. The driving force behind the festival was JANE GOLIGHTLY, Composing Room day shift foreman, who joined The Post in 1974 as a typographer and was most recently nightside ad control supervisor. From all accounts, Deaf Culture '95 was a huge success, an outcome that is no surprise to Golightly's supervisor, Composing Room Superintendent SHERRY GRYDER. "Jane is extremely resourceful," Gryder said, "and she is quick to move on issues and get them resolved." The Festival was "a learning experience," Golightly said. "For the last few of years, a group of us from the Metropolitan Washington Deaf Community Center's Roundtable on Deaf Issues had organized picnics in the summer. They just grew and by the third year, we thought 'Why not have a festival?" Golightly said. "After all, there are Greek festivals, Italian festivals, all kinds of festivals celebrating other cultures. So we decided to have a festival for the deaf in a public place where we could celebrate our culture and hearing people could participate as well." As soon as it was decided to hold a deaf culture festival, Golightly swung into action. By the time she was done, she had lined up more than 150 deaf vendors selling goods and services for the deaf as well as crafts and all kinds of ethnic food for everyone. Golightly and her committee arranged for the entertainment which included dancers, a magician who drove from Wisconsin to perform, a local poet, children's storytellers, clowns and face painters—all deaf and all of whom donated their services. At the Festival, Golightly was pleased to see that hearing people attended and was hopeful that their attendance indicated an interest in deaf culture. In the Composing Room, Golightly has made a point of bridging barriers between deaf and hearing coworkers. Gryder said, "One of the first things Jane did when she came over here [from nightside] was to write a note to all editors, introducing herself and explaining to people the number of ways they could communicate with her. She is authorized to hire an interpreter when necessary. On daily communication, she uses pen and paper and e-mail with those who have it. Occasionally, she uses the Washington Relay service [where an operator acts as a conversation relay between a person using a TTY and one using a conventional telephone]." "Sometimes she calls on the people here who are proficient in sign language. Gryder said. "I sign with her, too, and she is very patient with me and quick to correct my ASL grammar, which is not the best," Gryder added. As for future festivals, Golightly said. "I don't know if the festival will be an annual event. Maybe we'll do it on a smaller scale. But what's important is that we keep a network for the deaf going on and that hearing people can know more about deaf culture."</text>
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                <text>Deaf Festival '95</text>
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                <text>An article in &lt;em&gt;ShopTalk&lt;/em&gt; published at &lt;em&gt;The Washington Post&lt;/em&gt; PR department, which describes a local Deaf Festival held in Washington, DC.</text>
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                <text>The press department of &lt;em&gt;The Washington Post&lt;/em&gt; produced a weekly newsletter for sharing information about the paper and it’s employees. Issues of &lt;em&gt;ShopTalk&lt;/em&gt; included announcements about workplace changes, covered events held at work, and shared updates on the activities of employees. a useful means for communicating important workplace information with both Deaf and hearing employees with variable schedules and communication strategies. The October 12, 1995 issue featured an article detailing a cultural festival organized and attended by Deaf printers at &lt;em&gt;The Post&lt;/em&gt;.</text>
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                <text>Janie Golightly Collection</text>
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                <text>October 1995</text>
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                <text>This Item has been made available for educational and research purposes by the Drs. John S. and Betty J. Schuchman Deaf Documentary Center at Gallaudet University. This Item is protected by copyright and/or related rights. You may need to obtain permission for your intended use if your use is otherwise not permitted by the copyright and applicable related rights legislation. For specific information about the copyright and reproduction rights for this Item, please contact the Schuchman Deaf Documentary Center: &lt;a href="https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center"&gt;https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center&lt;/a&gt;</text>
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                <text>The Washington Post Public Relations Department</text>
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                <description>A name given to the resource</description>
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                    <text>A scanned image of an article describing new technologies. The accompanying black and white photograph shows several white, middle aged men and a white woman, standing at a desk with a box-computer terminal.</text>
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                    <text>A scanned image of two pages of the newsletter CompWaves. The accompanying black and white photograph shows several white, middle aged men and a white woman, standing at a desk with a box-computer terminal.</text>
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              <text>System Update... Have you been wondering what is going on in the new room across from the stock room? The room has been set up by Data Processing's Sandy Matuschka and Jim Guill as a site to test equipment and evaluate software for two new systems. The Editorial Department has one on the drawing board and the other is for Composing. The Composing Room project team consists of Jim Berk, Penny Herbold, Ron Prue, Mike Divver, and is being co-managed by Mary Ann Collett and John Braun. Their primary responsibility lies in the testing of personal computers as a possible replacement for the RayComp system. The computer that has been selected is Apple’s MacIntosh and the software package, Ad Builder, has been provided by Digital Technology International (DTI). In addition to evaluating functions and performance that are necessary to produce a large volume of display ads, tests are also being conducted to compare production times of ads composed on both the MacIntosh and RayComp systems. The project team has submitted several requests to DTI for functional changes and improvements and DTI is making an effort to provide the software enhancements, but acceptance is still pending on both the hardware and software. </text>
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                <text>An article describing technological changes at &lt;em&gt;The Washington Post&lt;/em&gt;, which includes an image of composing room members.</text>
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                <text>Employees of the composing room at &lt;em&gt;The Washington Post&lt;/em&gt; created an internal newsletter for sharing information. Issues of &lt;em&gt;CompWaves&lt;/em&gt; included announcements about workplace changes, covered the events held at work, and shared updates on the activities of employees and their families. These texts would have been a useful means for communicating important workplace information with both Deaf and hearing employees with variable schedules and communication strategies. The February 1989 issue includes an article detailing an impending technological change from RayComp to Ad Builder. The accompanying photograph includes Deaf printer, Penny Herbold.</text>
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                <text>Janie Golightly Collection</text>
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                <text>February 1990</text>
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                <text>This Item has been made available for educational and research purposes by the Drs. John S. and Betty J. Schuchman Deaf Documentary Center at Gallaudet University. This Item is protected by copyright and/or related rights. You may need to obtain permission for your intended use if your use is otherwise not permitted by the copyright and applicable related rights legislation. For specific information about the copyright and reproduction rights for this Item, please contact the Schuchman Deaf Documentary Center: &lt;a href="https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center"&gt;https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center&lt;/a&gt;</text>
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                <text>The Washington Post Composing Room</text>
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                <name>Title</name>
                <description>A name given to the resource</description>
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                  <elementText elementTextId="3061">
                    <text>A scanned image of the cover of a booklet. Text reads "Agreement between The Washington Post and Columbia Typographical Union No. 101-12, 1990-2000, Contract Effective October 1, 1990 thru September 30, 2000." The name Janie Golightly is handwritten in the upper right corner.</text>
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            <description>A name given to the resource</description>
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                <text>Agreement Between &lt;em&gt;The Washington Post&lt;/em&gt; and Columbia Typographical Union No. 101-12 1990-2000</text>
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                <text>A small handbook outlining the details of the contract agreement between the local ITU chapter and &lt;em&gt;The Washington Post&lt;/em&gt;.</text>
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                <text>Through collective bargaining, the ITU members at The Washington Post obtained particular job protections. Among those engaged in bargaining on behalf of the union chapter was Deaf printer Jan DeLap, who is listed as a member of the Washington Post Scale Committee in the agreement. This contract included a memorandum of agreement which provided a job guarantee to those printers listed. This agreement would result in the retention of printers at The Post even as technology changed and, ultimately, led to the disappearance of printers through contract buy-outs.</text>
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                <text>Jane Golightly Collection</text>
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                <text>1990</text>
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            <description>Information about rights held in and over the resource</description>
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              <text>The video begins with a title slide featuring a line drawing of a figure depicting the handshapes and movement for the vocabulary term, linotype. Both hands in bent-5-handshape, palms outward at chest-height, the fingers on each hand wiggle in slight movement. Next in a video recording, Dick Moore, a white older man, defines the term in American Sign Language. He sits in a darkened film studio.</text>
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              <text>Linotype is signed like this. It has three to four magazines in a rack &#13;
on the top of the machine. These could be moved up or down. Those were used for the different fonts. They were raised and lowered. We didn't sign it like this, typing in front of the body, because the keyboards were set up differently, off to the side. The keyboard to the left had lower case, the center one had capital letters, the right side had numbers and punctuation. That's the keyboard layout. As I'd press a key, on the keyboard, a single “mat” would pop out of the magazine and drop down. You'd type out a line, and each slug would drop a matrix down, in the order you typed. You'd watch as the line formed. You needed to watch the length, usually it was 14 points long. As you'd type, you would add space bars. They would stretch out the line and needed to be sized correctly because, if you didn't line it up, the hot metal would splash out. So you needed to check that it was tightly aligned. The completed line would then slide over so that it could be cast in the hot metal, forming a lead slug. The slug would drop down. They'd drop down in order. As you worked, the slugs fell in order, forming multiple lines of text, into a galley.  Once it was full, you'd set that galley of text aside and keep going on to the next ones. These galleys were then laid out in make-up, forming a newspaper page, with photo cuts. That's how the hot metal works.</text>
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              <text>00:01:34</text>
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                <text>Definition: LINOTYPE</text>
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                <text>An American Sign Language definition is provided by Dick Moore.</text>
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                <text>LINOTYPE: a typesetting machine that used molds and molten lead to cast lines of text used in printing.</text>
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                <text>Zilvinas Paludnevicius</text>
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            <name>Date</name>
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                <text>2021</text>
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                <text>&lt;span&gt;This Item has been made available for educational and research purposes by the Drs. John S. and Betty J. Schuchman Deaf Documentary Center at Gallaudet University. This Item is protected by copyright and/or related rights. You may need to obtain permission for your intended use if your use is otherwise not permitted by the copyright and applicable related rights legislation. For specific information about the copyright and reproduction rights for this Item, please contact the Schuchman Deaf Documentary Center:&amp;nbsp;&lt;/span&gt;&lt;a href="https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center"&gt;https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center&lt;/a&gt;</text>
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              <text>In a series of video clips students are seen running through the streets of DC, gathering in front of the Mayflower Hotel in a large crowd. They chant Deaf President Now and express displeasure at the appointment of President Zinser. Deaf printer Jan DeLap is briefly interviewed about her reaction. Spilman steps out of the Hotel and fields questions from the assembled crowd. DeLap is visible in the background during an exchange between Spilman and Jeff Covell.</text>
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              <text>[sounds of yelling and clapping]&#13;
&#13;
[sounds of crowd yelling Deaf President Now]&#13;
&#13;
Jan DeLap: ..that woman at all. That woman has no background. Now, now? Why her? What is the reason for picking that woman? I don’t know.&#13;
&#13;
Spilman out! &#13;
Spilman out!&#13;
Spilman out!&#13;
&#13;
[sounds of yelling and clapping]&#13;
&#13;
Deaf, Deaf, Deaf President Now!&#13;
&#13;
Spilman: I came to say my name is Jane Basket Spilman, I’m chairman of the Board of Trustees at Gallaudet.&#13;
&#13;
A woman’s voice, “Excuse me”&#13;
&#13;
Covell: Spilman, I have a question. The charter of the bylaws says that you must have four Deaf people on the board, correct? &#13;
Spilman: It says, it- &#13;
Covell: It says four Deaf voting people.&#13;
Spilman: a minimum -  it - it says&#13;
Covell: Our understanding is that Harvey Corson did not have a vote.&#13;
Spilman: - yes, a minimum of four Deaf people, right.&#13;
Covell: Right. You have four Deaf voting members, that’s how I read the charter.&#13;
Spilman: Well - &#13;
Covell: Only three Deaf people voted. &#13;
Spilman: Because - &#13;
Covell: What happened to the other one?&#13;
Spilman: Dr. - &#13;
Covell: You did not follow the charter of the bylaws.&#13;
Spilman: Dr. Harvey - Dr. Harvey Corson was one of the three finalists. So he couldn’t vote for himself. &#13;
Covell: You should have picked another Deaf person to take that capacity. Because you did not follow the procedure of the charter of the bylaws. Therefore we can ask that your procedure be null and void. &#13;
&#13;
Woman’s voice off-camera: Question, question. You say that the woman, Zinser, is the best qualified? The best qualified? I don’t know what Zinser can do that King and Corson cannot do. What? Exactly what?&#13;
Spilman: Well - I want you to try and give her a chance. Let her talk to you. The - the campus -&#13;
&#13;
Crowd shouting dissent.</text>
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              <text>2:17</text>
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            <name>Title</name>
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                <text>DPN - Mayflower Protest</text>
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            <name>Subject</name>
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                <text>Video footage of the DPN protest at the Mayflower Hotel featuring Jan DeLap.</text>
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                <text>Deaf printers joined students, faculty, and community members at the Mayflower Hotel on March 6, 1988 as part of the DPN protest.</text>
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                <text>Drs. John S. and Betty J. Schuchman Deaf Documentary Center</text>
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            <name>Source</name>
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                <text>Gallaudet Video Services, &lt;a href="https://media.gallaudet.edu/media/DPN+1988+vol.+6+-++Mayflower+Hotel+2+of++4+March+6%2C+1988/1_wdagnlvg"&gt;DPN 1988 vol. 6&lt;/a&gt; and &lt;a href="https://media.gallaudet.edu/media/DPN+1988+vol.+7+-++Dr.+Spilman+Speaking+in+front+of+Hotel+3+of++4+March+6%2C+1988/1_ch5vof3o"&gt;DPN 1988 vol. 7&lt;/a&gt;.</text>
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                <text>Gallaudet University Archives</text>
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                <text>March 6, 1988</text>
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              <elementText elementTextId="3014">
                <text>&lt;span&gt;This Item has been made available for educational and research purposes by the Drs. John S. and Betty J. Schuchman Deaf Documentary Center at Gallaudet University. This Item is protected by copyright and/or related rights. You may need to obtain permission for your intended use if your use is otherwise not permitted by the copyright and applicable related rights legislation. For specific information about the copyright and reproduction rights for this Item, please contact the Schuchman Deaf Documentary Center:&amp;nbsp;&lt;/span&gt;&lt;a href="https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center"&gt;&lt;span&gt;https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center&lt;/span&gt;&lt;/a&gt;</text>
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              <element elementId="50">
                <name>Title</name>
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                  <elementText elementTextId="3003">
                    <text>A color photograph of a fair-skinned middle-aged man, seated at a computer work station. In front of him is a box-style desktop computer screen. Around him are stacks of papers. Beside the computer is an old TTY device.</text>
                  </elementText>
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            <name>Title</name>
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                <text>Dick Moore in Ad Operations</text>
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            <name>Subject</name>
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                <text>Deaf printer, Dick Moore, sits at a desktop computer and follows paper instructions while he lays out a page of ads.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>In the 1990s, employees of the Ad Department, like Dick Moore, used computer programs to edit and layout pages of Ads. This reflected the transition from hot metal and cold type to digital page layout.</text>
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            <name>Creator</name>
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                <text>James Buemi</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="2998">
                <text>Penny Herbold Collection</text>
              </elementText>
            </elementTextContainer>
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            <name>Date</name>
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                <text>December 23, 1994</text>
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                <text>This Item has been made available for educational and research purposes by the Drs. John S. and Betty J. Schuchman Deaf Documentary Center at Gallaudet University. This Item is protected by copyright and/or related rights. You may need to obtain permission for your intended use if your use is otherwise not permitted by the copyright and applicable related rights legislation. For specific information about the copyright and reproduction rights for this Item, please contact the Schuchman Deaf Documentary Center: &lt;a href="https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center"&gt;https://www.gallaudet.edu/drs-john-s-and-betty-j-schuchman-deaf-documentary-center&lt;/a&gt;</text>
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                <text>Photograph</text>
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              <element elementId="50">
                <name>Title</name>
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                  <elementText elementTextId="2993">
                    <text>A color photograph of a fair-skinned middle-aged woman seated at a large white paste up desk. She leans over a paste up board placing and pressing on pieces of printed text. In the background, paste up boards can be seen across multiple workstations.</text>
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                <text>Sue Ayers in Paste Up</text>
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            <name>Subject</name>
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                <text>Sue Ayers, in the composing room, working on paste-up on an advertisement page.</text>
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              <elementText elementTextId="2986">
                <text>Prior to computerized newspaper design, paste up was integral to the printing process. In the composing room of The Washington Post, employees used cutting tools to manually lay-out the text and images of each page. Pictured here, Deaf printer Sue Ayers is pasting up a weekly paper.</text>
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                <text>James Buemi</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="2988">
                <text>Penny Herbold Collection</text>
              </elementText>
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            <name>Date</name>
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                <text>1995</text>
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            <description>Information about rights held in and over the resource</description>
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