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              <description>An account of the resource</description>
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                  <text>This collection consitist of materials from all aspect's operations of the Royal Crown Company. This includes company histories, publicity photographs, marketing and advertising, brand packets, and internal newsletters and correspondence. Brands owned by the R.C. Cola Company included RC, CHero-Cola, Diet Rite, Nehi, Ginger Ale, Gatorade, and Snaple. </text>
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                  <text>The CSU Collection consist of over 150 linear feet of material and is arranged into 14 separate Record Groups. Each Record Group reflects the Columbus State University's organizational hierarchy with minor variations being made to facilitate future accessions. Materials in the collection document the rich and proud tradition of education and public service of Columbus College/Columbus State University, 1958 - present. </text>
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                  <text>By accessing the CSU Digital Archives, the user agrees to give proper acknowledgement to the CSU Archives and further agrees to secure permission in advance from the CSU Archives to publish any item in any way, in whole or in part, from its collections. The Archives preferred citation is:&#13;
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                <text>1975</text>
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              <elementText elementTextId="20449">
                <text>By accessing the CSU Digital Archives, the user agrees to give proper acknowledgement to the CSU Archives and further agrees to secure permission in advance from the CSU Archives to publish any item in any way, in whole or in part, from its collections. The Archives preferred citation is:&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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        <name>theater department</name>
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                  <text>Thomas Wiggins, also known as Thomas Bethune or simply as Blind Tom, was born into slavery on May 25, 1849. Blind from birth, young Tom had a unique talent for recreating sounds and setting them to music. His owner, James Bethune, recognized the economic potential of his prodigy and by 1858 had rented Tom out to promoter Oliver Perry for a nationwide concert tour. Tom would work for or with the Bethune family for the remainder of his life. After the Civil War, Tom continued to tour with James Bethune as his manager, playing venues in Great Britain, Scotland, Europe, Canada, and South America. An amazing pianist, his repertoire of music included some 7,000 pieces. Wiggins died at the age of fifty-nine on June 13, 1908 in Hoboken, New Jersey.</text>
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                  <text>The Thomas Wiggins Sheet Music Collection contains three pieces of original sheet music, and one original article on the life of Wiggins.</text>
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                <text>"The Phenomenon of 'Blind Tom': The Most Remarkable Instance of the Sub-conscious Mind in Music, New Information on the Subject supplied by 'Blind Tom's' Teacher." Anna Amalie Tutein</text>
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                <text>The Etude</text>
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Dylan Lee Boyd&#13;
Stevie Vought</text>
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
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&#13;
   The Pasaquan Collection is comprised of a rich variety of resources regarding not only St. EOM's creation of Pasaquan, but also the thirty year-long preservation effort of various groups and individuals (most notably the Pasaquan Preservation Society) and the recent restoration completed by the Kohler Foundation. These materials are divided into sections based upon type and subject matter. &#13;
&#13;
   Textual resources are divided into two sections: Correspondence and Financial Records. Correspondence relates largely to St. EOM's art exhibition and sales, as well as his family and personal matters. Included here are letters to his brother Joe, a note from Rosalyn Carter about an 1978 exhibit of St. EOM's art in Washington, D.C., and letters from people seeking his fortune-telling expertise and bestowal of luck in various situations.  There is a separate folder for his medical issues.  There are also letters concerning films, photographs and slides of his house, grounds and artwork.  In most cases the images are not with the letters but are probably among the loose films, slides and photos.  Martin and many of his correspondents were erratic in the use of dates.  In general the correspondence is in chronological order.  If an undated letter is with an envelope, and the postmark is legible, that date is written on the letter in brackets and is used for filing.  Undated material is grouped without order at the end of the series.  Envelopes without contents are filed by postmark.&#13;
&#13;
   Financial records include routine bills such as utility bills; auto repairs; purchases at Sears; bills for mail-order purchases of supplies for his art; bills of sale for his crops to Tom's Peanuts; cotton factors and other buyers; insurance coverage and property tax payments.  In the case of bills from the Blessing Oil Company of Brooklyn, which supplied him with the oils used in various rituals he performed as part of his fortune-telling practice, a decision was made to include them in the Correspondence since Martin developed a personal relationship with the vendors there.&#13;
&#13;
   The records of the Pasaquan Preservation Society, including minutes, visitors books, financial records and other materials documenting their 20 year existence as the managers of the site and its contents, are treated as a separate collection (MC 368).&#13;
&#13;
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                  <text>Permission to Publish&#13;
&#13;
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&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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                <text>Round sign with a red and black diamond and spiral motif in the center. It read: " Pasaquan- Afro- American- Indian- Nature- Corporative" around the perimeter, just inside a scalloped aluminum edging. Label on reverse from previous exhibit at the Columbus Museum. </text>
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&#13;
Unsigned</text>
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                <text>Oil on plywood with aluminum sheet border. </text>
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
   The site was listed on the National Register of Historic Places in 2008. A complete restoration of the site was  completed by the Kohler Foundation in 2016. The site is currently under the stewardship of Columbus State University and the Columbus State University Foundation. &#13;
&#13;
   The Pasaquan Collection is comprised of a rich variety of resources regarding not only St. EOM's creation of Pasaquan, but also the thirty year-long preservation effort of various groups and individuals (most notably the Pasaquan Preservation Society) and the recent restoration completed by the Kohler Foundation. These materials are divided into sections based upon type and subject matter. &#13;
&#13;
   Textual resources are divided into two sections: Correspondence and Financial Records. Correspondence relates largely to St. EOM's art exhibition and sales, as well as his family and personal matters. Included here are letters to his brother Joe, a note from Rosalyn Carter about an 1978 exhibit of St. EOM's art in Washington, D.C., and letters from people seeking his fortune-telling expertise and bestowal of luck in various situations.  There is a separate folder for his medical issues.  There are also letters concerning films, photographs and slides of his house, grounds and artwork.  In most cases the images are not with the letters but are probably among the loose films, slides and photos.  Martin and many of his correspondents were erratic in the use of dates.  In general the correspondence is in chronological order.  If an undated letter is with an envelope, and the postmark is legible, that date is written on the letter in brackets and is used for filing.  Undated material is grouped without order at the end of the series.  Envelopes without contents are filed by postmark.&#13;
&#13;
   Financial records include routine bills such as utility bills; auto repairs; purchases at Sears; bills for mail-order purchases of supplies for his art; bills of sale for his crops to Tom's Peanuts; cotton factors and other buyers; insurance coverage and property tax payments.  In the case of bills from the Blessing Oil Company of Brooklyn, which supplied him with the oils used in various rituals he performed as part of his fortune-telling practice, a decision was made to include them in the Correspondence since Martin developed a personal relationship with the vendors there.&#13;
&#13;
   The records of the Pasaquan Preservation Society, including minutes, visitors books, financial records and other materials documenting their 20 year existence as the managers of the site and its contents, are treated as a separate collection (MC 368).&#13;
&#13;
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Permission to Publish&#13;
&#13;
Permission to publish material from the Pasaquan Collection (MC 327) must be obtained from the Columbus State University Archives at Columbus State University.  Use of the following credit line for publication or exhibit is required:&#13;
&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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&#13;
Signed "St. EOM" lower left </text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Permission to publish material from the Pasaquan Collection (MC 327) must be obtained from the Columbus State University Archives at Columbus State University. Use of the following credit line for publication or exhibit is required:&#13;
&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia</text>
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              <description>An account of the resource</description>
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                  <text>This collection consitist of materials from all aspect's operations of the Royal Crown Company. This includes company histories, publicity photographs, marketing and advertising, brand packets, and internal newsletters and correspondence. Brands owned by the R.C. Cola Company included RC, CHero-Cola, Diet Rite, Nehi, Ginger Ale, Gatorade, and Snaple. </text>
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            <description>An account of the resource</description>
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                <text>A booklet used to give to stockholders that details the company's assets.</text>
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                  <text>The CSU Collection consist of over 150 linear feet of material and is arranged into 14 separate Record Groups. Each Record Group reflects the Columbus State University's organizational hierarchy with minor variations being made to facilitate future accessions. Materials in the collection document the rich and proud tradition of education and public service of Columbus College/Columbus State University, 1958 - present. </text>
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                  <text>By accessing the CSU Digital Archives, the user agrees to give proper acknowledgement to the CSU Archives and further agrees to secure permission in advance from the CSU Archives to publish any item in any way, in whole or in part, from its collections. The Archives preferred citation is:&#13;
&#13;
Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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