After a year and a half without student workers onsite due to the pandemic, SCUA finally has a number of students in the department working on a variety of projects! I’m fortunate right now to supervise a couple of them on a number of processing projects in our different collecting areas, including the University Archives, Local/Regional History and Appalachian South, and the American Civil War, among others.
The Records of the Virginia Tech Dean of Students, Henry J. Holtzclaw, RG 8/2a, pertain to the work of Holtzclaw, who was the first person to serve as Dean of Students (also called Dean of Men) at VPI from 1923 to 1924. The collection is predominantly of correspondence between Holtzclaw and others at the university, such as President Julian Burruss, the Athletics Director C.P. Miles, and many other well known names from this time period.
The collection shows the intricacy and detail to which the Dean was involved in the everyday operations of the university. Holtzclaw helped develop the timetable and schedule of classes as well as the annual catalog. He oversaw the students’ attendance, handling requests for resigning from the university and their discipline in relation to hazing, poor grades, and rules violations. Dean Holtzclaw was also involved with the student organizations. One item of particular interest relates an incident when the Corps of Cadets was called to help put out a fire in town.
The Theodore Winthrop Papers, Ms2021-004, contains items by and about Winthrop, who has the distinction of being the first Union officer killed in the American Civil War. Winthrop served on the staff of General Benjamin Butler, when he was killed at the Battle of Big Bethel in Virginia on June 10, 1861.
While only one item, the Virginia Tax Receipt, Ms2021-009, is a unique document from 1859 as it identifies a freedman’s tax payments for Peter Logan of Chesterfield, Virginia. Looking through the records on Ancestry.com, Peter Logan (ca. 1810-1880) is a Black shoemaker from Chesterfield County, Virginia.
The Blacksburg Lions Club Records, Ms2021-022, document the work of the local Lions Club, primarily their charitable work with eye and ear diseases. We also received a number of music books, mostly men’s choral music and a couple Lions Club books, which will be added to the Rare Book Collection.
Every year Special Collections and University Archives, in partnership with the University Libraries and Virginia Tech Student Engagement and Campus Life, hosts annual remembrance exhibits to highlight the outpouring of love and support the university received in the aftermath of the tragedy of April 16, 2007. Although we are unable to host substantial physical exhibits this year due to the Covid-19 pandemic, we have continued the remembrance exhibit online.
The exhibit We Are Better Than We Think: Selections from the April 16, 2007 Condolence Archives highlights the items Virginia Tech received following the events of April 16th. It features artifacts, children’s letters, poems, and more with messages of love, hope, and peace, most of which have not been displayed for exhibition before.
The title piece of the exhibit, “We Are Better Than We Think” by Eric W. Schuttler (pictured above) is on display in Newman Library near the 2nd floor entrance, April 12 thru April 23 during the library’s open hours. (No other items are on display.)
For more information on the university’s remembrance events, including the virtual 3.2-Mile Run in Remembrance, please visit https://www.weremember.vt.edu/.
Every year Special Collections and University Archives, in partnership with the University Libraries and Virginia Tech Student Engagement and Campus Life, hosts annual remembrance exhibits to highlight the outpouring of love and support the university received in the aftermath of the tragedy of April 16, 2007. Although we are unable to host physical exhibits this year due to the Covid-19 pandemic, we have continued the remembrance exhibit online.
The exhibit Unknown Origins: Anonymous gifts in the April 16, 2007 Condolence Archives highlights the messages Virginia Tech received from unknown individuals, organizations, or places following the events of April 16, 2007. It features anonymous donations and gifts of unknown origin, paying homage to those who want to be part of the mourning and recovery process but do not necessarily want to be known.
Recently, CONSOL Energy announced it would be open a new mining operation on the Itmann Mine in West Virginia, and I’ve subsequently been fielding reference requests for information about Itmann and other mines in West Virginia. I haven’t spoken much previously about our mine maps in the Pocahontas Mines Collection, Ms2004-002, and this seems like the perfect time. The collection documents the development of the Pocahontas Coal Seam in southwest Virginia and West Virginia by CONSOL Energy, Inc., and its predecessors in the area. I have been working with the collection since late 2014 and several SCUA staff had been involved with it since the collection first arrived in 2004. The collection is a behemoth with 7,000 maps, about 3,000 survey books and ledgers, numerous photographs, and much more. It totals over 600 cubic feet in almost 800 boxes (but it’s not the largest collection I’ve worked on here!) We also have over 3,600 digital files of mine maps and other documents that I’m still creating metadata for!
When I was processing the collection a few years ago, I was very fortunate to have a student majoring in mining and minerals engineering here at Tech working on the project. Ryan Mair graduated in 2016, but before he left, he drafted a couple of blog posts about the collection, since he had extensive knowledge about it and the mining industry.
One of the blog posts by Ryan Mair, about the Itmann Mines, follows:
This map in Figure 1 is a production scheduling map of the Itmann No. 1, 2, & 3 Mines as operated by the Consolidation Coal Company. Maps of this type are used to depict the planned progression of mining operations with respect to a standard unit of time. This particular map progresses each future section of mining by year. The production schedule presented by this map was to start in 1983 and continue until the year 1992. The colored sections of the map represent what year coal production will occur in that area of the mine. the darker blue lines of the map depict the outline of the mine workings underground. Black lines are used to depict the property lease line and surface features, such as the buildings of the preparation plan.
These mines extracted coal from the No. 3 seam of the famous Pocahontas Coalfield. Coal from the Pocahontas seams was highly sought after because of its rare quality. This coal contains low amounts of sulfur and hydrocarbons known as “volatile matter” and leaves behind less ash material than most other coals. Pocahontas coal was especially prized by the U.S. Navy because it produces high temperatures while emitting little to no visible smoke when burned. Using this type of “smokeless” coal makes it harder to spot coal burning ships on the open sea. During World War II, the majority of coal from the Pocahontas seams were used to fire coal boilers for the U.S. Navy.
The mines depicted in the Itmann map (Figure 1) use two different methods to extract coal from the earth. Mines No. 1 and No. 2 use a conventional method called room and pillar mining, as seen in Figure 2. Room and pillar mining entails the extraction of coal while leaving large columns or “pillars” behind to support the rock overhead which is called the “back”, “roof”, or “top”. The open area left around the pillar is called the “room”. The shape of the pillars is typically that of a square or rectangle. Pillar dimensions vary with every mine design but are reliant upon the mechanical properties of the coal and the geological stresses present in the mine.
The No. 1 & 2 mines have completed their normal room and pillar mining operations and are recovering coal via a process known as “retreat mining.” Retreat mining is the selective excavation of the pillars to allow a controlled collapse of the mine roof while working towards the mine entrance. Retreat mining is done at the end of the life of a mine when the coal deposit had been depleted through normal room and pillaring. Normal room and pillar coal mines typically recover 40-45% of the coal located within the property. Mining the pillars upon retreat from a room and pillar mine allows operators to increase coal recovery to around 60%. Retreat mining is not always done due to the danger associated with it the unpredictable nature of the roof collapse. By removing selected pillars the mine roof or back is allowed to collapse while additional stress is placed on the remaining pillars. In some cases too much stress can be placed on a pillar. When a pillar reaches its maximum stress and fails, it shatters, sending rock and coal fragments violently through the air followed by the caving of roof around the area where the pillar once stood. This event is known as a pillar “burst” or “bump.” Many miners have died as a result of being near a pillar bump.
The No. 3 Mine in the northwestern part of the Itmann map (Figure 1) employs some room and pillar mining but its main design employs a method know as “longwall mining”. Longwall mining involves the complete extraction of coal from the working area using a “shearer” or “sled” that mines into a large wall or “face” of coal while moving parallel to that wall. A diagram of this method can be seen in Figure 3. As the machine cuts the coal free from the working face, an armored conveyor running parallel with the face transports the coal away. As the cutting and conveyor system move forward, it leaves the unsupported rock layers above to cave in a controlled manner in an area behind the machine. This caved area of roof rock is call the “gob” or “goaf”.
To protect the longwall mining system and the miners at the working face, numerous large hydraulic shields support the roof near the working face. These shields advance with each pass of the cutting head across the face. Longwall mines have considerably faster production capacities than traditional room and pillar mining but have more delays associated with the step and transportation of the equipment.
A working section of a longwall mine is known as a “panel” and are typically 800-1,500 ft. in width and 9,000-15,000 ft. long. Before mining the panel must be developed by what are called the “bleeder” entries. The bleeders serve to open up a path to the area while providing pathways for the ventilation of fresh air to the area. The bleeders are especially needed in the case of mining coal that contains high amounts of entrapped methane gas which is highly combustible. With the bleeder it is possible to degas or render the gas inert with enough fresh airflow. The pillars in bleeder entries are often called chain pillars and are left intact throughout the life of the mine to protect the ventilation and passageways.
In the northern section of the Itmann map (Figure 1), there are two geologic features that are identified. The two areas shaded in red denote areas where the coal on the property is less than 36 inches thick. Areas of deep underground coal that are less than 36 inches of coal are essentially too thick to mine profitably. Additionally, such areas make it difficult for both miner and machine to maneuver effectively. The second feature, shaded in light blue, is an area of coal with what is called a “parting,” a layer of non-coal rock that formed within the coalbed and parts the coal seam. Partings can be less than one inch to several feet in thickness. Thick partings are areas of coal to avoid when mining since the harder rock of the parting can excessively wear or damage cutting heads and requires more intense processing of the coal material at the surface plant.
The Itmann No. 3 mine shown in this map (Figure 1) was the scene of a mine disaster in December 1972. On December 16th, 1972, eight day shift miners had finished their shift and were exiting their working area of the Cabin Creek 4-Panel via an electrically powered rail car known as a portal bus (Figure 4). Unbeknownst to the miners, highly explosive methane gas had built up in the section. While in motion the portal bus trolley wire harp, which transfers electricity from the trolley wire to the portal bus, briefly disconnected from the wire. Such disconnections are common and are part of the design of the system but often result in an electrical sparking. Within the first 1,000 ft of the miners’ journey out of the mine just such an electrical spark occurred. This electrical sparking caused the ignition of the surrounding methane gas and propagated into an explosive wave. The blast wave and flames killed five miners instantly and seriously burned the other three. The blast force was also strong enough to blow out 14 permanent stoppings of cinderblock construction in the section.
“Official Report of Major Mine Explosion Disaster, Itmann No. 3 Mine (ID 46-01576), Itmann Coal Company, Itmann, Wyoming County, West Virginia, December 16, 1972” by W. R. Park, Sylvester E. Gaspersich, and Fred E. Ferguson, of the Office of Coal Mine Health and Safety, U.S. Department of the Interior, Bureau of Mines, from the United States Mine Rescue Association, https://usminedisasters.miningquiz.com/saxsewell/itmann_1972.pdf
We are very pleased to announce that our department has taken on a new addition to our name: Special Collections and University Archives (SCUA, for short). The University Archives have always been a meaningful part of our department, and this name change recognizes its significance in a more visible way.
This is just a recent change in a long line of them in SCUA’s nearly 50 year history. Virginia Tech has been collecting manuscript collections, university archives, rare books, artwork, and historical maps and photographs since the early days of its history, and many of those items constitute the foundations of our department’s collections. However, before SCUA’s establishment, the activities we engage in today were all separate. For example, the rare books were kept in locked cages serviced by the Reference Department, and an Archives section was created in 1968/1969 with Mary Larimer as archivist.
In 1970, the new Library Director Gerald A. Rudolph formally established Special Collections, combining the rare books, manuscripts, university archives, and historical photographs and maps into one department. The first head of Special Collections was the aforementioned Mary Larimer. During her tenure, she expanded the southwest Virginia collections, such as the acquisition of the J. Hoge Tyler Family Collection, Ms1967-002; began the science and technology collecting area, including the John W. Landis Papers, Ms1969-001; and acquired a number of American literary works through the estate of professor Dayton M. Koehler, including both the Dayton M. Koehler Papers, Ms1971-002 and his rare book collection. The University Archives also expanded, with President Hahn sending all presidential records from before 1960 to the department and encouraging the members of the Board of Visitors to donate their papers in 1973.
Stephen Zietz was the third director of Special Collections from 1993 to 1995, and he spearheaded the development of the Friends of the University Libraries, an advisory board to help build collections and funding. During his tenure, Special Collections began collaborating with other departments on campus to digitize some of its collections and launched its website. The Elden E. “Josh” Billings Collection of over 4,000 volumes on the American Civil War was cataloged, and processing the university presidents, such as President Hahn’s 100+ box collection, and vice presidents became a priority. The University Archives also began actively collecting materials related to underrepresented and traditionally marginalized groups at the university, such as the Black Women at Virginia Tech Oral History Project, Ms1995-026.
The Director of Scholarly Communication, Gail McMillan took on the additional role as the fourth director of Special Collections in 1995. Both departments were under the aegis of Digital Library and Archives (DLA), starting in 2000 with McMillan as DLA director. From 2001 through 2003, Jennifer Gunter King served as the fifth head of Special Collections, but following her departure, McMillan once again became de facto head in her role as director of DLA.
While part of DLA, Special Collections began digitizing materials in bulk, including the creation of ImageBase and the Bugle yearbooks for online access of these materials. McMillan was also influential in the development of the history of food and drink collecting area, acquiring the Peacock-Harper Culinary Collection in 2000 and the Ann Hertzler Children’s Cookbook and Nutrition Literature Collection & Endowment Fund in 2006. That same year, the department also expanded with a newly renovated reading room.
Following an outside consultant’s report in 2006, Dean Eileen Hitchingham decided to split Special Collections and DLA into separate departments. In 2007, the seventh and current director Aaron D. Purcell was hired. Major developments in the department over the past few years have included the mass creation of finding aids in Virginia Heritage, the first redesign of the department website in 20 years, the active collection of LGBTQ+ history at Virginia Tech and in Blacksburg, expansion of the processing of the University Archives records and publications, and of course, the new and improved name Special Collections and University Archives.
After several years, I recently finished processing the Smithey & Boynton, Architects & Engineers Records, Ms1992-027. Partner in the firm, Kenneth L. Motley purchased the firm in 1992 and donated their historical records in 1992 and 1994. About 30% of the collection was made available before I arrived at Virginia Tech in 2014, but the oversize, rolled architectural drawings and blueprints were not (although I must thank my predecessors for labeling and locating the rolls, which helped me significantly). Over the past four years, I arranged, described, and boxed up nearly 1,500 project drawings, totaling over 220 cubic feet and including over 920 boxes. (This isn’t even the largest collection we have in Special Collections!)
Louis Phillipe Smithey and Henry B. Boynton formed the Smithey & Boynton partnership in 1935. Smithey & Boynton built and renovated thousands of buildings throughout the state of Virginia. They designed Lane Stadium and several other buildings on the Virginia Tech campus, buildings for the Norfolk & Southern Railway (now Norfolk Southern), and the Lyric Theatre and Armory Building in Blacksburg. The firm became best known for building public schools, even using the same basic layout for numerous schools. They had nearly 150 school design commissions from 1945 through 1953 in at least 19 counties and 10 cities in Virginia.
Drawings of the Armory Building in Blacksburg, designed by Smithey & Boynton:
Louis Phillipe Smithey (1890-1966)
Smithey graduated from Randolph-Macon College in 1910, before attending both Virginia Polytechnic Institute and Massachusetts Institute of Technology. He was an engineer for Virginia Bridge & Iron Company from 1916 to 1920. He then opened his own practice, before partnering with Matthews H. Tardy, as Smithey & Tardy from 1922 through 1932. Smithey again had his own practice, occasionally working with Henry B. Boynton, before they partnered as Smithey & Boynton in 1935. Smithey was a registered architect in Virginia and West Virginia, a fellow of the American Institute of Architects (AIA), and served as president of the Virginia chapter of the AIA in 1940. He also served in the U.S. Army during World War I and World War II. Smithey married Dorothy Terrill in 1938, and they had one daughter.
Photos and drawings of the Lyric Theatre in Blacksburg, designed by the firm of Louis Phillipe Smithey:
Henry B. Boynton (1899-1991)
Boynton graduated from Virginia Polytechnic Institute in 1923, before taking classes at the University of Illinois (now the University of Illinois in Urbana-Champaign). He worked for Carneal & Johnston, Architects & Engineers, from 1924 to 1928. (We previously wrote about Carneal & Johnston on this blog in “A New Collection and a New Look at Virginia Tech’s Architectural Style.”) Boynton joined Smithey’s practice in 1929, becoming a partner in Smithey & Boynton in 1935. He was a registered architect in Virginia, West Virginia, North Carolina, and Pennsylvania; held several positions of the Virginia chapter of the AIA; and served as the Governor’s appointee to the State Registration Board for Architects, Professional Engineers, and Land Surveyors from 1962 to 1972. Boynton also served on the VPI Alumni Board of Directors from 1969 to 1979 and the VPI Education Foundation, Inc.’s board from 1978 to 1982. He also served in the Army Corps of Engineers during the World War II. (Special Collections also has the Henry B. Boynton Papers, Ms1992-002, which include some records from Smithey & Boynton.)
Drawings of the Norfolk & Southern Railway’s General Storehouse in Roanoke, designed by Smithey & Boynton:
“Holding the Light,” is one of two exhibits that will be displayed on the second floor commons in Virginia Tech’s Newman Library as the university observes its 2019 Day of Remembrance.
The exhibit, on display Thursday, April 8 through Tuesday April 18, is a collaboration between the University Libraries and Student Engagement and Campus Life and honors those lost and injured on April 16, 2007. It features items of condolence from around the nation and world.
Among the artifacts on display will be an eight-pointed star quilt from St. Labre Indian School in Ashland, Montana, large banners signed by people in Seoul, South Korea, a work of calligraphy from Japan based on the Buddhist Heart Sutra, and a painting by students at Rappahannock County High School. The exhibit will also include items from the State University of New York Morrisville, Florida State University, Virginia Tech Graduate Arts Council, Hillel, Living Buddhism, and Unitarian Universalist Congregation of the New River Valley.
A display in the windows of Special Collections on the 1st floor of Newman Library will also reflect the “Holding the Light” theme. Most of the items on display were either left at the Drillfield memorial in the aftermath of April 16th or from vigils at other places in remembrance of the victims and in honor of the survivors.
The second exhibit, “A Community of Learners, a Legacy of Achievement,” will feature photographs of each of the 32 victims and a selection of books that reflect their individual disciplines and interests.
In addition to these two exhibits, a small garden space for quiet reflection outside of Squires Student Center’s Old Dominion Ballroom will be available to the community. The garden features a large inscribed rock received from Itawamba Community College in Fulton, Mississippi, and stones from previous April 16 Perspective Gallery Exhibitions. Itawamba Community College planted a dogwood tree in honor of the victims, and this garden also includes a dogwood tree.
Recently, I’ve been working on identifying artifacts and university memorabilia in our collections, and I came across a beautiful, four-stringed tenor banjo and its case. I did not anticipate that an item so innocuous as a musical instrument would lead down a path into learning about the university’s racist past, including minstrelsy and blackface.
To start, I could find no information about the banjo’s former owner, so I investigated the banjo and case themselves for clues. Handwritten on the banjo head is “The Collegians, VPI, Blacksburg, VA.”, and the peghead identifies it as a Bruno banjo. Handwritten on the banjo’s case are the initials, “L.A.H.”
Searching through names related to our collections, I found the Lewis A. Hall Papers, Ms1983-009, very promising given his initials and his connection to Virginia Tech. Looking thru the collection, my excitement rose almost immediately when I found a reference to the Collegians – the band the banjo is advertising – in the printed items. Then I opened the folders of photographs and found a beautiful picture of the Collegians themselves, with one man holding this very banjo! A portrait in the collection is of Hall, and it’s clear he’s the same man holding the banjo.
Interested in finding out who else is in the photo, I pulled the Collegians folder in the Historical Photographs Collection. I found a copy of the same photo, dated 1923-1924, identifying the musicians from left: Robert B. Skinner (drummer); J.B. “Yash” Cole (trombone); Arthur Scrivenor Jr. (piano); Lewis A. Hall (banjo, manager, and director); H. Gaines Goodwin (saxophone); Bill Harmon (saxophone); and S.C. Wilson (trumpet, not pictured). This picture is also used in the 1924 Bugle yearbook.
There were two other pictures in the folder of Hall and the Collegians, dated 1922-1923, from left: L.A. “Lukie” Hall (tenor banjo); J.B. Cole (trumbone); R.S. “Bob” Skinner (traps); W. “Bass” Perkins (clarinet, violin, leader); Tom S. Rice (piano); W.D. “Willie” Harmon (saxophone); F.R. “Piggy” Hogg (saxophone, traps, manager); and S.C. “Stanley” Wilson (trumpet, not pictured).
After discovering the owner’s name, I wanted to know a bit more about both Hall and the Collegians. To the latter first – A dance orchestra at VPI formed in 1918 as the Southern Syncopating Saxophone Six. They were later renamed Virginia Tech Jazz Orchestra and known as the College Six. In 1922, they became the Collegians, and in 1931, they finally became the Southern Colonels. Today, the jazz band continues to perform, as part of the Corps of Cadets Regimental Band, the Highty-Tighties.
Second, Lewis Augustus Hall was born Lewis Augustus Hall in 1903 in Norfolk, Virginia. He attended VPI from 1920 to 1924. In addition to playing for the Collegians (also called the Tech Orchestra), he was a member of the Norfolk Club, Cotillion Club, Tennis Squad, the American Society of Mechanical Engineering, and the Virginia Tech Minstrels (more on this below). He also served as athletic editor for The Virginia Tech, the predecessor of the Collegiate Times, assistant manager of basketball, and manager of the freshman basketball team. Finally, he rose thru the ranks of the Corps of Cadets, graduating as Lieutenant of Company F. In 1924, he graduated with a degree in mechanical engineering. Upon graduation, Hall joined the Chesapeake and Potomac Telephone Company, retiring as assistant vice-president in 1968. He married and with his wife Virginia had two sons. Hall maintained a connection to Virginia Tech, serving on the board of directors for the Virginia Tech Alumni Association for 15 years and earning the Alumni Distinguished Service Award in 1977. He died in 1982.
As mentioned above, Hall performed in the student club, the Virginia Tech Minstrels. I’ve heard of minstrel shows before and knew that students at Virginia Tech had held them. But this was my first time coming across them inadvertently, so it was a shock to learn that the owner of this banjo was a member of a minstrelsy.
If you aren’t aware, minstrel shows in the United States were a performance typically including skits, jokes, and music – predominantly performed by white people in blackface as a spoof, full of stereotypes and racist depictions, of Black people and their cultures. The 1924 Bugle (pp. 346-347) discusses the group and even depicts members in blackface. The Collegians are also listed as the group’s orchestra and a photo of the group includes Hall holding the banjo.
My research about a mystery banjo took me down a path I could not imagine. I was at first excited to discover the owner’s identity, then horrified to learn about his and the instrument’s connection to racist entertainment. But in the end, the journey led me to learn more about this form of racism and how its legacy continues to impact American society. As the University statement says, “The history of our nation and the Commonwealth of Virginia has a common storyline starting with slavery and segregation, and moving toward our ultimate goal of treating everyone with respect and cherishing the strength that comes from diversity of identities and lived experiences. We, as a society, are somewhere in the middle of this process.”
Here are screenshots comparing the old (left) and new (right) Special Collections website designs:
We’ve been discussing a redesign of the website for a while now, but with the rebranding of the Virginia Tech website, the University Libraries have been working all year on putting its pages into the new VT design theme. And now, Special Collections is part of this new design!
The new website aims to make finding materials easier by including a search box on the main page for digital content, such as digitized letters and photographs from our collections, and for finding aids, which describe our manuscript and archival collections. Menus at the top and sidebars on each page organize the content of the website into specific areas and minimize the number of pages you have to click thru to find the information you need.
We’re still planning on some minor additions, such as changing images in the banner on the main page and adding smaller images on some of the other pages. If you have any recommendations, please contact us with ideas!
Here are screenshots comparing the old (left) and new (right) ImageBase website designs:
The organization and content of ImageBase remain the same, but the design fits in with the Virginia Tech and University Libraries’ new design. The old logo has been retired, and we are currently working on a new banner for the main page, similar to that on the new Special Collections website. If you have any recommendations, please contact us with ideas!
Special Collections has celebrated Women’s History Month 2018 with numerous exhibits in Newman Library and the Holtzman Alumni Center. Part of our focus has been on some of the first women who attended or worked at Virginia Tech. I’ve written before about some of VT’s female trailblazers, but I decided to concentrate on the first international woman to graduate, Carmen Venegas (1912/1914? – 1991). She has the additional distinction of being the first known Latina/Hispanic woman to study at Virginia Tech and, according to the July 15, 1945, profile about her in the Los Angeles Times, she is the first Latin American woman to earn an electrical engineering degree in the United States.
Venegas earned one of two scholarships awarded by the government of her home nation Costa Rica, making it possible for her to attend the university. Before graduating in 1938 with a B.S. in electrical engineering, she was a member of the American Institute of Electrical Engineers and was the only woman in the organization of nearly 40 students at that time.
A founding member of the Short Wave Club, Venegas trained students in amateur radio operations. She taught classes in radio operation and acted as Hostess for the Club in 1937. The Short Wave Club is a predecessor to the student-run group, the Virginia Tech Amateur Radio Association, exemplifying how her and other students’ contributions to the university have made an impact that can still be felt today.
In addition to her school activities, Venegas is remembered as a pilot, even keeping her own airplane in Lynchburg. In 1937, the National Intercollegiate Flying Club invited her to join a convoy from Washington, D.C., to view air races in Miami, Florida. Out of 100 pilots, Venegas was the only Virginia-based woman in the bunch!
Following her time at VPI, Venegas went on to a long and varied career as an engineer, performer, and painter. She married Meade A. Livesay and moved to Los Angeles, where she studied music and art at UCLA. Venegas went on to perform dancing and singing under the name Carmen Lesay.
(This post was updated Nov. 9, 2018, with corrections and additional information about Carmen Venegas after her time at Virginia Tech. Thank you to Ivannia Diaz for her corrections and sharing resources with us!)